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THE EPIC “GUL VA BULBUL” (“FLOWER AND NIGHTINGALE”): THE
EXPRESSION OF THE AUTHOR’S LITERARY VIEWS IN THE TEXT
Abdullayev Bilolxon Xamitjon o‘g‘li
PhD student at the Alisher Navoi State Literature Museum of the Academy of
Sciences of the Republic of Uzbekistan
bilolxonabdullayev1994@gmail.com
https://doi.org/10.5281/zenodo.16402728
Abstract
. This article examines the scientific and literary perspectives, as
well as the aesthetic thinking of the author, expressed through the characters of
Bulbul, Gul, and Sabo, who are the main protagonists in Salohi’s epic poem “Gul
va bulbul” (The Flower and the Nightingale). Additionally, it presents certain
viewpoints regarding the role these characters play in shaping the form and
content of the work.
Keywords
: Knowledge, praise, supplication, na’t (praise of the Prophet),
text, analysis, interpretation, artistic, Sufism, couplet, line, thought, character.
Introduction
. The work is moral and didactic in nature, with each
character expressing certain views of the author. In particular, one of the main
characters is the Nightingale, through which the author intends to create the
image of a seeker (solik) who wants to purify their soul. “Solik means “one who
moves” in the dictionary. In Sufi terminology, a believer who strives to purify
their soul from bad character traits and adopt praiseworthy ones to achieve
Allah’s pleasure is called a solik”. At this point, a natural question arises: Why
specifically a nightingale? Why not another bird? Because the nightingale is
naturally small, unassuming, and rarely seen, but its voice is pleasant. These
qualities should be the attributes of a solik. That is, a solik should always
consider themselves small, reflecting humility; when described as unassuming, it
means they don't place importance on clothing and wear humble garments; and
their rare appearance signifies not mixing freely with ordinary people. The
nightingale's melodious singing at dawn represents the solik being occupied
with remembrance (zikr) at dawn. For a seeker who has taken the path of tariqa,
the most convenient time for remembrance is certainly the pre-dawn period.
During this time, many forget worship and the remembrance of Allah, becoming
heedless. It is recommended that the solik be occupied with zikr during these
specific times. Based on these characteristics, the author considers the
Nightingale worthy in all respects to emdiv the image of the solik.
Main part
. Considering the reasons presented in literary works, it would
not be an exaggeration to say that most writers have portrayed the image of the
lover through the nightingale. Particularly in Navoi's works, the Nightingale is
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embodied in various forms. In “Lison ut-tayr”, Navoi, influenced by Fariduddin
Attar, uses the image of the Nightingale somewhat differently - as a symbol of a
person enchanted by external beauty and transient allure:
Dedi Bulbul: “K-ey bu majma’g‘a dalil,
Men bo‘lubmen gul havosidin zalil.
Ondin oyru oshiq-u devonamen,
Aql-u hushu sabrdin begonamen.
In many of his other works, Navoi literally embodies the image of Bulbul as
a lover:
Chun bulbulning guli shukufta,
Topti bori xalqdin nuxufta. (“Layli va majnun”)
In addition to the meanings discussed above, the nightingale in Navoi's
work is expressed in several unique forms, such as a melodious poet, writers,
soul, and taste.
We know that "since the subject (object) of depiction in Sufi literature is the
Human being purified through the path of tariqa and continuously progressing
towards perfection, the worldview, aesthetics, and realm of experiences of this
seeker-traveler Human has been of great importance. In all forms and genres of
Sufi literature, the feelings and understanding of this seeker are depicted, and
the main task is to educate them, explain to them the Truth and their self-
identity, present various legends and stories, and find a way to their
consciousness and heart through guidance and admonition”. Therefore, in his
work, Salohi embodies the image of a seeker who wants to purify his soul
through the Nightingale and expresses a certain part of his Sufi views through it
in the subtext. The full description of the Nightingale, which is the main
character of the epic “Flower and Nightingale”, can be characterized in the
words of Navoi as follows:
“Ey shavq gulzorining Bulbuli! Shunday navo chekkilki, sening kuylaringda
ajoyib zavq-u shavq sirlari yangrasin! Ishq kuyini ming xil navo bilan tuzgil,
benavolik qo‘shig‘ini boshla! Shoh gulistonida gul husniga mast bo‘lib, u gul
ishqida mastlikning kayf beruvchi jomini ko‘tar. Bahor chog‘i otashin gul jilva
qilgach, uning har bir yaprog‘i parlaringga o‘t yoqsin.
Hozir en u toza gulshandan yiroqdasan. Firoq o‘ti jismingni kul aylamoqda.
Ko‘m-ko‘k osmon sari parvoz qilgil, o‘sha qizil gul sari mayl ko‘rgazgil. Shoh
bo‘stonida yuz gul jilva qilib turadi, sen esa bu yerda hijron shu’lasidan ming bor
kuyib-yonasan!”.
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The beloved who is loved by the lover in the work is the image of Gul. In the
work, images such as Bulbul, Gul, and Sabo can be evaluated as characters who
are distinguished from each other by their direction of will and individual
spiritual characteristics, and who carry a “big burden” in the plot of the work.
From this point of view, the image of Gul occupies an incomparable place in the
work. It is worth recognizing that the word Gul has been widely used in fiction,
which has led to the formation of various aspects of its meaning. The fact that
the word Gul is used in more than fifty meanings in Navoi’s work itself shows
that the flower and its related aspects are of great importance in Eastern
literature. In most places in fiction, through this image, a person is understood
as a lover, a lover, and through a figurative meaning, the Creator. In the analyzed
work "Flower and Nightingale" by Salahi, it is understood that the flower is used
figuratively, and this means that the author sings the love of Truth in the work.
In this respect, the work is considered to be in harmony with Fariduddin Attar's
"Nightingale" and Alisher Navoi's "Layli and Majnun". This harmony is also
reflected in the textual aspects of the work.
Ki ishq ichra oshiq bo‘lsa sodiq,
Bo‘lur ma’shuq oshiq ham muvofiq.
These lines, with some of their textual features, are very close to the
following lines from Navoi's epic poem "Layli and Majnun":
Oshiqki erur ishida sodiq,
mashuq bo‘lur boshida oshiq.
In both Navoi and Salohi, the verses of the bayt are constructed based on
the interrelation of words such as lover, beloved, and faithful. Both verses
convey the meaning that if the lover is faithful in his pursuit, that is, in love, the
beloved will also be devoted to him. It is evident that the influence of Navoi and
his work plays a crucial role in Salohi's creative output.
The image of Sabo holds special significance in expressing the poet's views.
What goals and ideas does the poet advance through this image? To determine
the importance of this image in the composition and plot of the work, it is
beneficial to examine the passages related to this image within the text.
Although Sabo is not mentioned frequently in the work, this does not diminish
its significance or value. Rather, the instances where Sabo appears increase the
importance of this image by causing fundamental changes in the events of the
work.
Analysis of the passages featuring the image of Sabo reveals that the poet
has assigned two important functions to this image. The first is that the image
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serves as a mutual messenger between the Flower and the Nightingale in the
work. This can be observed in the chapter titles "The Flower sending Sabo to
bring the Nightingale," "The Flower telling its condition to Sabo," "Sabo going to
the Nightingale," as well as in the verses of those chapters and the meanings
they convey.
Gul hamro yubordi ul Saboni,
Olib kel deb gado-yu benavoni.
In the work, the author not only uses the character of Sabo as a messenger
between Gul and Bulbul, but also tries to express certain views based on him.
Sabo andog‘ aylab nasihatangez,
Labidan ayladi doim shakarrez.
Ayo Bulbul eshit san oshiq-u zor,
Nasihat bobida bir necha so‘z bor.
Sabo aydiki, ey Bulbul, netarsen,
Tikondin sen g‘am behuda yersen.
Qadimdurki, Gul birla tikan bor,
Ki har oshiqqa bordur yor-ag‘yor.
Masaldurki bo‘lmas hargiz gul tikonsiz,
Bahor bo‘lmag‘oy har kez xazonsiz.
From the content expressed under the text of the verses given above, it is
understood that Sabo is a mentor to Bulbul, a guide who advises him, informs
him of the secrets of love, accompanies him on this difficult path, and guides him
to the right path. It is known that a person who has set foot on the path of love
must lend a hand to a worthy mentor on this path. That is:
Shayxkim pir erdi-yu, sizlar murid,
Borchag‘a irshodidin behbud umid,
Faqr aro sharti irodat keldi bu,
Kimni qilsa murshidi farxunda xo‘,
Xaylu ashobi tashabbuh aylamak.
Tengriga lekin tavajjuh aylamak.
Gar taalluq bo‘lsa, gar tajrid anga,
Har ne qilsa aylamak taqlid anga.
Through Sabo, the author wants to emphasize the importance of the role of
a mentor on the path of love, and thus emphasizes the need for a specific mentor
in all endeavors. In many places, the author describes the complex path of love
by expressing the wisdom of Sabo's heart:
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پوا
رلانوک هپن رب ابص لبلب بو
رلا یدیا روروی نیدقشع قیرط
وس بیرب هغینابز غیت ابص
وح ای رکذ مح بیتیا رون قشع یک
رایسب قشع قیرط رود کیلرطخ
راب نمشد هدفرط رح زیسددع
اّما رودلوی کزان قشع قیرط
اّما هدلوی وب نیس چیک نید ناج یک
نیدناموناخ کامچک هدلوی وب کارک
نید ناحج یکیا هلیب یناج و نت
(578, 63-pages)
Conclusion.
In the above analysis, the author's artistic views were
examined through three-character portrayals in specific texts. Focusing on the
results of the conducted research analysis, it becomes evident that the creator
primarily incorporates love and related perspectives into verses through the
aforementioned characters, molding them into an artistic form.
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