Volume 05 Issue 09-2024
31
CURRENT RESEARCH JOURNAL OF PHILOLOGICAL SCIENCES
(ISSN
–
2767-3758)
VOLUME
05
ISSUE
09
Pages:
31-36
SJIF
I
MPACT
FACTOR
(2022:
6.
041
)
(2023:
7.
491
)
(2024:
8.235
)
OCLC
–
1242423883
Publisher:
Master Journals
ABSTRACT
This article focuses on the bright examples of innovation and tradition in the tragedy "Najmiddin Kubro" by Amon
Matjon. It is shown through analysis that along with the work of Alisher Navoi and the influence of folklore, the original
image, plot and expressions of the poet are sufficiently manifested.
Historical works of Amon Matjon can provide important facts and conclusions for studying the issue of historical
interpretation in dramaturgy. In it, the poet tries to maintain a balance between historical reality and creative freedom.
It was impossible not to reflect the spirit, ideology, and views of the time in the poet's historical works. At the same
time, attention is paid to the fact that the artist was able to place his important socio-political thoughts and,
importantly, opinions that are completely contrary to the environment of his time, in the lines that reflect the ideology
of the time and are adapted to it.
KEYWORDS
Historical character, tragedy, image, subject, idea, artistic image, historical truth, portrait, attitude, image, impression,
narrative style.
INTRODUCTION
A historical figure is an important aspect of dramaturgy
and requires a special approach to its interpretation. In
world literary studies, a number of works related to the
interpretation and methodology of a historical figure in
a dramatic context have been carried out. Historical
dramaturgy has a long and rich history, and the issue of
historical interpretation occupies a central place in this
process. But how can we portray a historical person on
the stage close to the original? What methods and
approaches can be used in this process? In this matter,
Research Article
VISUAL AND ARTISTIC CHARACTERISTICS OF THE TRAGEDY
"NAJMIDDIN KUBRO" (ABOUT THE TRAGEDY OF AMON MATJON)
Submission Date:
Sep 25, 2024,
Accepted Date:
Sep 20, 2024,
Published Date:
Sep 30, 2024
Crossref doi:
https://doi.org/10.37547/philological-crjps-05-09-07
Pirnazarova Manzura Matnazarovna
Associate professor of Urganch State University, Uzbekistan
Journal
Website:
https://masterjournals.
com/index.php/crjps
Copyright:
Original
content from this work
may be used under the
terms of the creative
commons
attributes
4.0 licence.
Volume 05 Issue 09-2024
32
CURRENT RESEARCH JOURNAL OF PHILOLOGICAL SCIENCES
(ISSN
–
2767-3758)
VOLUME
05
ISSUE
09
Pages:
31-36
SJIF
I
MPACT
FACTOR
(2022:
6.
041
)
(2023:
7.
491
)
(2024:
8.235
)
OCLC
–
1242423883
Publisher:
Master Journals
it seems necessary to pay attention to several points.
Including the interpretation of historical figures. The
first step in the interpretation of a historical figure is
the analysis of historical sources and documents.
Authors of stage plays study the life and character of
historical figures, their motives and goals in order to
convey them on stage. After analyzing historical facts
and documents, the playwright has the task of
interpreting a historical figure. In order to create a
reliable and lively image on the stage, they must
penetrate into the essence of the character of the
historical character, understand his motives and
feelings. The interpretation of a historical figure
requires a balanced approach from the playwright,
taking into account historical accuracy and creative
freedom. For example, the piri murshid in the historical
tragedy "Sheikh Najmiddin Kubro" said, "Officers are
exchanged, families are cut off. The name of the
homeland changes, but does its origin and meaning
change?! Yesterday the Africans, the Ghaznavids, the
Somanites... Today
the Khorezms, tomorrow
completely different clans and emirs will come! But will
all this change the status of a corner of our land, which
was given birth by the honorable label of
motherhood?! No! It's about who and what the
citizens' intelligence, power, and desires are directed
to!" (DA, 73) is the product of creative freedom, which
is considered preferable to historical accuracy.
Amon Matjon studied a wide range of sources to write
the historical tragedy "Sheikh Najmuddin Kubro". It is
known that the work of Najmuddin Kubra is "Al-kamil
fi t-tarikh" by Ibn al-Asir, "Tarihi jahongushay" by
Juwaini, "Jome at-tawarikh" by Rashididdin Fazlullah,
"History of four nations" by Ulug'bek, "Tazkirat" by
Fariduddin Attar. ul-avliya", "Nafahot ul-uns" by
Abdurrahman Jami, "Nasoim ul-muhabbat" by Alisher
Nawai, "Rashohotu ainil - life" by Ali Safi, "Avrod ul-
ahbab wa fusus ul-adob" by Sayfiddin Boharzi, "Avrod
ul-ahbab wa fusus ul-adob" by Ibn al-Karbalai "Rawzat
ul-jinan", Hamdullah Qazvini's "Tarihi guzida",
Mirkhand's "Rawzat us-safo", Khondamir's "Habib us-
siyar", Abulghozi's "Shajarayi Turk" and other sources.
At the same time, the stories and anecdotes about
Najmuddin Kubro's image in folklore are also popular,
such as "Story of Sheikh Najmuddin Kubro", "Manoqibi
Sheikh Najmuddin Kubro", "Story of Ibn Khajib".
In the tragedy, the playwright hopes that the words of
the saint will affect those who read the play or watch it
on stage, and as a person who understands this
responsibility, he pays special attention to every word
uttered from the language of Sheikh Najmuddin Kubro.
For example, Shaykh Najmiddin Kubro wrote in his
work "Odab us-Sufiyya" (Etiquette of Sufis) "Let that
pir be a master of Shariat, Tariqat and the knowledge
of truth, and let him be a scholar in Usduli religion and
a scholar in Tariqat." May he understand the manners
of the Sharia through the secrets of the Tariqat and the
truth. "If a murid has a problem in matters of Sharia, he
should be able to solve it for the murid through his
knowledge" (translated by Azamjon Toshboev).
Najmuddin Kubro writes in the work "Usuli Ashara":
"The shaykh cleans the dirt from the murid's div and
the filth that will be attached to him later with the
water of the guardian". "The purpose of the water of
guardianship is divine favor, and a person cannot
forget that favor until he enters this circle." In the
tragedy, it was said in the language of the Sheikh, "The
wicked are conspirators, the selfish are safe and free,
in a time when the paths of enmity are not blocked, the
noble qualities fade in the hearts of the good people,
the flame of courage in the hearts of the poor fades
away, danger and impatience take the place of virtues"
(DA , 88) on the one hand, show the potential of Sheikh
Najmuddin Kubra as a murshid, on the other hand, in
the background of history, the problems of the time,
perhaps all the problems of the time, are brought to
the fore.
Volume 05 Issue 09-2024
33
CURRENT RESEARCH JOURNAL OF PHILOLOGICAL SCIENCES
(ISSN
–
2767-3758)
VOLUME
05
ISSUE
09
Pages:
31-36
SJIF
I
MPACT
FACTOR
(2022:
6.
041
)
(2023:
7.
491
)
(2024:
8.235
)
OCLC
–
1242423883
Publisher:
Master Journals
In the play, Ozlok Shah and Jalaluddin appear not as
rivals in the world of politics, but as opponents of each
other's meaning. This is also the skill of Amon Matjon
as a playwright, which in this case reveals the roots of
their political opposition. Here is the secret of
Jalaluddin's eternal glory and honor: "(Jalaluddin): "...if
the duty of the kingdom was not on my shoulders, I
would have agreed to spend the rest of my life as a
janitor of your door, old man..." ( DA, 53)
As much as possible, Amon Matjon tries to express the
ideas expressed by Sheikh Najmuddin Kubro in his own
words in modern language. Most of them are
organized by rubai's belonging to the Shaykh's pen. As
A. Bektasheva wrote, the controversy about Shaykh's
poetry in science has not yet been conclusively
resolved. The Turkish scientist M. Kara doubts his
poetry and says: "It is strange that a poem does not
have a place for a poem in a work full of delicate and
psychological analyzes like Favoyih ul-Jamal". Literary
critic I. Haqqul believes that the high artistic style,
unique images and descriptions in "Favoyih" are the
basis of Kubro's poetry. Although Najmuddin Kubro's
poems did not arrive in the form of a collection, the fact
that his work "Risalai fil-faqr" was written from
beginning to end in the style of ijjaz and sajh shows that
the Sheikh had a high artistic skill in the Arabic
language. Also, the author cites 4 lines at the end of the
first chapter of the treatise, the part of praise and
praise, and at the end of the treatise, "I wrote the
following lines about myself in order to explain my
situation", 7 lines of the poem written in the context of
criticism. Then Kubro said to those around him:
"Brothers, don't look at my appearance. Do not take
my words as the call of a hermit. "My robe and robe are
covered with sin," he said. And emphasizing that the
intellect is limited, he admits that his teacher and his
temple are the soul. According to him, Iblis is Nafs, and
it is necessary to worship Allah from its evil and
wickedness.
The meaning of this poem quoted by the scientist is
also reflected in the tragedy: "No, I am really ignorant
and ignorant. Me! It is said that when the teacher raises
his hand in prayer, wishing the student a good path,
the secrets and veils of all wisdom on earth are opened
for a moment. After the road, the content will follow.
Why did I ignore that moment?! I now understand why
they sent Rozbehan in Egypt, Baba Farrukh in Tabriz,
Ibn Yasir in Hamadan, Ismail Kasri, who sacrificed their
strength and martyrdom to Gurganj a quarter of a
century ago! Now! My head was covered with a cloud
of fame and pride, and the serum and bile in my
stomach filled my eyes?! Selfishness and selfishness
have taken over the kingdom of my div! I didn't direct
all my knowledge and guidance to open, close, open
truths." (DA, 52) Khurshid Davron expresses this
situation in the historical-educational short story "The
King of Martyrs": "Sa'diddin: "If I go, I will go with you!"
When he saw that he insisted, the old Shaykh said: -
Botham, we will be martyrs in this blasphemy. I am not
allowed to leave. He said, "You don't hurt yourself and
go on your way."
‒
No, teacher, to leave you is to run away, said
Sa'diddin.
- No, Sa'diddin, said the Sheikh, don't say that. I
traveled half of the world and did not see anyone
worse than me.
In the poems of Amon Matjon, the aspects of
folkliness, allegorical imagery, sociality, poetic
expression of the epic image typical of prose,
philosophy, truthfulness, bravely telling the tragedies
of the time and human pain are clearly manifested. In
this sense, as a result of his high skill and high artistic
taste, the poetic story "Talking Times", "Pahlavon
Mahmud", "Four Journeys and Eight Prophecies of
Khorezm", "The Dam", " Dramatic, philosophical,
historical epics such as Haqqush's Cry", and in recent
years, the tragedy "Najmiddin Kubro" and the prose
story "Torabekakhonim" have been created.
Volume 05 Issue 09-2024
34
CURRENT RESEARCH JOURNAL OF PHILOLOGICAL SCIENCES
(ISSN
–
2767-3758)
VOLUME
05
ISSUE
09
Pages:
31-36
SJIF
I
MPACT
FACTOR
(2022:
6.
041
)
(2023:
7.
491
)
(2024:
8.235
)
OCLC
–
1242423883
Publisher:
Master Journals
In the work of Amon Matjan, the aspects related to
Sheikh Najmuddin Kubro are divided into different
types according to their character and scope: 1.
Influence of the ideas of Najmuddin Kubro in the
poet's lyrics. 2. By creating the image of Najmuddin
Kubro, the creator reflects the perfect figure in the
spiritual world. At the same time, the sources of the
appearance of the image of Sheikh Najmiddin Kubro in
the consciousness of Amon Matjon differ from each
other with a number of characteristics. These are:
folklore, classic sources, scientific sources.
The youth of the Khorezm oasis have been familiar
with Sheikh Najmuddin Kubro through the stories
handed down from their ancestors. One of them is
"The Story of Jamiljan", in which the young generation
hears about Najmuddin Kubro for the first time. In
addition, in the environment and time in which Amon
Matjon was brought up, there was food and
opportunity to take children on a pilgrimage to Kokhna
Urganch, to visit the grave of Najmuddin Kubro. Later,
in the process of higher education, he got acquainted
with the work of the poet Alisher Navoi "Nasayim ul-
Muhabbat". Despite the fact that this work of Hazrat
Navoi was published with great reductions, the most
space was allocated to Najmuddin Kubra. It is
noticeable that the information provided by Alisher
Navoi in the poet's historical tragedy "Sheikh
Najmuddin Kubro" had a strong impact on the author's
mind. In addition, the fact that Alisher Navoi himself is
one of Najmuddin Kubro's admirers is evident in the
clarity of views and commonalities in the outlook of
both geniuses. For example, in one of the Persian odes,
Alisher Nawai writes in the ode "Ain ul-Hayat" ("The
Fountain of Life"), about Muhammad alaihissalam:
they give it charm" (translated by Sayfiddin Sayfullah).
The poem that fully reflects the influence of Najmuddin
Kubro in the work of Amon Matjon is, of course,
"Kubro's Confession". The poem consists not only of
the lines influenced by Najmuddin Kubro's rubai, but
also of the mixture of past and present, more precisely,
past and present pains. It is necessary to admit that it
is impossible to understand the poem without knowing
the life, work and philosophy of Najmuddin Kubro.
The first four lines of the poem "Kubro's Confession"
are quoted in the historical tragedy "Shaykh
Najmuddin Kubro" from the language of Abdul Jalil
with the sign "I will answer with the grace of the Pir"
(DA, 45). So, these lines appear in the translation of
Amon Matjan by Najmuddin Kubro's rubai. In the first
years of independence, these Rubaiyats were
translated into Uzbek three times. At first, Jamal Kamal
Uzbekized them, keeping their traditional weight and
classical style. Then, on the occasion of the 850th
anniversary of Najmuddin Kubro's birth, Matnazar
Abdulhakim made a new translation of these Rubai's.
Rubaiyats written by Najmuddin Kubro, mainly for the
promotion of Sufism worldview - Thoughts and
experiences at different stages of status and maqamat
in order to search for the truth, sing the love of God,
call to the path of truth, win the love of God , is
dedicated to describing the pains and sufferings,
glorifying Sufi-dervishes, describing the beauty of the
lover who is the embodiment of the Truth, sometimes
expressing the hope of salvation, sometimes
expressing the state of a lover in the agony of hijran. In
these Ruba'is, there is also talk about the desire to
leave love, the desire to go to the temple, the dream of
martyrdom, poverty and other mystical experiences. In
particular, there are not three, but four translations of
the above rubai. All these translations are based on the
Rubai's given in Ye.E.Bertels' Sufism and Sufism
Literature. Here, our goal is not to give an evaluation of
one rubai's four interpretations, but to express some
thoughts about how deeply these four miraculous lines
are embedded in the psyche of Amon Matjon. As a poet
of classical literature and having studied in a bilingual
environment for a certain period of time, the poet
knew Persian language to some extent. That's why he
Volume 05 Issue 09-2024
35
CURRENT RESEARCH JOURNAL OF PHILOLOGICAL SCIENCES
(ISSN
–
2767-3758)
VOLUME
05
ISSUE
09
Pages:
31-36
SJIF
I
MPACT
FACTOR
(2022:
6.
041
)
(2023:
7.
491
)
(2024:
8.235
)
OCLC
–
1242423883
Publisher:
Master Journals
knew very well that the first two verses of his
translation were extremely free, and were the
manifestation of the meaning he heard from the lines.
Secondly, the difference of Amon Matjon's translation
from all three is that the original word "metarsam" (I'm
afraid) is not in the present-future tense, but in the past
tense. This means that the inner meaning of the rubai
verse is fully absorbed into the psyche of the poet.
Therefore, it can be said that the first two stanzas of
the poem "Kubro's Confession" are the translation of
this Rubaiyat, and the remaining stanzas are a
description of the poet's impressions and conclusions.
Sources of folklore about Sheikh Najmiddin Kubro
came not only in oral form, but also in the form of
books. In particular, E.E. Bertels also published the
summary of the book "The account of Sheikh
Najmiddin Kubra who was martyred and destroyed the
city of Khorezm" about the manoqib of Najmiddin
Kubro, kept in the Asian Museum of the Russian
Academy of Sciences (Nov. 217), as "Roman ob Sheikh
Nadjm ad-dine Kubra" ". It can be seen that Amon
Matjon used this work productively in the process of
writing the drama.
Despite the fact that no significant works of art have
been created about Najmiddin Kubro, the popular
narratives about him do not find it acceptable to repeat
the events described in the literary narrations: (Alisher
Navoi) follows the principle. The author uses the
acceptable style typical of works of art created about
many historical figures: he shows Sheikh Najmiddin
Kubro surrounded by people, among ordinary people.
This means that a person, whether he is a king or a
sheikh, is a part of society, a part of his people. On the
other hand, such characters introduced to reveal the
character of the main character (whether they are
positive or negative is another matter) bring a unique
tone and color to the work.
The characters of Abdul Jamil and Abdul Khalil in the
work (the brother who resisted the sword aimed at his
brother!) increase the drama and reveal the psyche of
the characters in a very believable and realistic way. In
this regard, the Sheikh blames himself and feels guilty
for the impending disaster. It is worth noting that the
author Najmiddin describes a clear truth from the
language of Kubro: in order not to burn the country
(they certainly do not need to come with weapons and
set fire to houses), kubros must be glorious. Knowing
that the following words have nothing to do with the
personality and activities of Najmiddin Kubro, the
author declares that everyone involved in the spiritual
life of the country must be free from the described
qualities. Believing that the reader will hear this truth,
Zukko "hides" it under the names of people and places
related to the status of Najmuddin Kubro: "Rozbehan
in Egypt, Baba Farrukh in Tabriz, Ibn Yasir in Hamadan,
Ismail Kasri, I now understand the meaning of what
they sent to Gurganj a quarter of a century ago! Now!
My head was covered with a cloud of fame and pride,
and the serum and bile in my stomach filled my eyes?!
Selfishness and selfishness have taken over the
kingdom of my div! I have not directed all my
knowledge and guidance to all the hands, close, open
truths. (DA, 52) In this monologue of the author
Najmiddin Kubra, the Shaykh infuses the views of one
of his rubai that the ego is the biggest and worst enemy
of the human race:
There is a giant inside me, it cannot be hidden.
It will not be easy for him to bow his head.
Even if I know what faith is,
He is an ardent infidel, he will never become a Muslim.
During the reading of the work, the reader involuntarily
takes upon himself the responsibility of paying special
attention to the words of Sheikh Najmiddin Kubro. This
is due to the fact that the author paid special attention
to the words spoken in the language of the Sheikh. For
example, let's pay attention to a short speech below:
"Dervish is not a profession. Discipleship is not asking
for a salary. Apprenticeship is not about demanding
Volume 05 Issue 09-2024
36
CURRENT RESEARCH JOURNAL OF PHILOLOGICAL SCIENCES
(ISSN
–
2767-3758)
VOLUME
05
ISSUE
09
Pages:
31-36
SJIF
I
MPACT
FACTOR
(2022:
6.
041
)
(2023:
7.
491
)
(2024:
8.235
)
OCLC
–
1242423883
Publisher:
Master Journals
too much attention from the teacher and suffering
from the burden on one's neck after entering the door.
(DA, 69)
In our opinion, every work that talks about history
consists of a certain ratio of history - truth - art.
The historical tragedy "Najmiddin Kubro" written by
Amon Matjon should be evaluated with these aspects
in mind. First of all, it is not correct to look at the work
as an alternative to Najmuddin Kubro's novel in
modern literature. Scientific evaluation of Najmuddin
Kubro's life and work, systematic coverage of it is not
the work of fiction. Naturally, Sheikh Najmuddin Kubro,
as a guardian with a great reputation, his life could not
be mixed with legends and stories that came to the
world due to the perfect love of the people in most
cases. Therefore, it is certainly not appropriate to
search for a real person from each of its characters, to
demand the compatibility of historical and artistic
reality.
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