Volume 04 Issue 02-2024
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American Journal Of Philological Sciences
(ISSN
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2771-2273)
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46-52
SJIF
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(2022:
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(2023:
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OCLC
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1121105677
Publisher:
Oscar Publishing Services
Servi
ABSTRACT
This article analyzes the lyrical heritage of the ruling poets Husayniy and Amiriy, especially the great writing skills. From
the manuscripts, bayozs and devozes, important points were identified and analyzed. The skill of using words, topic
and continuation of the content is shown.
KEYWORDS
Devan, bayaz, literary environment, following, tradition, mukhamas, tatabu, classical literature.
INTRODUCTION
The role of the rulers of the period in the development
and prosperity of classical literature is incomparable.
Where a literary environment was established and
gained its place, it was due to the support of the ruler
of that time. It is true that Timurid rulers organized
literary gatherings in their palaces and created
necessary conditions and opportunities for learning in
the central cities. In particular, Amir Temur, Mirzo
Ulugbek;
Sultan
Husayn
Baigaro,
Zahiriddin
Muhammad Babur, rulers who were also engaged in
creativity at one time; Shaibani Khan, Ubaidullah Khan,
Amir Umar Khan, Muhammad Rahim Khan II and other
rulers are among them. In the 15th century, a literary
environment was created in Herat under the leadership
of Husayn Baigaro and Alisher Navoi. In the words of
Zahiriddin Muhammad Babur: "The time of Sultan
Husayn Mirza was a strange time, the people of Fazl
and Benazir were full of Khurasan, especially the city of
Research Article
MUKHAMMAS IN THE LYRICS OF THE RULING POETS
Submission Date:
February 17, 2024,
Accepted Date:
February 22, 2024,
Published Date:
February 27, 2024
Crossref doi
https://doi.org/10.37547/ajps/Volume04Issue02-09
Dilmurod Asqarov
Doctoral Student Of The Institute Of Uzbek Language, Literature And Folklore Of The Academy Of Sciences Of
The Republic Of Uzbekistan
Journal
Website:
https://theusajournals.
com/index.php/ajps
Copyright:
Original
content from this work
may be used under the
terms of the creative
commons
attributes
4.0 licence.
Volume 04 Issue 02-2024
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American Journal Of Philological Sciences
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2771-2273)
VOLUME
04
ISSUE
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46-52
SJIF
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(2022:
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(2023:
6.
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)
OCLC
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1121105677
Publisher:
Oscar Publishing Services
Servi
Hiri. "Everydiv had a job to do, and I had a lot of effort
and ambition to complete that job."
At the end of the 18th century and the beginning of the
19th century, another literary environment appeared in
Kogan, which left a deep mark on the history of our
literature. The environment was created in the palace
of Umar Khan Amiri, the ruler of his time
Hossein Baygaro created under the pseudonym
Hosseini, and Amir Umar Khan under the pseudonym
Amiri.
S. Ayniy, B.V. Bartold, Y.E. Bertels, A.Y. Yakubovsky, O.
Sharofiddinov, V. Zohidov, Hodi Zarif, B. Valikhojhayev,
Hamid Orasli, S. Ganiyeva, A. Erkinov contributed to the
study of Husay's work. contributed. From the point of
view of textual studies, Khusnigul Dzhurayeva
defended her candidate's thesis on the topic
"Husayni's literary heritage, sources and textual
research" in 2018.
Husayn Boygaro, who created under the pseudonym
Hosseini, is a creator who wrote unique examples of
lyrics in genres such as ghazal, mukhammas, rubai, kita,
fard. The ghazal genre dominates Hosseini's lyrics.
Hosseiny created the most popular types of ghazals
with five, six, seven and eight verses. Some researchers
- "Study of the composition of Husayni's ghazals shows
that most of the ghazals in the divan are ghazals in
confusion. In this type of ghazals, there is not enough
organic connection between the verses. However, the
basis of the poet's poetry is ghazals with a plot. If the
matla of the ghazal begins with the image of the
beautiful face of the yor, the praise ends with the
expression that this face shames the moon. On the
contrary, if the ghazal begins with the image of the
figure of the beloved, the praise ends by showing that
she is a virgin, superior to all other things: cypress,
shamshad, tobi, ar-ar, etc.
The scholar who studied Hosseini's divans also
explained the composition of the genres of the poet's
lyrical heritage in manuscripts, bayaz, collections.
Manuscripts No. 1117, 6967, 7709, 1942 stored in the
manuscript fund of the Institute of Oriental Studies
named after Abu Rayhan Beruni of the Academy of
Sciences of Uzbekistan were studied and researched. If
we pay attention to the literary form of mukhammas
directly from the composition of genres, it was found
that there are 2 mukhammas in manuscripts No. 1117
and 6967, and 3 mukhammas in manuscripts No. 7709
and 1942. Khusnigul Djurayeva mentioned in her
research that 2 mukhammas belong to Hosseini's work,
and 1 mukhammama is Alisher Navoi's mukhammama
connected to Husaini's ghazal.
Zebokhon Qabilova, who studied Amiri's lyrics, wrote
in her candidate's dissertation, "Most of the bayaz and
collections composed in the 19th century included
many poems of Amiri as a famous poet. Most of them
are kept in the fund of the Institute of Oriental Studies
named after Abu Rayhan Beruni of the Academy of
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Sciences of Uzbekistan and the Kokand Literary
Museum.
Both ruling artists loved literature and were able to
contribute to its development. Studying the
manuscripts of the divans of the two artists, the
researchers mentioned that they created in the
following genres.
Husayniy
Amiriy
1
Ghazal
202
Ghazal
465
2
Muhammas
2
Muhammas
59
3
Rubai
7
Musadas
6
4
Fard
7
Especially
5
5
Rubai
16
Alisher Navoi strongly influenced Persian and Turkish
literature after him. In particular, in Turkish literature,
there is no pen that did not consider this great word
artist as a guide in the way of creation, did not learn
skill lessons from his artistic works, did not write
poetry, did not write poems in his ghazals it can be said
that the people themselves do not exist. We can see
the bright traces of this influence in Uzbek literature,
from Zahiriddin Muhammad Babur, Muhammad
Shaybani Khan, Ubaydis to the poets of the Khiva
literary environment such as Andalib, Munis, Ogahi,
Tabibi, Kamil, Roji, from the poets of the Kokan literary
environment such as Nadira, Uvaisi, Muqimi, Furqat, to
poets such as Zavqi, to the great representatives of our
modern poetry such as Cholpon, Habibiy, Charkhi,
Chusti, Gafur Ghulam, Erkin Vahidov, Abdulla Oripov,
Jamal Kamal, Amon Matjon, Matnazar Abdulhakim.
In addition, Husayniy and Amiriy also wrote poems in
harmony with Navoi in the lyrics, and connected them
with praises. Both muhammas of Husayni and 24
takhms of Amiri are connected to Navoi's ghazals.
It is mentioned in the sources studied during the period
when the artists lived and after that, that he, as a ruler,
strengthened his authority through artistic creation
and its propaganda, and left a rich lyrical legacy as a
fine poet.
When talking about the personality and activities of
Hosseini and Amiri in tazkira and bayaz, it is noted that,
along with the richness of their lyrical heritage, they
skillfully used unique techniques and artistic arts, as
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well as being well-versed in the science of aruz and
rhyme. The proof of this is that he was able to write
harmoniously and decently while having a perfect
knowledge of poetry in connecting tatabbu, nazira and
mukhammas.
Famous Russian orientalist A.N. Samoylovich writes: "I
realized that there is a strong harmony between Navoi
and the creators of the new era, representatives of the
Khiva and Kokan literary environment, compared to his
contemporaries Babur and Husayni." In this regard,
"Literary environment of Alisher Navoi and Koqan" is
one of the important and major topics of Uzbek literary
studies, which is waiting for comprehensive and deep
study. The influence of Navoi's personality and poetry
on Amiri's work is the main part of this big topic.
The theme, rhyme and weight started by Navoi were
adequately continued in the estimates written by
Hosseini and Amiri. Both creators were not alike, they
were able to connect the magic in their own way within
the framework of tradition. In terms of number, Amiri
tied more. In our opinion, the reason for this is that in
the 15th century, mukhammas did not develop to that
level. An example of this is the fact that Navoi himself
wrote 10 great poems. However, at the end of the 18th
century, artists paid more attention to their own
ghazals and to the ghazals of other artists. As a result
of this, it can be said that all chief devans were ordered
from mukhammas. Mukhammas is one of the most
actively used forms in the history of Uzbek literature. It
has developed as a productive genre like ghazal and
rubai, which is convenient for expressing thoughts and
feelings.
Both Hosseini and Amiri attached takhmis to Navoi's
romantic ghazals. Love is the core theme of the
classical literature of the peoples of the Muslim region.
Over the centuries, examples of poetry created by
great poets, especially ghazal, have been inspired by
this eternal theme. Both creators skillfully tried to
enrich this topic and were able to show their skills.
Khizr and Masih talmeh are often found in Navoi's
lyrics. In both talmehs, the lover is saved from death by
a single breath or water held from his hand. The
creators who are connecting Mukhammas have shown
the relationship between a lover and a lover, revealing
this situation in depth.
Husayni's mukhammas:
It's a surprise, you don't know this secret -
Who, in the love of the lips is waiting for death,
Every time you take a breath, it's cold.
Don't be confused in the journey of darkness, O Khizr,
I'm fed up with my life, what about the animal?
If we pay attention to the verses linked by Husayni, we
can see that the water held by Khizr cannot give hope
to the lover waiting for death to return to life from the
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Servi
words of the lover. In the verse, Navoi shows that the
lover's condition has reached such a level that the poor
reason is fed up with life, and now he does not even
need the life-giving water of Khizr. Husayni, having
developed this condition, says that if you hold a
hundred cups of your water of life on me with every
breath, I will be harmed. A lover's ruby lips should be a
sign of life. But not saying a word to a lover was a death
sentence. Nothing can deprive the lyrical hero of the
execution of this sentence. A metaphor emerges
through the words "deafness and darkness". Due to
the use of the image of Khizr, the words "mute" and
"water" were used, and an attempt was made to
deepen the content and reveal the topic.
Amiri problem:
Soulful la'lidun, there is no morning, let the dead do it,
At the time of the water, there are waves of seventy
waves,
Chin-u-Mochin can't find this delicacy together,
No, keep your mouth shut, don't be like me,
Even if every particle of the sun turns into a Messiah.
Amiri also paid attention to the image of Christ used in
the verse and chose words based on its content. In
fiction, the fact that Christ gave life to the dead
through his breath is alluded to and alluded to. In the
theme of the verse, a word from the lips of a lover that
gives life to a lover, or a drop of life-giving oil is given
to him, for example, he pointed to the fact that every
ray of the sun is like a Christ to the world.
We know that classic literature sheds tears in love with
the oppression of the world. Sometimes it turns into
red tears from the abundance of youth and repeated
oppressions, and bloody tears show how difficult the
situation in love is. The skill in linking is to add 3 lines
that try to reveal the meaning of the stanza. In this
case, the creator should be able to maintain weight and
rhyme without leaving the general theme.
Harm - he turned the darkness into my soul again,
Hiding and the moon changed my life,
Oh wow, please make me happy
He was made into a liver pargola
Make my weak heart sad by saying happy seven.
As can be seen from the picture, the condition of the
lover suffering from the pain of love is serious. Love is
like a thorn stuck in a volunteer. He torments the lover
with every breath. Not everyone can withstand such
pain. These sufferings turn the tears into brown and
bloody. Their hearts are broken by the tears. Husayniny
was also able to skillfully use the words javr, zhulm, oh,
voh, vovailo to deepen the general theme in the
elaboration of the paragraph. He was able to emdiv
the lyrical mood of a lover.
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He must walk over the mountain of sorrow,
It's not easy with a thought, let sweet lips ask,
From the beauty of your face may fire to the people of
love,
I burned, I died until I was hungry, will you burn the
people?
You set fire to my hand, but the fire fell on me.
In this paragraph, by mentioning Kohkan in classical
literature, the lover's love is not less than Farhad. An
example of grief and pain caused by love is a mountain.
A lover wishes to listen to his lover's words, but even
with his thoughts, he knows that this is not an easy
task. Because of Yor's love, fire falls on the people of
love. I was also burned by this fire, and when you
showed your face that you burned the people with
your anger, I perished, I died. As long as you pay
attention to me, your love for the people will not fail to
fall on me as well. Amiri developed the fire of love
started by his teacher, the lover setting fire to the
whole country because of her lust, according to the
theme. He tried to prove that his love is stronger than
the lovers on the path of love.
Both artists were able to demonstrate their excellent
tying skills. The presence of two examples of
muhammas in Hosseini's lyrics shows that the artist has
artistic taste and is a connoisseur of poetry.
In the example of Amiri's work, we have already seen
above that in the late 18th and early 19th centuries, the
writing of muhammas increased to such an extent.
When writing a poem in this form, it is a great skill and
ability for the artist to be able to choose from all sides
mature and thorough examples of creation, to be able
to write them in an artistically mature form. Amiriy, the
founder of the Kokan literary environment, mastered
this skill well. He became a worthy student of his
teachers. This is shown by the ghazals, tatabs and
mukhammas written in Navoi.
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