The Role and Function of The Panegyric as An Artistic Form

American Journal Of Philological Sciences

157

https://theusajournals.com/index.php/ajps

VOLUME

Vol.05 Issue04 2025

PAGE NO.

157-159

DOI

10.37547/ajps/Volume05Issue04-39

The Role and Function of The Panegyric as An Artistic
Form

Otaqulova Sarvinoz Fozil qizi

Institute of uzbek language, literature and folklore, Academy of sciences of the Republic of Uzbekistan, Second-year doctoral student,
Uzbekistan

Received:

20 February 2025;

Accepted:

19 March 2025;

Published:

21 April 2025

Abstract:

This article summarizes all scientific thoughts and reflections regarding the Faxriya genre, and it

determines that the verses of pride serve the function of artistic expression. Additionally, it is proven and analyzed
through examples that literary devices such as metaphor, exaggeration, beauty of expression, beauty of
beginning, and beauty of pen name are consistently and collectively applied in the verses of pride.

Keywords:

Faxriya, husni matlab, husni ibtido, husni matlab, husni taxallus.

Introduction:

Since the form of fakhriya does not have

a fixed length or rhyme scheme, and it can also be
found within genres such as ghazal, qita, masnavi, and
qasida, we cannot classify it as a genre. When we refer

to a literary work as a genre, it primarily considers “the

creator's attitude towards life events, their unique
spiritual and emotional perspective, and their skill in
depiction. Additionally, when studying the issue of
genre, special attention must be given to language,

imagery, and composition.” [7.17

-89] Thus, in order for

a poetic work to be considered an independent genre,
it must incorporate the four elements of lyrical
composition. In the book Theory of Literature, as part
of the structural components of lyrical composition, it

lists elements such as “the expression of the crea

tor's

specific goal in the poetic work, the presence of a main
and leading idea, how the poetic form arises based on
the internal laws of the art form, and the interaction

between form and content”.[1.298] In order to accept

a particular poetic work as a genre belonging to the
lyrical type, it must also meet the requirements of
lyrical composition. Fakhriya, however, only appears as
part of the factors that form the composition of a lyrical
work within poetic genres. That is, poets have used
fakhriya as a means of expressing their specific goals.

When we talk about fakhriya, in classical poetry, it is
understood as a literary technique found within lyrical
genres, particularly one that helps to highlight the
lyrical hero's goal. In this regard, B. Valikhodzhayev

continues his thoughts on fakhriya, stating that

“although this term does not represent a literary genre

in the creative works of the peoples of Central Asia, it
is used as one of the means to express literary and

critical views”. [6.10]

In scientific books about the arts and their types,
including works related to art such as Funun ul-

Balāgha

and Badoye us-

Sanāye, there is no mention of a literary

device called fakhriya. This confirms that there is a basis
for introducing fakhriya as a new element within the
arts.

As is well known, poetic arts are of two types: verbal
and spiritual arts. Verbal arts are based on form, while
spiritual arts are artistic elements that are determined
by the content of the verse. The literary scholar H.
Umurov, while de

fining spiritual arts, states, “Poetic

arts related to the meaning of words are referred to as
spiritual arts. It has numerous forms, such as iyhom,
ittifoq, fakhriya, taqsir, irsoli masal, tazod, and

others”.[11.168] Thus, he also includes fakhriya among

such arts. Fakhriya can also be accompanied by other
types of artistic devices in verses. For example, we can
include the artistic device of husni matla among them.

In the book Badoyi’ us

-

Sanoyi’, Atoulloh Husayniy

emphasizes that it is also called husni talab, baroati
talab, adabi talab, and husni suol. Husayniy provides
two definitions of this artistic method. The first one is

his own view, which he describes as follows: “It is a

form of speech that is elegant in expression, meaning

American Journal Of Philological Sciences

158

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American Journal Of Philological Sciences (ISSN

–

2771-2273)

pure, and aimed at praising and glorifying the praised

one.”[4.255] That is, in this artistic technique, the poet,

with pure words, acknowledges and praises the one
who has supported and helped them. As an example, if

we refer to a fakhriya passage from Alisher Navoi’s

ghazal, the poet, while elevating his poetry to great
heights, does not forget to acknowledge his patron,
Husayn Bayqarah, who supported his work.

O Navoiy, your poetry was pure and simple,

Yet, through the king’s reforms, it adorned and

beautified him greatly. [2.8]

In the verse, Navoiy acknowledges that the perfection
of his poetry in form and content (beauty and
adornment) was also influenced by the reforms of his

patron, Husayn Bayqarah, and emphasizes the king’s

mastery of words. The thinker and creator, on one
hand, takes pride in the uniqueness of his poetry, while
on the other hand, he praises the ruler who read his
works and corrected its shortcomings. Thus, in the
fakhriya verse, along with fakhriya, the artistic
technique of husni matla also emerges.

The second idea about husni matla is presented by
Husayniy Rashididdin Vatvot in his book Hadoyiq us-

Sehr, as follows: “This art is defined as follows: the poet

wishes something from the praised one in a single
verse, but does so with a delicate and sweet
sty

le”.[4.255] It is clear that when the poet asks or

requests something from the praised one with a
beautiful, delicate expression, that verse is also
considered husni matla. In this regard, the Dictionary of
Literary Studies presents similar ideas, and the artistic

technique we’ve mentioned is explained as follows:
“The essence of husni matla is that the poet asks the

king or the beloved for something, but this request is
expressed through delicate, refined, and pleasant

words”[9.403]. According to this theo

retical book, not

only the praised one (i.e., the poet’s patron, the ruler
of the country) but also the lyrical hero’s request or

plea from his beloved can create husni matla. This
emphasizes that the person being praised, whether it
be the king or the lyrical hero's beloved, or any other
character mentioned in praise, can perform the role of
the mamduh.

Therefore, in Ahmad Taroziy's book Funun ul-

Balāgha,

this artistic device is presented in the form of husni
talab, and the scholar agrees with the views expressed
by Vatvot and Husayniy in their works, offering the

same explanation: “…And if the poet requests

something from the praised one, it is called a direct
request. If it is asked with a beautifully crafted

expression, it is called husni talab”[5.79]. I

n this regard,

the literary scholar Y. Is’hoqov, based on Rashididdin

Vatvot's views, expresses his personal opinion, stating

that in husni matla, the creator “strives to purify

meaning and words, adhering to the conditions of

glorification and respect.”[8

.296] Based on theoretical

ideas, the artistic device in which the poet’s request or

plea to the ruler or beloved is reflected is called husni
matla. However, in fakhriya verses, husni talab almost
always appears while requesting something from the
ruler.

Y. Is’hoqov also provides a solid theoretical point,

stating that “in verses beginning in the spirit of fakhriya,

the meaning and request are directly aimed at kings

and princes.”[8.297] Thus, in fakhriya verses, the

request is directed not towards the beloved, but
towards the king or the princes:

These are jewels that I placed in the horizon,

Instead of stars, I placed the celestial sphere.

If they are aware of the expectations,

They will become kings and princes.

By placing it in the ear of the prince,

May the noble king accept it as well. [3.631]

In this excerpt taken from the epic, the poet first
compares his five epics to stars, saying that he has
scattered them across the nine celestial spheres and
takes pride in their fame among the people of the
world. Then, he expresses, based on the main theme,
that he hopes the prince will hear and witness these
works, and the ruler will accept the creative product.

We can also observe the harmonious combination of
fakhriya and husni matla in small lyrical genres, such as
in ghazals. The following verse, taken from the Navodir
ush-Shabab collection, serves as a vivid example of this:

O Navoiy, the jewel of your poetry is like a noble
address,

If the sultan looks at you with kindness on a festive day.
[2.14]

In this verse, the poet compares his poetry to a pearl,
and on one hand, takes pride in it. On the other hand,
through beautiful expression, he requests that his
praised one, the sultan, notice and pay attention to his
work in order for it to gain honor and recognition in
public, much like the sermon of an imam after the
prayer, offering religious advice. This lyrical skill in

Navoiy’s work, where fakhriya and husni matla blend

together, has helped bring about a unique artistic
method in his verse.

Fakhriya parts in ghazals are usually placed before the
praise. In them, the poet almost always uses his pen
name (takhallus). The pen name, being a structural part
of fakhriya verses, creates the artistic technique of
husni takhallus. The literal meaning of the word
takhallus is 'to be freed.' In lyrical poetry, it serves as a
bridge between the beginning of the thought and the

American Journal Of Philological Sciences

159

https://theusajournals.com/index.php/ajps

American Journal Of Philological Sciences (ISSN

–

2771-2273)

transition to the main goal. In “Badoyi’ us

-

Sanoyi’”, it is

defined that: “The Persian poets typically refer to the

pen name as gurizgoh, and they use the pen name or
title to refer to themselves or their adopted

name.”[4.253] From this definition, we understand

that Persian poets referred to the pen name as
gurizgoh, and the verse in which the poet uses their
name or title was called husni takhallus.

When Husayniy explains in which types of verses a pen
name may appear, he refers again to Rashiduddin

Vatvot and quotes his ideas as follows: “Husni takhallus

is such that the poet combines the introduction of the
words describing love and passion, pride, manners, and
so on, with the final praise of the piece. It forms a
smooth transition within one, two, or three verses, and
the best form is when it is contained within a single

verse.”[4.254] Through the idea expressed above, the

scholar emphasizes that husni takhallus is widely used
in verses that convey pride. This further confirms the
connection between this artistic device and fakhriya.

Ahmad Tarozi also states:“… In a ghazal, when praise is

included, that verse is called takhallus. If it is introduced

in a good manner, it is called husni takhallus.”[5.79] In

this context, the scholar points out that in a ghazal, the
praise section starts with a verse containing the
takhallus, and this verse is called takhallus. If the praise
is introduced with good ideas, it is called husni
takhallus. In fact, fakhriya also contains elements of
praise, but in this case, the poet praises not a person,
but rather themselves and the praise of their own work.

CONCLUSION

As a conclusion, it can be said that fakhriya does not
meet the criteria of an independent genre, as it consists
of only two or more verses within various independent
genres, and is therefore accepted as an artistic device.
Additionally, in fakhriya verses, artistic devices such as
husni matla, husni takhallus, husni ibtido, tashbih, and
mubalaghah appear as inseparable parts of it.

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