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ACADEMICIA
A n I n t e r n a t i o n a l
M u l t i d i s c i p l i n a r y
R e s e a r c h J o u r n a l
( D ou b l e B li n d R e fe r e e d & R e vi e w e d I n te r n a ti on a l J ou r n a l )
DOI:
10.5958/2249-7137.2020.00302.X
TEXT EDITION ISSUE OF MUTRIB POEMS
Madirimova Sokhiba Makhmudovna*
*Doctoral Student Of Phd Of Tashkent,
State University Of Uzbek Language and Literature,
UZBEKISTAN
Email id:
madirimova555@mail.ru
ABSATRACT
In the late 19th and early 20th centuries, Khorezm's Muhammad Rahimkhan Feruz created a
unique literary atmosphere around his palace. Poets and writers who are Tabibi, Mutrib,
Bayani, Avaz Otar, and Chokar worked during this period. The works of the poets are in
Persian-Tajik and Turkish languages and have their own traditions. The interest in science
significantly grew in Khiva. According to the khan's decree, qualified secretaries set up devons,
mukhammases, bayozs, tazkirs, and complexes. At present, such works are kept in the manuscript
fund of the Institute of Oriental Studies of the Academy of Sciences of the Republic of Uzbekistan
and in the Ichankala Museum in Khiva. The collection "Majmuai mukhammasoti ash-shuaroi
Feruzshahiy" is a large source of lyrical works of Khorezm literary environment. The complex
was built in the second half of the XIX century and was built by Tabibi by royal decree.
It contains samples of poems by contemporary artists. This source, which provides valuable
information about the literary environment of its time, is now stored in the main fund of the
Institute of Oriental Studies named after Abu Rayhon Beruni of the Academy of Sciences of
Uzbekistan under inventory number 1134. The complex differs from other collections in that it
consists of poems of the mukhammas genre. Muhammad Hasan Devon Haji Tabib o
‗
g
‗
li Mutrib
Khonaharab is one of the poets whose works are included in the creative heritage of the poets.
The article analyzes the mukhammases of Mutrib Khonaharab, which are connected with the
ghazals of the master poets Ogahi and Feruz. The artistic features of Mutrib
‘
s mukhammases,
which are not found in manuscripts, have been studied. It is based on primary sources that the
poet
‘
s ghazal retains aspects such as weight and content, and introduces innovations, focusing
on the gradual development of the content. The mukhammas and musaddas included in the
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collection were studied from the point of view of textual and source studies, comparing them with
the poems copied to the manuscript.
KEYWORDS:
Manuscript, Complex, Masnavi, Ghazals, Poem, Mukhammas, Musaddas,
Inventory, Source.
INTRODUCTION
One of the most important issues today is the study of its history, national culture and rich
literary heritage left by our ancestors. It is a good idea to study such a heritage, the works of
which have not yet been fully applied to scientific use.
1134 inventory digital manuscripts kept
in the fund of the Institute of Oriental Studies named after Abu Rayhon Beruni of the Academy
of Sciences of Uzbekistan are valuable sources. Written in the second half of the 19th century,
the complex contains lyrical works of 19th-century Khorezm. Another important aspect of the
complex is the mukhammases associated with Feruz
‘
s poems by the poets of that time.
MATERIALS:
The manuscript, entitled Majmuai mukhammasoti ash-shuaroi Feruzshahi, was originally written
in red ink is titled
―
Debochai masnaviyoti muxammasotu majmuat ush-shuaroi Feruzshohiy
doma mulkahu va davlatahu va zayyada umrahu va shavkatahu...‖.
After "Bismillahir Rahmanir Rahim" there were poems of praise, and praise of the four caliphs.
The masnavi master, which consists of eleven verses of musammani mahzuf weight, is an
example of respect for the poet. Here are some verses of this masnavi:
Shahi oliy iqbolu gardun sarir,
Jahon mulki ichra amiri kabir...
So‗zi dur, dil
oinasin sayqali,
Ko‗ngul
uqdasi mushkulining halli.
Qachon bir suxan aylasa oshkor,
Ongo fazl eli jonin aylar nisor.
O‗zi
chun
balog‗atg‗a
ma‘dan
erur,
So‗zi
ham
fasohatg‗a
ma‘dan
erur
…
Taxallus ongo bor edi Ogahiy,
Maqomi va lekin fanoning rahi....
In this masnavi, the author describes Ogahi as a konisukhan. The word is likened to a mirror that
polishes the mirror of the tongue. "He is a man of maturity, a man of eloquence," he said.
The manuscript contains transcripts of Feruz's mukhammas connected with Ogahi's ghazals after
the masnavi. The complex also includes Sultani, Sadiq, Saadi, Ghazi, Assad, Bayani, Aqil,
Mirza, Nazir, Shinosi, Ghulami, Purkomil, Kamali, Inoyat, Doi, Ojiz, Haqiri, Niazi, Khaki,
Habib The mukhammases of 33 poets, such as Yusuf, Tabibi, Rogib, Devoni, Mutrib
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Khonaharob, Avaz, Nadimi, Khadim, Chokar, Muznib, Umidi, Totor, which were first connected
to Ogahi's ghazals and then to Feruz's ghazals, are arranged in order.
These assumptions about Ogahi's ghazals, in turn, indicate that he was a kind of teacher for the
creators of the later Khorezmian literary environment.
The complex was built by Tabibi in 1326/1908 according to the decree of Sayyid Mukhammas
Rahim Bahodirkhan.
DISCUSSION:
The collection also includes mukhammases of Mukhammas Hasan devon Haji Tabib o
‗g‗li
Mutrib, which are connected to the Ogahi and Feruz ghazals. Each mukhammas is preceded by a
text of two or four lines written by the author. The fact that all 33 poets were preceded in their
poems by Masnavi reveals their qualities shows that this collection is of a tazkira nature. The text
of the Masnavi is as follows:
Biri Mutrib ul zoru Xonaxarob
–
Ki, nag‗
oma
tg‗a
qilg‗usi
irtikob..[7]
Or:
Qilib Mutrib zoru Xonaxarob,
Bu olam aro mayli changu rubob[7].
Biri nazm elin Mutribi zor erur
–
Ki, sozandayi changu setor erur[7].
Ongo gar xarob
o‗lmasa
xonasi,
Bu
ash‘or
bo‗lg‗usi
afsonasi.
Speaking about Mutrib's work under the pseudonym "Khonaharob" and composing music,
Tabibi said that writing poetry was his motto. He says he is sharp-witted and self-confident. The
following verses also confirm this idea:
Demaki, nazm
bo‗lmish
shiori oning,
Jahon mulkida yodgori oning[7]
Vale gohi fikri musaddas qilib,
Muni qildi zohir muxammas qilib[7].
Kelib Mutrib ul zoru xonaxarob
–
Ki, hushu xiraddin erur bahrayob[7]/
Muni aylamish zohir ul boxirad
–
Ki, fazl ahli ichra erur
mu‘tamad[7]/
Dedi, Mutrib zoru Xonaxarob,
Bu shiorni jahd etib behisob[7].
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Bobojon Tarroh Khodim also said in his commentary "Khorezm
‘
poets and musicians" that the
poet had the talent to play the tanbur, memorized six and a half notes, learned seven different
sciences, namely, poetry, music, books, medicine, have a good command of the Persian-Tajik
language, but at the same time does not lose to anyone in the debate [2].
The collection contains 5 mukhammases of Mutrib related to Ogahi and Feruz ghazals.
These are not found in the manuscripts of the poet's office kept in Institute of Oriental Studies
named after Abu Rayhon Beruni of the Academy of Sciences of Uzbekistan. In particular, the
poet Ogahi's rajazi musammani is associated with the ghazal, which begins with the verses
"
Jonbaxsh la‘ling uzra to xat qildi paydo orazing
" in a solim weight (-- V - /- - V -/ - - V -/ - - V -
).
The first paragraph of mukhammas is as follows:
Qildi xirad begonasi
ko‗rgach,
nigoro, orazing,
Aylab manga har lahzada mehr oshkoro orazing,
Bazmimg‗a
yetkurdi bu tun ming zebu oro orazing,
Jonbaxsh
la‘ling
uzra to xat qildi paydo orazing,
Xurshid uza
jam‘
ayladi Xizru Masiho orazing.
The poet omits the third and sixth verses of Ogahi's 9-verse ghazal and connects them to 7 bytes.
The omitted verses are as follows:
Zohid tilar jannat guli sarvin magarkim
ko‗rmamish,
Lutf ichra zebo qomating husn ichra hamro orazing.
Oydek yuzung mahjurlari shom
g‗amini
yorutur,
Partav maning
shomimg‗a
ham
solg‗aymu
oyo orazing.
Author also linked the rajazi musamman of Ogahi to radif ghazal "Qoshu kozung" in solim
height (- - V - / - - V -/ - - V -/ - - V -) The first paragraph of the work is as follows:
Bir
g‗amzada
soldi mango sonsiz yaro qoshu
ko‗zung,
Jonu
dilimg‗a
yetkurur ming mojaro qoshu
ko‗zung,
Man xastadin yo topdimu jurmu xato qoshu
ko‗zung.
Vah, ne balodur bilmadim, ey dilrabo, qoshu
ko‗zung –
Kim, bir nazarda soldi
o‗t
jonim aro qoshu
ko‗zung.
This poem is thirteen verses long. The takhmis created by the poet consists of seven verses.
Apparently, the six verses of the ghazal, the third, fifth, eighth, tenth, eleventh and twelfth
verses, were omitted by the poet. Here are the verses:
Jonimg‗a
qo‗ydi
dog‗lar
rashk
o‗tidin
xoli labing,
Ko‗nglumga
yetkurdi tumon dardu balo qoshu
ko‗zung.
Qoshu
ko‗zung
bedodidin dod aylasam ermas ajab
–
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Kim, ne jafolar qilmadi oxir mango qoshu
ko‗zung.
Yo‗qtur
mango ishqing aro yurmak tirik imkonikim,
Jonimni yo qaddu yuzung olg‗usi yo qoshu ko‗zung.
El qatlini qasd aylabon mastona
qilg‗och
bir nazar,
Soldi
jahong‗a
nolayi vo hasrato qoshu
ko‗zung.
Aylay hayotim naqdini har dam nisoru sadqasi,
Yoshurmog‗il
man zordin aylab hayo qoshu
ko‗zung.
Majlis fazosida usul etgan
chog‗
i raqqos
o‗lub,
Har
g‗amzada yuz jon olur, ey mahliqo, qoshu ko‗zung.
Mutrib Ogahi's poems "Orazing" and "Qoshu ko
‘
zung" were not changed by his teacher. But
most of the verses of the poem are omitted. In our opinion, the reasons for this can be explained
as follows: firstly, the poet did not dare to make any assumptions in these verses of these poems,
composed by Ogahi;
secondly, it is probable that in the source on which the poet relied, i.e. in the manuscripts of the
variants copied to the bayoz, the complex, or the devons, the above verses are given in
abbreviated form; and third, that the poet may have relied only on the verses of his choice.
The first verse of the verse, which is related to Feruz's eleventh verse "Ohista-ohista" verse:
Muruvvat
ko‗rguzub, huro, nishon
ohista-ohista,
Mayi
la‘ling
qilib rohat rason ohista-ohista,
Boqib yuz jilva birla har zamon ohista-ohista,
Mango rahm ayla bul shirin zabon ohista-ohista,
Yetushti boshim uzra nogahon ohista-ohista.
This mukhammas is also found in inventory number 1127. The text in this source and in
inventory manuscript 1134 were compared. At the same time, the ghazal, which is the basis of
the mukhammas, was compared with the text in Feruz's manuscript inventory number 1152 (p.
676a) compiled by Tabibi. In Mutrib
‘s
mukhammas, it is observed that some parts of Feruz's
ghazal have been changed.
The word "qilg
‘
ali" in the second verse of the ghazal has been edited and copied as "ayladi" into
inventory numbered manuscripts 1127 (p. 57b), 1134 (p. 54a / b). This verse of mukhammas is
as follows:
Uzorin gulgul aylab jannatoso
o‗lgali
gulshan,
Tarahhumlar qilib, bilkull
bo‗lurg‗a
bu kecha bir tan,
Ko‗rub
holi xarobim hajr aro ul dilbari purfan,
Firoqida
qarorg‗on
ko‗zlarimni
ayladi
ravshan,
Ochib
ruxsorayi
xurshedson ohista-ohista.
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In the inventory number 1127 [10], the word "ruxsorayi" in the compound "ochib ruxsorayi" is
copied in the form "rukhsorani". The phrase "qucharsan, quch" in the eighth verse of this poem is
edited in the mukhammas as "vagar quchsang":
Agar istarsen
o‗pmaklikni
eng jonfizo
la‘lim,
Qucharsan quch
belim eng miyon ohista-ohista.
In
Mutrib‘s mukhammas
:
Vagar quchsang
belim eng miyon ohista-ohista.
There is no doubt that such edits were made by Mutrib. This is because in most cases the weight
of the poet's mukhammas verses is preserved, but in some places the text has been changed.
Mutrib also linked Feruz's seven-verse ghazal, which begins in the form of a question and
answer, with the words, "Dedim, ko‗zumni ravshan et, mehri jamoling ko‗rsatib."
The first paragraph of mukhammas is as follows:
Bu ne itob, ul maning dardi nihonim qo
‗zg‗otib,
Yetdim
o‗larga
furqating domida
g‗am
birla yotib,
O‗zni
nihon etmak nedur, yuz uzra zulfing torqotib,
Dedim, ko‗zumni
ravshan et, mehri jamoling
ko‗rsotib,
Dedi, uzorim
o‗tig‗a
joning netarsan
o‗rtotib[
7],
The comparison of the
―
sango bergum ani
‖
compound in the fourth verses of Feruz's ghazal with
the text in the inventory number 1152 (p. 79b) and the text of the inventory number 1134 is as
follows.
In real form:
Dedim, visol ichra labing shahdi maning komim erur
Dedi,
sango bergum oni
zahri firoq ichra qotib[6].
In 1134 inventar manuscript:
Bag‗rimni
qoni hajr aro sahboyi gulfomim erur,
Ishq ichra chekkan nolishim
zotingg‗a
payg‗omim
erur,
Tokim tirikman, halqai zulfing mani domim erur,
Dedim, visol ichra labing shahdi maning komim erur,
Dedi,
oni bergum sango
zahri firoq ichra qotib[7].
The same mukhammas have been copied to the 1127th inventory manuscript collection [p. 10:
78b] in accordance with the original. The fourth paragraph of mukhammas is copied to inventory
manuscript № 1134 in
the form of "Bazm ichra topti shodlig
‘
bu lahza ko
‘
nglum uyi" with the
suffix "
‘s
" in the word "ko'nglum". This mukhammas text has been restored from inventory
manuscript 1127 [10: 23
b
, 24
a
]. The edited item is as follows:
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Bazm ichra topti
shodlig‗
bu lahza
ko„nglumning
uyi
,
Sunbulmu atrafshon erur boshingni, jono, gesuyi,
Ketdi
ko‗zumdin
tiyralig‗
tushgach jamoling partavi,
Dedim, labingni sharbati, shirinmu yo kavsar suyi,
Dedi, bo‗lurmu
har
suvni
obi
baqog‗a
o‗xshotib.
The word "water" in the last verse is copied to Manuscript No. 1127 as
ییوس
(suyi) from
inventory number 1152.
The change in the place of the composition "Oni bergum sango" did not affect the content of the
work. However, due to the secretary's negligence, the omission of the suffix "
‘s
" caused a weight
loss.
ANALYSIS:
Professor Nurboy Jabborov recommends studying editing in two ways according to its size and
scope: ―1) editing of the whole text; 2) editing related to a particular part of the text ‖[3,
28]. The
examples also show that the edits in the source under study are mainly related to a particular part
of the text. The praise of the above ghazal was also slightly edited by Mutrib. For example,
―Dedim, ko‗zungdin o‗rgulay Feruzg‗a bir bo‗sa ber...‖
changed to "Feruzg
‘
a" in accordance
with the words "dil so
‘
zg
‘
a", "kunduzg
‘
a", "navr
o‘
zg
‘
a" in the verses of mukhammas (inventory
№. 1127).
The same page [10] inventory manuscript 1134. (Pages 79a / b [7]). The text of the
poem is as follows:
Fosh aylabon mehru vafo man tashnayi
dilso‗zg‗a,
Keldi
qoshimg‗a
cho‗lg‗anib, sanjob
ila
qunduzg‗a,
Ey Mutribo, emdi
do‗nub, har
bir kuning
navro‗zg‗a,
Dedim, ko„zungdin
o„rgulay, bir
bo„sa
ber
Feruzg„a,
Dedi, yuzumni
og‗ritur
har yon xating nishi botib.
The first verse of Mutrib's hymn to Feruz's nine-verse rajazi musamman in solim weight is a
radif ghazal "Labing":
Tushgach
ko‗zum
qildi mani sargashtayi hayron labing,
Har nuktasida bergusi
o‗lgan
tanimga jon labing,
Aylab oyo ilking tutub
qilg‗ung
mango pinhon labing,
Yoqutdurmu bilmadim
yo, la‘l, ey
jonon, labing.
Yo orazing gulzorida bormu guli xandon labing.
In the second verse of Feruz's poem, the poet replaces the words
―jovidon‖, ―jonon‖ to
―tozakim‖, ―hayvon
. For example,
La‘lingni
bir
o‗pmak
bila topdim hayoti
jovidon,
I‘jozi
Isomu ekan yo sharbati
jonon
labing
[1152-inv.].
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La‘lingni
bir
o‗pmak
bila topdim hayoti
tozakim,
I‘jozi
Isomu ekan yo sharbati
hayvon
labing
[1134-inv.].
The seventh verse of Feruz's ghazal has also been slightly edited. Mutrib
―Doim
ko‗ngulda
saqlabon pinhon labing
ning
shavqini‖
(inventory manuscript 1152. pp. 387
b
-288
a
) in the verse
he omitted the suffix ―ning‖
, he uses the suffix "ni" in the first, second, and third verses of the
poem. For example:
Jon ichra tun-kun asradim jonon labingni shavqini,
Aylab dili mahzunima mehmon labingni shavqini,
Xavf aylab
ag‗yor
ahlidin olon labingni shavqini,
Doim
ko‗ngulda
saqlabon pinhon
labingni
shavqini,
Emdi yetibman
o‗lgali
o‗ptur
mango pinhon labing.
Textologist Nafas Shodmonov writes: ―... the author of the text, while reflecting the reality of the
action, undergoes a certain creative mental process. In the process, it can change its attitude to
certain parts of the text under the influence of objective and subjective reasons, and make
corrections of various sizes. Such corrections and changes form the basis for the study of the
historical, artistic, ideological and methodological aspects of the material, creation, formation,
construction, etc. of the text.
―Although Mutrib‘s poems in the collection do not reflect the reality of the movement, it is clear
that the author has gone through a certain creative mental process. Edits in the text should be
considered as a product of this creative process. Therefore, the edits mainly served to improve
the text.
The mukhammas analyzed above have not been copied to the manuscripts of Hamid Suleiman of
the Institute of Oriental Studies of the Russian Academy of Sciences and Mukhammas Hasan
devon Haji Tabib o
‗g‗li
Mutrib devon of inventory numbers 2679 / II, 903 / V, 906 / VII kept in
the main funds. Although this bayoz was copied in 1326 AH and 1908 AD, it was not included in
the above three devons. (Inventory number 2679 / II was copied in the same year as digita l
manuscript, inventory number 903 / V was copied in 1907, inventory number 906 / VII the
copying year is not known)
These mukhammas vary in size, with the smallest being 7 points and the largest being 11 points.
Some of the muhammads transferred to the collection (beginning with Feruz's 7-line verse "I
said, brighten my eyes, showing your kindness ..." and 11-verse "Ohista-ohista", 7-byte
"Labing", Ogahi's ―Qoshu ko‗zung‖ radif muxammas
) inventer number 1127, copied in 1908, in
the bayoz. Only Ogahi's 7-point radiz muhammad "Orazing" was not found in this complex.
One mukhammas and two musaddas of Mutrib, which are included in inventory number 2679 /
II, are also found in the inventory number 1134. However, when comparing the texts of these
poems from these two sources, differences were observed. For example, the fourth verses of a 9-
verse mukhammas beginning with
―Ko‗rgach yuzingni ketdi ilkimdin ixtiyorim...‖
copied to the
devon as ―Bu dam kelib boshimg‗a daf‘ aylagil xumorim...
.
‖; to inventory manusc
ript
№
1134
revised
as ―Bir tun kelib yonimg‗a raf‘ aylagil xumorim‖.
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In the dictionary [6], the phrase "Raf‘
aylamak" has two meanings. 1. Raise, elevate; 2. Delete.
"Daf' aylamak" means to return, to reject, to remove, to drive away. [6]
When analyzing mukhammas's verses, the word "def" comes from the context. It turns out that in
the process of copying the collection from the original, some of these subtleties were overlooked.
The author did not make such a mistake. However, in this mukhammas text, which was copied to
the manuscript, there are some loss.
RESULT:
The differences between two sources are shown in the table:
№
Manuscript divan under the inventory
№ 2679
.
Complex under the inventory
№ 1134
.
The differences in the first verse
1/1
Ko‗rgach
yuzingni
ketdi
ilkimdin
ixtiyorim,
Ko‗rgach yuzingni ketdi ilkimdin ixtiyorim,
Chiqdi falakka, ey
sho‗x, ishqingda
ohu
zorim,
Chiqdi falakka, ey
sho‗x, ishqingda
ohu
zorim,
Mag‗ruri
husning
o‗lg‗ach
hech qolmadi
qarorim,
Mag‗ruri
husning
o‗lg‗ach
hech qolmadi
qarorim,
Bir dam
kelib yo
nimg‗a
daf
‟
aylagil
xumorim
Bir tun
kelib yo
nimg‗a
raf
‟
aylagil
xumorim
Oromijon nigorim, sarvi ravon nigorim.
The differences in the second verse
2/2
Vaslingg„a
bermasang
yo„l,
ey sarvari
diloro
Soldi xayoli husning
boshimg„a
turfa
g„avg„o,
La‘ling
zilolin istab
ko‗nglumda
muncha
savdo,
La‘ling
zilolin
istab, ko‗nglumda
yuz
tamanno,
Husning xayoli birla boshimda muncha
g„avg„o,
Hajr
ofatidin
aylab
qaddimni
xam
mudomo,
Tokay jafo qilursan,
tark
aylamassan aslo, Tokay jafo qilursan,
kam
aylamassan aslo,
Oromijon nigorim, sarvi ravon nigorim.
The differences in the third verse
3/3
Fahm aylamassan, ey
sho‗x, ishqingda
mubtaloman,
Fahm aylamassan, ey
sho‗x, ishqingda
mubtaloman,
Kelmasmu
emdi
rahming,
bezori
benavoman,
Kelmasmu
zarra
rahming,
bir
zori
benavoman,
Tokay
tilab
visoling
shomi
sahar
gadoman,
Har dam
tilab visoling
sargashtai
gadoman
Vaslingdin, ey sumanbar, bilmon ne deb
judoman,
Vaslingdin, ey sumanbar, bilmon ne deb
judoman,
Oromijon nigorim, sarvi ravon nigorim.
The differences in the forth verse
4/6
Shavq
o„ti(g„a)
jong‗a
etgach beixtiyor
Ishq
o„ti
jong‗a
etgach beixtiyor
o‗lubman,
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o‗lubman,
Gul orazingni bir
dam
ko‗rmakka
zor
o‗lubman,
Mehri ruxingni har
dam
ko‗rmakka
zor
o‗lubman,
La‟ling
mayini, jonon, behad xumor
o„lubman,
Shirin
kaloming
istab
devonavor
o„lubman
,
Shirin kaloming istab
ko„b
intizor
o„lubman,
La‟ling
mayini, jono behad xumor
o„lubman,
Oromijon nigorim, sarvi ravon nigorim.
The differences in the fifth verse
5/8
Sansiz manga tiriklik dahr ichra pur
jafodur,
Sansiz manga tiriklik dahr ichra pur
jafodur,
Zebo
qading
xayoli
ko‗nglumga
muttakodur,
Sarvi
qading
xayoli
ko‗nglumga
muttakodur,
Baxtim
kamolig„a
ham
la‟li
labing
davodur,
Har
g„amza(nga),
nigoro, jonu jahon
fidodur
Har
g„amzanga,
nigoro, jonu jahon
fidodur,
Chun
murg„
i
ko„nglum
iki zulfunga
mubtalodur
Oromijon nigorim, sarvi ravon nigorim.
The differences in the sith verse
6/7
Chekmak ishim
fig„ondur
la‟li
ziloling
istab,
Tinmay
ko„zumni
ashki
la‟ling
zilolin
istab,
Har lahza iztirobim ikki hiloling istab,
Har lahza iztirobim ikki hiloling istab
Sorg‗ordi
orazim,
chun
nozik
niholi
m
(ng)
istab,
Sorg‗ordi
rangi
ro„yim, nozik
niholing
istab,
Jodu
ko„zing
tegida parvona xoling
istab,
Qadim duto yuzungni bir dona xolin
istab,
Oromijon nigorim, sarvi ravon nigorim.
The differences in the seventh verse
7/5
O‗rtar
xayoli hajring,
ey podshohi
xo„bon
,
O‗rtar
xayoli hajring,
aylab
ko„zumni
giryon,
Kulbam sori qadam
qo„y
chekdurma ohu
afg„on,
Etdi
chiqarg„a
jonim, ey kokili parishon,
Vomuq
g„amida
qoldim, ey kokili
parishon,
Muncha jafo qilursan ne muddao sanga
jon
Muncha jafo qilursan, ne muddao sanga
jon,
Chekmak ishim tunu kun shavq ichra ohu
afg„on
Oromijon nigorim, sarvi ravon nigorim.
The eighth verse of the mukhammas copied to the divan is radically different from the
mukhammas bytes copied to the complex.
8/4
Ko‗rma
ravo
jafoni
boshingdin
oylonaman,
Yig‗larman
hasratingdin
begona
bo‗lmag‗uncha,
Tuz
ahdinga
vafoni
qoshingdin
Tiyg‗
i
firoqing
ichra
vayrona
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oylonaman,
bo‗lmag‗uncha,
Ye
tganda,
o‗nsakizda
boshingdin
oylonaman,
Ishqingda dahr eliga afsona
bo‗lmag‗uncha
Ming jilva birla
otg‗on
toshingdin
oylonaman,
Rahm
aylagil
g‗amingda
g‗amxona
bo‗lmag‗uncha,
Oromijon nigorim, sarvi ravon nigorim.
The differences in the ninth verse
9/9
Bemori hajring
o‗ldim,
ey x
o‟
b
la‟li
xandon,
Bemori
hajring
o‗ldim,
ey
lablari
durafshon,
Ko„ksing
jahon
boshimg‗a
go‗
yoki
bo‗ldi
zindon,
Bo„l
ing
(di)
jahon
boshimg‗a
go‗
yo
ki, bo‗ldi
zindon,
Furqat yarosi ichra bu Mutribi xush
alhon,
Nolangni
qilmag„ilkim,
ey Mutribi xush
alhon,
Bu dam kelib, nigoro, dardimga ayla
darmon,
Shoyad kelib nigoring,
dardingg„a
qilsa
darmon,
Oromijon nigorim, sarvi ravon nigorim.
It should be noted that the table fully reflects the issue of the history of the text of the
mukhammas. According to D.S.
Likhachev: ―The concept of text history covers all issues of the
text of a particular work. Only a thorough (or, if possible) study of all issues related to the work
will allow us to fully explore the history of the text of the work ‖[5, 33]. Nurboy Jabbo
rov
explains in detail how the history of the text covers the process from the search for a work of art
to the publication and publication of a work of art.
―... the history of the text, from examining the genealogy of manuscript sources to studying the
worldview and ideas of the author and even the secretary who copied the source, from the
realization of the author's creativity in its creation covers all the processes leading up to the study
of the interrelationships with monuments ‖[4, 12].
It would be more accurate to link the edits here to the factor of "the realization of the author's
creative intent in the creation of the work." It seems that there is a mismatch between the whole
points of the work. Buhol, firstly, affected the content of the mukhammas, and secondly, caused
weight loss. For example, in the text of the mukhammas copied to the devon, the word "Bir zori"
is in the form "Bezori", the suffix "... ga" is superfluous, "Ziloling istab", "Niholing istab" is a
rhyming compound, in the third verse of the mukhammas, it is given as "Niholim istab" which
caused serious mistakes.
Mistakes in the collection: The word ―gamzanga‖ in the verse ―Hargamza (nga) nigoro jonu
jahon fidodur ...‖ means ―g‘amza‖, ――Bo‗ling(di) jahon boshimg‗a go‗yoki, bo‗ldi
zind
on...‖
the
word ― Boldi ‖in the verse is copied with textual flaws in the style of― Bolin
g
‖.
The text of Mutrib's poems, which begins with ―Mash‘ali bazmima husnini balosini ko‗rung...‖,
―Gulshan ichra jilva
-u yuz nozi izhor ayladi" verses, was studied comparatively on the basis of
inventory number 2679 / II and manuscript set number 1134.
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When comparing the text of these poems, there are some differences between them. In particular,
in the seven-
line verse ―Mash‘ali bazmima husnini balosini ko‗rung...‖
(pp. 231a / b) the phrase
―Balosini ko‗ring‖
has been transferred to the complex as ―Jilosini ko‗ring‖. It should be noted
that the option is correct in its ―Mash‘ali bazmima husnini jilosini ko‗rung...‖ content. Therefore,
it can be said that in the future, in the preparation of the scientific-critical text of the poet's
works, it would be expedient to restore this sacred text on the basis of the version in the
manuscript collection inventory number 1134.
The following table shows the differences in the text of the poem, which begins with the verse
"Gulshan ichra jilva-u yuz noz izhor ayladi":
Poem
and
verse
Manuscript
divan
under
the
inventory number - 2679
Complex under the inventory number
- 1134
1/1
―Qilmadim
komim ravo
ul
yo
rlig‗
hangomida‖ (232
b
-bet)
―Qilmadim
komim ravo
chun
yo
rlig‗
hangomida‖ (209
a
-bet).
3/1
Doimo
ko‗rgach
o‗zin
majnunshior
aylar ongo
...
Dahr eli
ko‗rgach
o‗zin
majnunshior
aylar ongo
...
6/3
Ohkim, ehsoni lutf ila dame shod
etmayin,
Xasta
ko‗nglumni
g‗amu
hijrondin ozod
etmayin,
Lablarini kavsaridin
qatra
xayrod
etmayin,
Mutribi sargashtani bir jom ila yod
etmayin,
Do‗stlar, ul
dilrabo ishqi mani zor
ayladi,
Rashk
tiyg‗
i jon ila
ko‗nglumni
afgor
ayladi.
Ohkim, ehsoni lutf ila dame shod
etmayin,
Xasta
ko‗nglumni
g‗amu
hijrondin ozod
etmayin,
Lablaridin kavsarini
qatra
xaridor
etmayin,
Mutribi sargashtani bir jom ila yod
etmayin,
Do‗stlar, ul
dilrabo ishqi mani zor
ayladi,
Rashk
tiyg‗
i jon ila
ko‗nglumni
afgor
ayladi.
Apparently, the word "ul" means "chun" while the word "doimo" is edited as "dahreli. The next
verse of the poem ―Lablarini kavsaridin qatra xayrod etmayin‖ radically change
d the content of
the work as
―Lablaridin kavsarini qatra xaridor etmayin‖
in
―Bayozi majmua‖
. In particular, it is
illogical to translate the word "haridor" as a rhyme to the words joy, freedom, and remembrance
in the following verses of the musaddas.
In general, based on the analysis of sources, it can be said that the text of this poem is only more
perfectly found in the inventory number 2679 / II. Inventory number 1134 contains many weight
and rhyming errors in the text of mukhammas and musaddas.
This source is covered with solid black cardboard.
The title "Amali Muhammad Rahim sahhof 1326" is inscribed on the top and bottom of the three
ornaments on the cover.
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ACADEMICIA
The text was copied on factory paper in black and red ink, in a nasta'liq letter, in the form of two
columns. Each page contains 17 lines of text. Dimensions 27x17. The collection consists of 432
pages, 4 pages are blank at the beginning and end of the source. The manuscript is preserved
very well.
CONCLUSION
In short, ―Majmuai muxammasoti ash
-
shuaroi Feruzshohiy ‖
is a source of special importance
not only for the study of Ogahi and Feruz's works, but also for the study of the Khorezmian
literary environment. In particular, the source plays an important role in the study of Mutrib's
lyrical heritage from the literary point of view. A comparative study of Mutrib's poems in this
manuscript with other sources preserved in the fund of the Institute of Oriental Studies of the
Academy of Sciences of Uzbekistan also plays an important role in the study of the text's history
and text editing. The facts surrounding the text editing in the collection are also valuable in that
they provide a deeper insight into Mutrib‘s creative laboratory, explore the poet‘s secrets of
working on words, and explore his creative spiritual world more fully.
REFERENCES:
1.
Dictionary of works of Alisher Navoi. XV tom. Ghafur Ghulam Publishing House of
Literature and Art. Tashkent-1972. Page 523 P.184.
2.
Bobojon Tarroh-Hodim. Khorezm poets and musicians. Toshkent .; The wing of
contemplation. 2011. pp. 136-140.
3.
Jabborov N. Peculiarities of literary text editing. - Proceedings of the scientific-theoretical
conference "Problems of interpretation and analysis in Uzbek literature." - Tashkent, Classic
word, 2014.
4.
Jabborov N. Uzbek textology and text criticism in it, the role of scientific-critical text terms. /
Theoretical and source bases of studying Uzbek classical literature. Materials of the
Republican scientific-practical conference. - Tashkent: Mumtozso`z, 2019. - p.12
5.
Likhachev D.S. With the participation of A.A. Alekseeva and A.G. Bobrov. Textology on the
material of Russian literature of the X - XVII centuries. - St. Petersburg, Publishing House
Aleteya, 2001, p. 33.
6.
Majmuai ash-shuaroi payravi Feruzshahi. 1152 Inventory Digital Manuscript. Pages 78b,
387b, 388a.
7.
Majmuai mukhammasoti ash-shuaroi Feruzshahi. 1134 Inventory Digital Manuscript. Pages
22b, 23a / b, 53b, 54a / b, 79a / b, 101a / b, 102a, 129a / b, 155a / b.
8.
Awareness. Ta'wiz ul-ashiqin. H.Sulaiman Foundation, Inventory Digital Manuscript Device
1529, pp. 112a / b, 116b, 117a.
9.
Shodmonov N. Shahidu-l-Iqbal is a literary source. - Tashkent: Muharrir, 2009, p.22.
10.
OSASU, 1127-inventory digital bayozi mukhammasot. Pages 23b, 24a, 56b, 57a / b, 58a, 90a
/ b, 91a, 111b, 112a / b.
