American Journal Of Social Sciences And Humanity Research
59
https://theusajournals.com/index.php/ajsshr
VOLUME
Vol.05 Issue04 2025
PAGE NO.
59-62
10.37547/ajsshr/Volume05Issue04-12
Similarities and Differences Between the Works
"Baburnama" And "Baburiynama"
Sitora TOJIDDINOVA
Alisher Navoi Literature Museum of the Academy of Sciences of the Republic of Uzbekistan, basic doctoral student, Uzbekistan
Received:
12 February 2025;
Accepted:
13 March 2025;
Published:
10 April 2025
Abstract:
This article examines the works of Shah and poet Zahiriddin Muhammad Babur's "Baburnama" and the
renowned writer Khayriddin Sultan's "Baburiynama" in a textual-comparative aspect. Their common points are
analyzed.
Keywords:
"Baburnama," "Baburiynama," Vaqoye, text, Babur studies.
Introduction:
Regarding the youth of the renowned
writer Khayriddin Sultan, the renowned literary scholar
U. Normatov says, "During his student years, I often
observed this young man sitting in the back row of the
university auditorium, reading the *Baburnama* on his
lap." From this it follows that the writer's fascination
with the image of Zahiriddin Muhammad Babur began
in childhood. In this regard, the following verse is also
cited in the "Baburnama":
“Bilmam, oʻn uchmidi, oʻn toʻrtmidi yoshim,
Shu sirli savdoga duc
h keldi boshim”
.
In his childhood, the writer was hanged on the wall of
the literature room of a remote village school. Looking
at Hazrat Babur's portrait, the one under the picture
“Tole yoʻqi jonimgʻa baloligʻ boʻldi” While repeatedly
reading the rubai that begins with the verse, even
though he had memorized it, he had unprecedented
thoughts about this great person. He keeps repeating
these lines as he walks. The broken melody of these
lines is imprinted on his consciousness and heart.
During his student years, under the influence of this
very affection, several stories are born. On the other
hand, “Panoh”, “Oy botgan pallada” stories, later
“Saodat sohili” The pure affection and respect from
childhood alone wasn't enough to write such beautiful
stories. However, the writer's development as a true
Babur scholar-writer over the years undoubtedly stems
from those pure childhood dreams. Student years are
for the writer “Boburni oʻrganish davri” It wouldn't be
wrong to say that it's done. Because instead of
preparing for certain lessons that were taught
according to the system of that time He read "Vaqoye":
"Since yesterday, I had been sitting in a small room on
the sunny side of our house and reading the
Baburnama. Actually, I came to the village to prepare
for a test of "Fundamentals of Marxist-Leninist
Philosophy," fleeing the city's hustle and bustle, but for
two days now, the book, like a pillow in a red cover, has
been lying unattended on the low table. I don't know if
tomorrow I will tell the philosophy teacher about Babur
Mirza's battle at Panipat... The "Baburnama" consists of
four concise volumes. Bertha Steen painted wonderful
pictures for it. The meaning of some words is difficult
to understand, I have to look at the dictionary from
time to time. The history of Babur Mirza's birth
intrigued me. Some mixed thoughts are spinning in my
head. That is, Babur is a desired child, an incomparable
gift from Allah to Umarshaykh Mirza and Kutlug
Nigorkhanim. Couldn't we write something about
this?" Thus, the writer's first story about the king and
the poet - "The Birth of the Tiger" - was created within
the "Baburnama" that we are analyzing. Therefore, it
can be said with complete confidence that the image of
Babur, in particular "Baburnama" has an influence in all
the writer's works.
The similarity of "Baburnama" to "Vaqoye" was
intended by the writer himself from the very beginning:
"Envying the ocean-deep content, pure, simple, and
courageous freshness of the immortal "Baburnama,"
the book was named "Baburnama." Of course, in terms
of meaning and content, the classical work written by
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American Journal Of Social Sciences And Humanity Research (ISSN: 2771-2141)
our great ancestor is unique, and in this regard, it is
impossible to match His Eminence. Our hope is that
perhaps, even in form, our forgotten inscriptions will
remind us of "Baburnama.". Indeed, a reader of this
educational novel will be convinced that the author has
achieved his artistic goal. However, despite the fact
that the work is written in imitation of Babur, the
originality and character traits of Khayriddin Sultan are
visible.
It is advisable to study the similarities and differences
between the two works by dividing them into two
types. Firstly, formally. Secondly, textually.
If we pay attention to the form, in "Vaqoye," the events
of certain years are described as a whole section, and
the events of days and weeks are given within the text
of this section, while in "Boburiynoma," the events of
each year, day, and place are shown as a separate
section in the form of "Notes in the Notebook." For
example: "October 21, 1993. Agra. Taj Mahal
Mausoleum. In some places, events occurring over a
considerable period of time are not described. For
example, "January 4, 1979. Tashkent. Workers' Town.
Rental house”
"August 29, 1981. Tashkent. Rental
house in Yunusabad." The seven-month chain of
succession between them is broken. Perhaps this is due
to the absence of events related to the topic. In the
"Baburnama," the events of certain years are
systematically described (the years in the Lost Pages
are still abstract). At this point, the strong chain and
artistic structure of the masterpiece - "Baburnama" -
comes to mind once again. It is noticeable that Kh.
Sultan also tried to firmly hold onto the chain of these
events. At the same time, the mention of place names
along with time in the sections served the gradual
nature of the work. In other words, geographical place
names serve as an important tool for the author to
maintain the plot and compositional consistency in the
work, to ensure historical reality.
When describing events from certain years, Hazrat
Babur also cites examples of creative works written
during that time. For example, at the end of the chapter
"Events of the Year Nine Hundred and Six (1500-1501),"
he says that he has finished writing the ghazal with the
radif "Topmadim," which is very popular today, and
quotes the first couplet of the ghazal: "Tonglasiga Som-
siyrak navohisini charga solib ovladilar. Arriving, he
descended into Turok's garden. That ghazal, which I
have finished, I have finished this day in this land. This
is the finished ghazal:
Jonimdin oʻzga yori vafodor topmadim,
Koʻnglumdin oʻzga mahrami asror topmadim.
Bu gʻazal yetti bayt turur” .
Considering that "Somsarak is a small village located
eight or ten kilometers from Parkent, nestled among
the hilly slopes," it means Mirzo
This famous ghazal by Babur was written in the territory
of present-day Tashkent region. Our contemporary
writer also begins the events of the work from his
student years, presenting to readers his first story
related to the topic written then. Along with the
development of events, he cites such works as "Panoh,"
"Tavba," "Saodat sohili," "Bobur's dreams." In this
respect, the work is in harmony with "Baburnama."
Although literary scholars have put forward various
views on the style of "Baburnama" in the field of
literature (see Chapter 3, Section 2), no one denies its
most fundamental and obvious discovery for its time.
In this sense, we can say that the character of honesty
became the style of Z.M.Babur not only in
"Baburnama," but throughout his work. Consequently,
as the author himself notes, “Har vaqtki, koʻrgaysen
mening soʻzumni, Soʻzumni oʻqub, anglagʻaysen
oʻzumni”.
Indeed, Hazrat Babur openly expresses his state in any
situation. As the Afghan literary scholar Burhaniddin
Namiq said, describing his wandering times, "Another
characteristic of Babur is that he doesn't hide his
condition, doesn't embellish it, and isn't even ashamed
of his bare feet.” Indeed, detailed information about
this is provided in the chapter "Events of the Nine
Hundred and Ninth (1503-1504) Year" of "Baburnama":
"In this land, at the beginning of my twenty-three years,
I put a razor to my face. There were more than two
hundred and fewer than three hundred people, both
young and old, who looked forward to me with hope.
Most of his foot soldiers carried sticks in their arms,
shoes on his feet, and robes on his shoulders. Usrat was
in such a position that there were two tents between
us. My tent was erected for my mother. They would
make a striped fire for me in every country, I would sit
in the striped fire”
.
Similarly, the style of honesty is of great importance in
the work of Kh. Sultan. This is evidenced not only by his
"Baburnama," but also by other works, such as "A Story
Heard from People" and "Navoi-30." His skill in writing
literary works in this honest style was clearly
demonstrated in his book "Listening to Stories from
People." The reason is that the author is so truthful that
he gives the name of the narrator of the narrated
stories at the end of the text. Therefore, it should be
noted that Kh. Sultan remained faithful to the style of
truthfulness not only in the example of "Baburnama,"
but in all his works.
In the process of reading "Baburnama," we see that the
members of the expedition experienced several
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American Journal Of Social Sciences And Humanity Research (ISSN: 2771-2141)
difficulties during the journey: "At night, we slept in
sleeping bags on marble floors in the customs corridor.
The dampness affected the waist heavily. But there was
no other way. Zokirjon aka - "As 'Bay ota' would say,
we're not at a resort, we're on an expedition". The
writer's characteristic of truthful narration of events
can be observed not only in the educational novel
"Baburnama," but in all his works.
In "Baburnama" and "Vaqoye," there is a commonality
not only in the style of the text, form, description and
way of narration, but also in the sense of feelings. The
reason for this situation was explained by Khayriddin
Sultan in the introduction to his book: "I was thus
captivated by Babur Mirza's unparalleled personality in
courage and kindness, intelligence and resilience. I
loved him like a father, like a mother, like a child. For
almost twenty years, I have lived intoxicated by this
enchanting love.”
Indeed, there is no doubt that even the feelings of very
dear people, members of the same family, can be
similar. Due to his boundless love for Hazrat Babur, Kh.
Sultan also felt that he was his blood relative, his closest
person, repeatedly reading his works, he felt that he
shared his feelings and emotional experiences. Even
recalling his reading of "Vaqoye" in "Makkai
Mukarrama," one can sense the writer's deep respect
and affection for Mirzo Babur. This situation is reflected
in the pages of "Baburnama" as if in a mirror. In some
places, the writer's love and affection for the great king
and poet is felt to such an extent that even in places
where "I cried" is clearly stated in "Baburnama," he
doesn't want to make her cry. She only artistically
depicts a state of caring and crying. This can be seen in
the example of the story "When the Moon Sets," which
is part of an educational novel. "It affected me poorly, I
had been so affected by the death of few people. I
always cried for a week or ten days.". In the story, this
situation is described as follows: "Babur raised his
head. Something - rain or tears - washed over her tired
face. He whispered in a mournful, barely audible voice.
-
Kam kishining vafotidan muncha mutassir boʻlib
edim…”
Indeed, no person wants their loved one to cry or
grieve. Here is a reflection of the writer's emotional
attitude towards the great writer. What we want to say
is that in "Baburnama" one can observe not only the
harmony of form, style, and artistic elements, but also
the influence of feelings in the text of "Baburnama."
X. Sultan's attempt to imitate "Baburnama" in the style
of narration in the text is especially noticeable when
describing people: "Another was Emil Ruziboyev, an
artist from Samarkand. He was a true master of his
craft. Many artists later served in his place, but none of
them could raise the magazine to the level he elevated
in terms of artistic decoration. He was educated, good-
natured, sociable, and had a refined nature. He loved
everything beautiful. He always looked young. He had
many rare books.". However, it should be noted that
although the influence of "Baburnama" is felt, the style
of our great ancestor was not fully used in describing
people. Perhaps to avoid distraction from the novel's
purpose, only brief descriptions of people are given.
Moreover, perhaps out of consideration, people's flaws
were rarely mentioned, and sometimes the sub-cup
method was used in such cases. That is, the guilt of the
person being described was not directly revealed, but a
hint, a hint for the perceptive reader was given.
However, it is known that when describing any person,
Hazrat Babur also describes their lineage, morals and
behavior, appearance, and other aspects. Along with
their qualities, he also lists their flaws. Even when
painting the portrait of his Eminence, he did not deviate
from his style: "He was a short man with a long beard,
a large face, and a lazy man." While writing about his
morals and behavior, he also mentions his qualities one
by one: "Hanafi was of Mahzab, a person of pure faith,
never missed the five daily prayers, had completed his
life's missed prayers, and recited most of the Quran." .
Regardless of who is discussed in the "Baburnama,"
their qualities, as well as shortcomings, are readily
apparent. It is also remarkable that, listing several of his
bad deeds even regarding his greatest enemy, Shaybani
Khan, he provides information stating, "he was early in
the morning, never missed the five daily prayers, and
knew the science of recitation.". Therefore, Mirzo
Babur's deep analytical thoughts and information do
not raise the slightest doubt. Indeed, humans,
regardless of who they are, are prone to making
mistakes. He cannot be flawless. However, to be able
to speak truthfully about this, one must be a lion-
hearted writer like Mirzo Bobur. Moreover, besides his
lion-heartedness, King Babur also held the status of
king, fearing no one but God and holding
accountability. Kh.Sultan, although not explicitly, also
applies the second color to some literary portraits in
the form of nimkosa under the bowl, that is, "if he
knows it's a joke, if he doesn't know it's true":
"He was educated, good-natured, sociable, and had a
refined nature. He loved everything beautiful. He
always looked young." In the sentence "He loved
everything beautiful" in this definition, there is "much
to say." The eloquent reader will certainly understand
this. From this perspective, we can rightfully say that
the writer strived to follow Babur's path in creating
literary portraits.
Here's another consideration. In "Baburnama," we
never encounter a female portrait. Although
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American Journal Of Social Sciences And Humanity Research (ISSN: 2771-2141)
information has been provided about about a thousand
women, there is no mention of their appearance,
clothing, or stature. For example, he lists the names of
eleven daughters of Mahmud Mirza, the third son of his
uncle Abusaid Mirza, including their marriages and
children.
One of the differences between "Baburnama," written
under the influence of the masterpiece, and "Vaqoye,"
is related to this very theme. Although the influence of
"Baburnama" is felt throughout this work, there are
some differences in the creation of women's portraits.
Khayriddin Sultan, a major representative of our
modern prose, is familiar not only with the traditions of
Eastern prose but also with the pearls of world
literature. He knows well the ways of today's literature.
Therefore, in the "Baburnama," one can see not only
the expression of classical traditions, but also modern
trends. In some places, the method of creating portraits
in modern literature is used: "The host - a fair-skinned,
strong young man and a thin, blue-eyed woman - were
greeted with a welcoming face. There was another
guest inside. In the next room, on a wooden platform,
sat a fat, elderly woman. In this case, only external
images of people whose spiritual world is unfamiliar to
the author are drawn through words.
Moreover, the text attempts to harmonize with the
encyclopedic work in terms of reflecting the spirit of
the time. "Life is a cruel thing, it has its own laws that
are beyond reason and logic. When innocent blood is
shed, even a person's heart hardens. Afghanistan is
currently experiencing such an unstable situation. It
sometimes seems that war has become the main
occupation of the country's people". This is a
description of the situation in the Afghan region in the
nineties. The author not only expresses the spirit of the
time, but also expresses his attitude towards it,
scientific, artistic, and human views. Indeed, our
classical literature "Baburnama" is loved because it
fully expresses the spirit of its time.
CONCLUSION
In conclusion, the educational novel "Baburnama"
occupies a unique and special place in modern Uzbek
prose, and it seems to be a call to "Baburnama." Both
in form and text composition, in the style of narration,
there is an imitation of the encyclopedic work of the
king and poet Z.M. Babur. Young people who read this
novel, if they haven't had time yet, develop a desire to
find and read "The Story." Those who read it begin to
understand its essence even more deeply. In this sense,
this educational novel is valuable both in terms of its
artistic sophistication and because, like "Baburnama,"
it is based on truth.
REFERENCES
Zahiriddin Muhammad Bobur. Boburnoma. Nashrga
tayyorlovchi: Porso Shamsiev.
—
T.: “Yulduzcha”, 1989.
Xayriddin Sulton. Boburiynoma.
—T.: “ Maʼnaviyat”,
2019
Burhoniddin
Namiq.
Bobur
abadiyati.Toshkent.
“Bayoz”2018 yil.
Olmos Xurramov. Roman kontekstida Bobur va
boburiylar obrazi. O‘zbekiston til va madaniya
t jurnali.
2023. 4-son.
Zahiriddin Muhammad Bobur. Kulliyot. Nashrga
tayyorlovchi: Mirzo Kenjabek.
—
T.:”Zilol buloq”, 2021.
