American Journal Of Philological Sciences
149
https://theusajournals.com/index.php/ajps
VOLUME
Vol.05 Issue04 2025
PAGE NO.
149-152
10.37547/ajps/Volume05Issue04-37
Samandar Vokhidov's Artistic Skills in Ghazal
Saodat Narziyeva
Independent researcher of Samarkand state university, Uzbekistan
Received:
18 February 2025;
Accepted:
17 March 2025;
Published:
17 April 2025
Abstract:
The article presents reflections on the importance of poems written in the aruz meter in studying the
components of classical poetics. It explores the poetic mastery of the poet Samandar Vohidov in the art of ghazal
writing, and illustrates the thematic richness of his aruz-based poems through examples. In contrast to his poems
written in the syllabic (barmoq) meter, the article substantiates the distinct features of his aruz poems with
samples from his ghazals and musammats. The artistic analysis also highlights how the poet, while preserving the
classical traditions of his predecessors, created aruz-based ghazals inspired by the works of prominent poets such
as Erkin Vohidov, Abdulla Oripov, and Jamol Kamol.
Keywords:
Classic poetics, science of Aruz, ghazal, rhyme takhallus, tamsil, allegory, figurative devices yoki Literary
devicesartistic means of expression, mustazad, murabba’, mukhammas, musaddas, qit’a, rubai, tuyugh
.
Introduction:
In the 1970s, when a new generation of
poets emerged, composing poetry in the aruz meter
became a somewhat rare literary phenomenon, even
among those who continued to write prolifically during
the independence period. Naturally, this was
influenced by the Soviet era's perception of aruz-based
poetry as a “remnant of the past.” Nevertheless,
prominent poets from this generation, such as Erkin
Vohidov, convincingly demonstrated that such
attitudes toward aruz poetry were baseless. However,
it is worth noting that such moral courage was not
characteristic of all poets from the 1970s generation.
Due to the prevailing negative sentiment toward aruz
poetry at the time, the motivation to deeply study the
core elements of classical Eastern poetics -
“known as
“science of Aruz” (an ancient system of meter in
classical poetry), science of Rhyme (the rhyme scheme
in poetry), science of Rhetoric (refers to rhetorical
devices or artistic expression in language) also
significantly declined. Initially composing effectively in
the syllabic (barmoq) meter, Samandar Vohidov was
also able to create perfect melodies in the aruz form.
His poetry reflects a broad thematic range, firm
adherence to historical traditions, and refined use of
imagery and comparisons. From a structural
perspective, his verses maintain balanced and
consistent measures in meter, rhythm (bahr), and foot
(juzv) from beginning to end. Speaking on the delicate
nuances of aruz, Professor A. Hojiahmedov notes:“To
deeply appreciate the profound ideas and artistic
excellence characteristic of our classical poetry, to
recognize the literary potential of every po
et’s pen, and
to sense the exquisite harmonies and the unmatched
elegance of verbal artistry, one must have thorough
knowledge of the theoretical rules and practical
features of the aruz metrical system, which forms the
foundation of these timeless monumen
ts.”[1;p.3] The
poems of Samandar Vohidov - infused with the
essential rules of aruz and distinguished by thematic
richness - occupy a unique place in Uzbek poetry as rare
and valuable creations.
METHOD
Within the aruz poetic system, particularly in the ghazal
genre, the expression of thoughts and reflections is
often perceived as being somewhat constrained. This is
because poets must strictly adhere to the established
rules of ghazal composition, which may limit creative
freedom. Addressing this debate, literary scholar A’zam
Abdulla states: “Attempting to express heartfelt
emotion in syllabic verse may oversimplify it, while
trying to fit it into aruz may prove futile. Similarly, trying
to
express “aruz
-
based” emotions in another meter is
also difficult.” [2; p.7]
Nizami Aruzi Samarqandi, a great poet and literary
scholar of the 11th
–
12th centuries, elaborates in his
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American Journal Of Philological Sciences (ISSN
–
2771-2273)
work “The Four Articles” (Chahor Maqola) on the
qualities a poet and poetry should possess. He writes:
“Unless a poet memorizes twenty thousand couplets of
classical poetry in his youth and adolescence, is familiar
with ten thousand lines from his contemporaries,
regularly reads his mentors’ divans, studies how they
solved subtle and complex aspects of language, he will
never attain a high level of poetic mastery. The various
types and paths of poetry will not naturally reflect in his
nature, nor will he develop an intuitive sense for what
is elegant or flawed in poetry. His words will lack
grandeur, and his talent will not lean toward the
sublime.” [3; pp.33–
34]
These thoughts, expressed as requirements for
becoming a mature poet, remain universally relevant
across eras. However, up until the final decade of the
last century, the tradition of memorizing classical
poetry, analyzing it, drawing inspiration from literary
discoveries, and writing in aruz-based genres such as
ghazal, mustazad, muraabba‘, mukhammas, musaddas,
qit’a, ruba’i, and tuyuq was gradually decli
ning.
During the past century, although poets like Sobir
Abdulla, Habibiy, and Chustiy preserved this noble
tradition to a certain extent, it was through the poetry
of Erkin Vohidov that it once again began to reveal its
grace. The aruz-based rhythm
s in Abdulla Oripov’s
poetry and the poems written in aruz by Jamol Kamol
also significantly contributed to the continuation of this
tradition.
It is worth emphasizing that the talented poet from
Bukhara, Samandar Vohidov, also holds a distinguished
place among such figures as Erkin Vohidov, Abdulla
Oripov, and Jamol Kamol, for composing aruz-based
poems while fully preserving classical traditions. His
collection “Your Thoughts Are With Me” (Xayoling men
bilan) includes 36 ghazals, 4 mukhammas, and 1 poem
dedicated to a ghazal by Babur. “Sunbula” features 45
ghazals and 5 mukhammas; “The Garden of Life” (Umr
chorbog‘i) includes 6 ghazals and 1 mukhammas; “The
Book of Hajj” (Haj daftari) presents 10 ghazals and 1
mukhammas dedicated to Hazrati Eshon
Imlo’s ghazal;
“Flowers in Bloom” (Gullayotgan kunlar) contains 13
ghazals and 12 takhmis-mukhammas - including 10
dedicated to Navoi, 1 to Husayniy, and 1 to Jamol
Kamol. “In This Garden, the Joy is Eternal” (Bu bog‘da
bahra boqiydur) comprises 1 tab‘
-i khud and 50
takhmis-
mukhammas. The ghazals included in “The
World Will Never End” (Dunyo kami bitmagay), which is
part of his four-volume selected works, are especially
noteworthy.
RESULTS AND DISCUSSIONS
In ghazals such as “Spring Remained in Bukhara” (Ba
hor
qoldi Buxoroda), “To My Sister Salomat” (Singlim
Salomatga), and “The Beauty of Autumn” (Kuz jamoli),
the poet reflects national pride, love and affection, and
the interconnectedness between nature and the
human spirit. Meanwhile, in ghazals like “Do N
ot Be
Aimless” (Boʻlma bemaqsadki), “Have a Heart as Vast
as the World” (Bagʻri keng boʻl jahonday), “Seeker”
(Izlagay), “Do Not Reproach” (Qilma ta’na), and “If You
Wish Not to Remain Unsuccessful” (Boʻlmayin beburd
desang), noble human qualities such as the meaning
and purpose of life, and the faith in living, are glorified.
To support the above idea, let us consider the
ghazal “Miracle” (Mo‘jiza):
“Do not despair, my heart, thinking miracles do not
exist in life;
Life is a book fill
ed with wonder and wisdom.”
A miracle refers to rare events in life that astonish
human consciousness. While such phenomena may not
occur frequently, it doesn’t mean they don’t exist. Life
itself is likened to a book filled with wonder and
wisdom. However, the poet warns against being
deceived by mere appearances while seeking miracles:
“Whatever draws you into awe, consider it a
miracle,
But don’t be fooled by appearances
- form veils
essence.”
Understanding true miracles, according to the poet, lies
not in what the physical eyes see, but in grasping the
essence. He suggests that when the mind is nourished
by inner meaning, one can even perceive the secrets
hidden within stone. He indicates that seemingly
lifeless materials like dry wood and cold metal can
produce melodies when crafted into a dutar, hinting at
the transformative power of inner essence.
“Understand the miracle: the drifting cloud, weightless
as smoke,
Carries both fire and water within its bosom, without
doubt.”
What a beautiful poetic depiction of nature and its
phenomena! In this line, the poet gracefully portrays
how a light cloud, floating across the vast sky, holds
within it both fire (lightning) and water (rain),
eventually bringing life to the earth below.
The poet further illustrates how a single meadow can
contain various flowers, colors, and scents, and how
the human heart can hold entire universes within it -
suggesting that the ability to perceive such beauty itself
is a miracle. He completes the ghazal with these lines:
“O Samandar, consider each moment of life a
miracle;
A heart incapable of seeking miracles is ruined by
desolation.”
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American Journal Of Philological Sciences (ISSN
–
2771-2273)
A ghazal is often defined as a lyrical poem with a unique
rhyme scheme that expresses feelings of love and
longing, delight in the beauty of nature and society, and
disdain for evil and ugliness. [4; p.191] The ghazal we
analyzed above masterfully conveys abstract and
philosophical concepts through artistic imagery.
In Samandar Vohidov’s ghazal “Last Night From Y
our
Lands” (Kecha sen tomonlardan), similar to the above,
the lyrical persona is portrayed through the use of
contrast, a poetic method. The poet creatively employs
izofa constructions characteristic of the aruz meter and
utilizes compound metaphors that reveal the elegance
of the ghazal genre. The 3rd and 4th couplets of this 7-
couplet ghazal are particularly noteworthy:
I rejoiced thinking my soul would bask
In the ecstasy of union,
Yet instead of joy,
A poisoned cup of separation arrived.
The tulip of hope -
Without parting its ruby lips,
Was uprooted, and instead,
A sharpened axe was delivered. [5; p.98]
Samandar Vohidov’s emergence as a powerful poet
during the early years of independence is further
evidenced in his ghazal “I Lost Her on the Day of
Navruz” (Yoʻqotdim ayni Navroʻzda), dedicated to his
mother’s memory. The matla (opening couplet) of this
8-couplet ghazal confirms our view:
I lost her on the day of Navruz -
This Navruz turned to autumn.
The joyful spring, without you,
Turned into a bitter winter. [6; p.135]
The indication of the dates when poems were
composed plays an important role in tracing the
emergence and development of Samandar Vohidov’s
tendency to write poetry in the aruz meter. His
collection “Your Thoughts Are With Me” (Xayoling men
bilan) includes several ghazals and mukhammases, but
not all poems in this collection mention their date of
composition. Among those that do, special attention
can be given to an eight-couplet ghazal that begins with
the lines:
“Let the earth bear whatever the sky casts upon it
without complaint,
Be it fire or snow-
it shall make no claim.” [7; p.149–
150]
This poem, composed in 1970, stands out in this regard.
The poet's name is also used as a pen name (takhallus)
in the maqta (final couplet):
“What more can Samandar endu
re,
Having been stripped of everything?
Like a beggar hoping for fate’s mercy,
He turns his face toward the Divine.” [8;
p.150]
This ghazal is fully in line with the classical
requirements of the genre. The imagery evokes the sky
casting down either fire or snow upon the earth as a
form of wrath. The earth, however, bears these
torments with an open chest, implying patience and
endurance. The hope is expressed that someday, the
heavens will show mercy and bestow blessings upon
the earth. In this way, the sky is likened to a beloved,
while the lyrical persona appears as a faithful lover
suffering in silence. The use of the poet’s name as
takhallus in the final couplet, together with the
metaphor of the beggar (gado), shows a high level of
poetic craftsmanship and symbolic depth. t is also
possible to express similar views regarding Samandar
Vohidov’s ghazals: the seven
-bayt ghazal written in
1973 beginning with the line “Life may falter in the face
of my manifol
d questions,” the seven
-bayt ghazal
composed in 1977 with the opening line “If someone
says: I am a fleeting guest in this world, I say: I am no
guest, I am the host of this world,” and the six
-bayt
ghazal from 1978 starting with “Do not hurl the stone
of
reproach, beloved, at the mihrab of my pure heart.”
In several of the poet’s other ghazals, there are notes
indicating that they were written during the 1980s and
1990s. At the same time, in ghazals with no recorded
date of composition, certain allusions serve as
meaningful clues that help determine when the poet’s
inclination toward composing in aruz meters began and
became systematized.
CONCLUSION
In conclusion, although the poet initially entered the
world of poetry through the barmak (syllabic) meter,
over time and with increased life experience and poetic
maturity, he began composing complex poems in the
classical aruz meter as well. It must be acknowledged
that Samandar Vohidov successfully and fruitfully
created works in aruz, and the poetic legacy he left
behind has continued to capture the hearts of readers
both during his lifetime and beyond. Samandar
Vohidov’s many years of life experience elevated the
artistic quality of his poetry, bestowing upon it a unique
charm that resonated deeply with lovers of poetry.
REFERENCES
Hojiahmedov, A. (1998). Uzbek Aruz Dictionary.
Tashkent: Sharq. (p. 3)
A'zam, A. Aruz: Lessons from Alisher Navoi and
Zahiriddin Muhammad Babur.
–
Tashkent: Publishing
American Journal Of Philological Sciences
152
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American Journal Of Philological Sciences (ISSN
–
2771-2273)
House of the National Library of Uzbekistan named
after Alisher Navoi, 2006.
–
p. 7.
Sources of Classical Eastern Poetics in the
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–
Tashkent: Uzbekistan National Encyclopedia, 2006.
–
pp. 33
–
34.
Introduction to Literary Studies. Authors’ Collective. –
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O‘qituvchi Publishing House, 1979. –
p. 191.
Fitrat, A. Selected Works: Textbooks, Teaching Aids,
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54.
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–
p. 98.
Vohidov, S. Longing for the Vastness.
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Samarkand:
Zarafshon, 1991.
–
p. 135.
Vohidov, S. You Are in My Thoughts (Poems, Ghazals,
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Bukhara: Bukhara,
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pp. 149
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150.
Vohidov, S. You Are in My Thoughts (Poems, Ghazals,
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p. 150.
Hojiahmedov, A. (2018). Foundations of Aruz Theory.
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