American Journal Of Social Sciences And Humanity Research
150
https://theusajournals.com/index.php/ajsshr
VOLUME
Vol.05 Issue04 2025
PAGE NO.
150-152
10.37547/ajsshr/Volume05Issue04-35
The Image of Soqiy In the Poetry of Shermuhammad
Munis
Otamuratova Sadoqat To‘lqinbek qizi
PhD student, Urganch State University, Uzbekistan
Received:
26 February 2025;
Accepted:
22 March 2025;
Published:
25 April 2025
Abstract:
This article discusses the characteristics of the image of the soqi, one of the mystical images, and the
artistry of this image in the work of Shermuhammad Munis.
Keywords:
Mysticism, image, soqi, Shermuhammad Munis, rind, may, sheikh, kosagul.
Introduction:
Literary scholars A.Rustamov, N.Komilov,
I.Haqqulov,
E.Ochilov,
M.Asadov,
I.Adizova,
Z.Mamadaliyeva, N.Bozorova, Z.Rakhmonova, N.
Alikulova, and other literary scholars have extensively
examined the image of the Soqiy (cupbearer) in Sufism
in their scientific research.
In Sufi literature, the essence of the Soqiy’s image is
presented as follows: The Soqiy’s abode is the tavern or
w
ine house (mayxona, xarobot); the Soqiy’s vessels are
the bowl, goblet, and cup (jom, qadah, sog‘ar); the
Soqiy’s beverages are may (wine), boda (wine), and
xamr (intoxicant), (sharob, may, boda, xamr).
It is difficult to imagine the literary environment of
Khiva without Sufi literature. Of course, Sufi literature
occupies an important place in the work of every
Khorezmian writer who considered Alisher Navoi, the
great thinker who brought Sufi literature to an
important peak, as his mentor. In particular, Sufi
literature occupies a leading place in the work of the
poet,
historian,
translator,
and
calligrapher
Shermuhammad Munis. Sufi themes and ideas, and
mystical images were sufficiently present in the poet's
work. In particular, the image of the soki is one of them.
Analysis of the literature on the topic.
In the explanatory dictionary of the Uzbek language,
the word soqiy is defined as follows: “SOQIY [Arabic.
wine, wine-pourer] Wine-
pourer, cupbearer”. The
explanation in the National Encyclopedia of the
R
epublic of Uzbekistan is as follows: “SOQIY (Persian)
-
see Kosagul”; “Kosagul, Soqiy
- a person who pours
wine (drink) for companions (circle) at a wedding, feast
(banquet). Furthermore, Kosagul should delight the
companions with his pleasant demeanor and
eloquence, adding joy and grace to the gathering.
Sometimes, when offering toasts to companions,
Kosagul recites artistic passages (“Alyor”) with a special
melody”. In the encyclopedic dictionary compiled for
Alisher Navoi’s works, “SOQIY
- a person who pours
wine at a tavern and drinking feast; cupbearer. In the
language of Irfan, the One who bestows absolute grace
is God, the cupbearer of Kawsar is the Prophet
Muhammad (peace be upon him), the perfect spiritual
guide who distributes the wine of enlighten
ment”.
According to N. Komilov, in Sufi poetry, the Soqiy
represents a close friend, beloved, perfect spiritual
guide, the Lord, the Prophet (Muhammad - peace be
upon him). According to Turkish scholars S. Uludag and
A. Jabacioglu, in examples of Ottoman Turkish poetry,
soqiy, which literally means “to give water, to irrigate,
to pour drink”, metaphorically denotes Allah, the
perfect mentor, the spiritual guide, whose grace is
absolute, the basis of all grace and love. - A.O.)
Analysis and results
Sufi imagery is widely employed in the works of
Shermuhammad Munis. Alongside this, special
emphasis is placed on the images of the Soqiy
(cupbearer), wine, and related symbols. Naturally, in
this process, he drew inspiration from Navoi’s
traditions while demonstrating his own unique skill. He
masterfully utilized a range of Sufi images, such as the
American Journal Of Social Sciences And Humanity Research
151
https://theusajournals.com/index.php/ajsshr
American Journal Of Social Sciences And Humanity Research (ISSN: 2771-2141)
Soqiy, rind (libertine), sheikh, Jami jam (Jamshid's cup),
pir (spiritual guide), and others. He extensively used
and illuminated various depictions of the Soqiy image
in his creative works.
Soqiyo, tut sandaliy sog‘ar bila sahbo manga,
Kim xumor ichra meni yiqmishdurur dardi sarim.
In this verse, the cupbearer represents a friend, a
supporter in times of hardship. O cupbearer, offer me
red wine in a cup made of sandalwood, let it be my
support. Sandalwood symbolizes strength, while red
wine signifies the right path. Here, the lover is asking
Allah for a firm foundation and the correct path to
emerge from darkness.
Oncha maxmur o‘lmisham, mumkin emas daf’i xumor,
Bermasang soqiy manga har dam sharob uzra sharob.
I am intoxicated, and this intoxication cannot be
dispelled. The cupbearer comes with the meaning that
if you do not continually pour wine upon wine for me,
this state will fade away. Here, we can assert that the
meaning of Divine love is stronger than that of
metaphorical love. That is, the lover has become
afflicted with Divine love and does not wish to rid
himself of it, or emphasizes that it cannot be removed.
Therefore, he implores the pir (cupbearer) to
repeatedly guide him towards the love of Allah, pouring
it into his heart like wine.
Xumor ichra men o‘lgali etmisham,
Qadah tut menga, soqiyo, lab-balab.
In a mystical sense, the dervish, striving for Truth,
eagerly awaits salvation from the saint. In the verse, the
word soqiy represents the art of exclamation.
Ayoqchi, go‘shai dayr ichra yer berib may tut,
G‘amig‘a topmas esa Munisi g‘arib iloj.
The bartender, give me a place in the corner of the
tavern, and drink some wine, Munis will find no other
way to relieve his grief. As we have noted above, lovers
see the vision of their beloved. For this reason, in a
figurative sense, the lover is asking for wine to reach
the vision of his beloved. In divine love, this can be
analyzed as follows, that is, the lover is asking for help
from the bartender, that is, the pir, to reach his vision
in the way of Allah. By addressing the bartender as a
footman, the poet used the art of exclamation.
Soqiy, qilibon afv gunohimni, qadah tut,
Munis kibi gar shayx so‘ziga iliqibmen.
O cupbearer, forgive my sin and guide me towards
enlightenment, for I need the sheikh's knowledge,
support, and eloquent words. A lover is one who has
grown weary of worldly pleasures and concerns.
Agarchi farahbaxsh erur jomi Jam,
Yo‘q, ey soqiy, sing‘on
safolingcha xo‘b.
One of the images associated with the Soqiy in Sufism
is the image of Jamshid. The phrases “Jamshid’s cup”
and “Cup of Jam” are widely used in literature. This
motif was not absent from Munis's work either.
Conclusions and recommendations.
The definition of the term “soqiy” (cupbearer) in our
dictionaries indicates that this word has a relatively
narrow meaning in our current national worldview, and
as a poetic image, it is also used in a limited sense in our
literature of the independence period. However, by
observing the semantic evolution of the soqiy image,
which is an integral part of our classical literature, it
becomes clear that the content of this image is actually
quite broad, and its artistic potential is quite rich.
The traditional image of the soqiy used in classical
works embodies the spirituality, scientific, and
religious-mystical worldview of the Uzbek people.
Through this image, one can observe the evolution of
our people's artistic thinking.
Wine and the system of images associated with it
occupy a special place in elevating the concept of soqiy
to the level of an image and expanding its poetic
possibilities.
Turkic-speaking poets before Navoi made an invaluable
contribution to introducing the soqiy and dozens of
related images into Turkic poetry, refining their
semantic aspects, and enriching their poetic potential.
In Navoi's work, this image reached a new and higher
stage of development.
This image was further refined in the literary
environment of Khiva, particularly in the work of
Shermuhammad Munis. He added beauty to new facets
of meaning and enhanced the splendor of poetic arts.
REFERENCES
Shermuhammad Munis. Saylanma. G‘afur G‘ulom
nomidagi Adabiyot va san’at nashriyoti. Toshkent,198
0.
O‘zbek tilining izohli lug‘ati: 80000 dan ortiq so‘z va so‘z
birikmasi. III jild. Tahrir hay’ati: T.Mirzayev (rahbar) va
boshq.; O‘zR FA Til va adabiyot instituti. –
Toshkent:
“O‘zbekiston milliy ensiklopediyasi” Davlat ilmiy
nashriyoti, 2006.
–
B. 561.
O‘zbekiston milliy ensiklopediyasi. 8
-
jild. Tahrir hay’ati:
A.Azizxo‘jayev, M.Aminov, T.Daminov va b,; –
Toshkent: “O‘zbekiston milliy ensiklopediyasi” Davlat
ilmiy nashriyoti, 2004.
–
B. 31.
O‘zbekiston milliy ensiklopediyasi. 5
-
jild. Tahrir hay’at
i:
A.Azizxo‘jayev, M.Aminov, T.Daminov va b,; –
Toshkent: “O‘zbekiston milliy ensiklopediyasi” Davlat
ilmiy nashriyoti, 2003.
–
B. 49.
5.Komilov N. Tasavvuf.
–
Toshkent: Mavorounnahr
–
American Journal Of Social Sciences And Humanity Research
152
https://theusajournals.com/index.php/ajsshr
American Journal Of Social Sciences And Humanity Research (ISSN: 2771-2141)
O‘zbekiston, 2009. –
B.147; Komilov N. Ma’nolar
olamiga safar.
–
Toshkent: Tamaddun, 2012.
–
B.12.
“Alisher Navoiy: qomusiy lug‘at” / Mas’ul muharrir: Sh.
Sirojiddinov. 2 jildlik.
–
Toshkent: Sharq, 2016. J.1. B.
518.
Uludağ S. Tasavvuf terımlerı sözlügü. –
Istanbul: Marifet
Yayinlari, 1995.
–
S. 450.; Ethem Cebiceoğlu.
Tasavvuf
Terimleri ve Deyimleri sözlügü.
–
Istanbul: Ağaç kitabevi
yayinlari, 2009.
