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VOLUME:
Vol.06 Issue02 2025
10.37547/philological-crjps-06-02-07
Page: - 42-44
RESEARCH ARTICLE
Ghazal Commentary by Sakkoki
Nurmuhammedova Maftuna Hilol qizi
Independent researcher, Tashkent State University of Oriental Studies, Uzbekistan
Received:
15 December 2024
Accepted:
17 January 2025
Published:
19 February 2025
INTRODUCTION
Sakkokiy thoroughly studied Uzbek and Persian-Tajik
sources and used them creatively in his works. In the
process of reading the works of the writer, one can feel that
he was creatively nourished by such famous writers as
Firdawsi, Nizami Ganjavi, Sheikh Muslihiddin Sa'di,
Khoja Hafiz Shirozi. However, works written in the Turkic
language had a stronger influence on Sakkokiy's work. In
particular, folk oral art was an important factor in the
flourishing of his work. That is why his ghazals quickly
reach a person's heart. Below we will review, comment on,
and analyze them.
1. Kim ermäs ul ay mubtalāsï…
Kim ermäs ul ay mubtalāsï,
Yalğuz meŋä yoq anïŋ balāsï.
Mubtalā - 1. Entrapped, afflicted; 2. Lover, jinn (NAL, II,
329), balā- 1. disaster, misfortune, misfortune; 2.
Wonderful, sign, master; 3. lover, beloved, beloved. (NAL,
I, 202). The lyrical hero begins to speak about his beloved,
who has captivated everyone, and his feelings for her: Who
is not captivated by that “moon”?! I am also in love with
that “moon,” but she is not my lover. That is, no matter
how much I am captivated by her, she does not even look
at me.
In this verse, the poet skillfully uses the art of husni ta’lil
to describe the beloved, and in the following verses, he
writes about the pain that befell the lover:
Tüšti bu zaïf jānïmğa dardï,
Ölmäktin azïn yoq ul davāsï.
The lyrical hero has suffered such pain. This is an incurable
love pain, and now there is no cure for that pain except
death. In this couplet, words with opposite meanings, pain
and claim, are used to create the art of contrast, and
combinations such as "zaïf jân", "Ölmäktin azîn yak"
create the art of exaggeration, and this skillfully used
poetic art further enhances the impact of the couplet. Verse
by verse, the events develop:
Bergüsi ğarïb bašïmnï yelgä,
Ruxsārai zulfïnïŋ havāsï.
Ğarïb
- poor, helpless (NAL, IV, 107), wind - wind, breeze
(NAL, I, 523), rukhsāra - face, face, page (NAL, II, 636).
The air, the breath of the lover's face and curls are so strong
that the salty air gives the lover's strange head to the wind,
and his eyes are not spared in this regard:
ABSTRACT
Sakkokiy is a ghazal-writer poet. His ghazals skillfully depict love, passion, the pain of exile, the delight of farewell, and the
feelings of a loving heart.
Keywords:
Rukhsara, mubtalā, balā, gharib, türk, türkänä.
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Kim körsä anïŋ közini aytur:
Ne turfa erür bu türk balāsï?
Türkänä er erlağunča āniŋ,
Küydürdï menï yalay-bulāsï.
Türk
- 1. Turk, Turkic people; 2. cheerful, beautiful,
playful, beloved (NAL, III, 257), Türkänä - Turkish,
typical of the Turks, Turkish, simple (NAL, III, 258). In
these verses dedicated to the description of the mistress, the
poet reaches the climax, describing the mistress's eyes as
so beautiful that whoever sees them is amazed and says:
how many different troubles this Turkish scourge has, we
do not know. Indeed, he manages to burn the lyrical hero
to death before he even utters a single simple word. So, the
mistress is an incomparable beauty of the Turkic people.
He uses the word "Turkish scourge" to refer to her beautiful
eyes. In both couplets, the image of the mistress is
continued in harmony with each other, and the words
"balosi" and "bulosi" in the couplet create the art of tajnis.
Ayïna seniŋ yüziŋ körübān,
Lāf ursa, yüzündä yoq safāsï.
Safā
– 1. purity, cleanliness, clarity; 2. beauty (NAL, III,
60): Even if the mirror praises you while showing you her
face, there is no clarity or beauty in the face that it shows,
it is all your beauty, the lover emphasizes. In reality, the
lover is so beautiful, perfect that even the mirror is
ashamed of itself when it sees her face, and even when it
praises her, she is still unequal to the lover. In this case, the
poet uses the art of diagnosis by describing the mirror, that
is, an inanimate object, in a state of praise. After that, he
concludes his speech:
Dard-u, ğam-u, ranj-u, men-u olmaq,
Säkkäkiygä boldï jan ğïzāsï.
Ranj
- trouble, difficulty; labor, toil (NAL, II, 604), ğïzā -
food, food, meal (NAL, IV, 112) Finally, in the maqta, the
poet concludes his thought by saying: The beloved takes
the lover's pain, sorrow, hardship, "I", that is, his identity.
This, in turn, emphasizes that it is not a burden for the
lover, but a benefit, that is, a source of nourishment for the
soul. In the maqta, Sakkoki puts forward the following
idea: even if you take everything I have, I am satisfied, this
work of yours is a source of nourishment for me. It is
understood from the couplet that his love is not ordinary
love, but divine love. The words pain, sorrow, and
suffering in the couplet create the art of tanosub.
This ghazal of Sakkoki is one of the famous and beautiful
works. A ghazal is a single ghazal written in the style of
wasf on the theme of love, without rhyme. The reason for
the popularity of the ghazal is that it is written in a unique
and simple language. In this ghazal, we can clearly witness
the poet's high skill. Because at first glance, the ghazal
seems like the lament of an ordinary lover addressed to his
beloved. From the increasing complexity of the image of
the beloved in the following verses, and the lover
becoming increasingly obsessed with the pain of love, it is
clear that this love is not an ordinary love for people, but a
divine love that combines mystical ideas. This further
increases the scope of the ghazal's impact. .
The lyrical hero's lover again encourages him to reveal the
secrets of his heart, to write verses full of love:
2. Ey gül, yüzüŋgä…
Ey gül, yüzüŋgä hur-u päri bandayï jāni,
Tältek boyuŋ āzādi erür sarvï ravānï.
sarvï
ravān
- the beloved; the beauty of the heart (NAL,
III, 46). This time, the lyrical hero addresses his beautiful
companion and says: O flower, the souls of fairies are
subordinate to your face, that is, the souls of all fairies are
worth sacrificing for your beauty, for your face. Because
you are so beautiful that all angels obey you, he means that
you are the fairy of fairies. Your willow-like height is proof
of your beautiful love. That is, in the lover's opinion, the
willow-like height of his lover also proves how beautiful
she is. In the couplet, the poet uses the art of allegory,
comparing the neck of his beloved to a willow, and the art
of husni talil to describe her face, and continues his words:
Xoblar sani yoq Čin-u, Xita-yu Xotan ičrä,
Yetmäs saŋa lekin tïlagan dunyada sāniy.
Xob
- beautiful, beautiful (NAL, III, 445), tïla- to want, to
desire, to dream (NAL, III, 229) In China, China, Khotan,
there are no beauties like you, but in the world those who
dream of you will not reach you. The lyrical hero claims
that there is no beauty like her around, and none of those
who dream of someone like you will be able to achieve
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44
their goal. Because you are the only one. Even if a lover
travels the whole world, he will not find someone like you.
Because he is unique and alone, no one else can equal him.
Ul tišiŋ-u erniŋni körib bir küläriŋdä,
Bu ikki közüm la’l-u guhar bahrï-yu kāni.
Ern
- ab (NAL, III, 567), irin - lip, lip. La’l is a red-colored
precious stone (NAL, II, 169), Bahr is a large, mighty river;
sea (NAL, I, 241) When you smile, seeing your teeth and
lips, my two eyes turn into a sea of rubies and gems, a mine.
Because when I look at your smile, the reflection of your
teeth like a diamond falls on my eyes and turns into a mine
of gems. If in the first line of this couplet, words like tooth,
earth, laughter create the art of proportion, then in the
second line, exaggeration is used.
Yüziŋni qïlur taza közüm yašï-yu āhim,
Gül taza bolur tapsa väle āb-u havānï.
Vale
- but, but, maybe (NAL, I, 355) If a flower finds the
water and air it needs, it becomes clean and its dust is
washed away, so my Eyes, Age and Aahim will also clean
your face. When a flower finds the right weather, it
becomes clean, spotless, and washed. He wants to say that
my tears and my tears will clean and wash your face just
like that weather, and here he uses the art of diagnosis, that
is, the flower is personified. The following verses continue
these thoughts:
Uššaq qanïn tökkäli elgä qïlïč alsaŋ,
Kim ilgärü tutmas boyun – öz boynïna qanï.
Aydur seniŋ alïŋda bu kün bir habašïy qul,
Tansa yüzidä zahïr olur dağ nišāni.
Uššaq
- lovers, lovers (NAL, III, 305), Abyssinian -
Abyssinian, black, negro (NAL, IV, 123), hand - hand,
front, face to face (NAL, I, 75) in front of you, in front of
you If you take a sword in your hand to shed the blood of
lovers, who will not hold his neck first. This day, an
Abyssinian slave is saying this in front of you, if he does
not say this, a stain will appear on his face. In these
couplets, the lover emphasizes that he is a slave to his
mistress, and that if she wants to kill him, he will sincerely
surrender. In both couplets, we witness the skillful use of
the art of hyperbole.
REFERENCES
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