European International Journal of Philological Sciences
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TYPE
Original Research
PAGE NO.
12-17
DOI
OPEN ACCESS
SUBMITED
21 May 2025
ACCEPTED
17 June 2025
PUBLISHED
19 July 2025
VOLUME
Vol.05 Issue 07 2025
COPYRIGHT
© 2025 Original content from this work may be used under the terms
of the creative commons attributes 4.0 License.
Exalting Virtue: Etiquette,
Humility, Loyalty, And
Contentment In
“Hayrat ul
-Abror
”
Bahora Akbarovna Akhtamova
Assistant Lecturer, Department of Classical Literature History, Faculty of
Philology, Samarkand State University (SamDU), Samarkand, Uzbekistan
Abstract
: This article offers a comprehensive analysis of
Alisher Navoi’s Hayrat ul
-Abror, the foundational poem
of his Khamsa cycle, with a specific focus on its ethical
philosophy and literary structure. Composed in 1483,
Hayrat ul-Abror transcends its historical context to serve
as a timeless moral treatise. Through poetic allegory,
Navoi explores and exalts the virtues of adab
(etiquette), tavoze (humility), vafo (loyalty), and qanoat
(contentment), presenting them not only as personal
ideals but also as foundational principles for just
governance and societal harmony. The article examines
how these virtues are dramatized through emblematic
characters and narrative episodes, including dialogues
between kings and sages, and how Navoi uses literary
devices such as symbolism and allegory to encode
philosophical meaning. Special attention is given to the
poem’s didactic structure, which weaves together
spiritual reflection, political critique, and cultural values
to instruct both rulers and the general public.
Ultimately, the article argues that Hayrat ul-Abror offers
a poetic blueprint for ethical life, promoting a model of
integrated personal and civic virtue that remains
strikingly relevant in the modern world.
Keywords:
Alisher Navoi, Hayrat ul-Abror, classical
literature, Islamic ethics, Turkic poetry, adab, humility,
loyalty, contentment, moral philosophy, political
thought, allegory, didactic poetry, Timurid culture, kings
and sages, symbolic narrative.
Introduction:
Alisher Navoi’s Hayrat ul
-
Abror (“Wonder
of
the Righteous”), the introductory masnavi of his
celebrated Khamsa, stands as a masterful confluence of
literary brilliance, moral philosophy, and pedagogical
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European International Journal of Philological Sciences
intent. Composed in 1483 at the height of Timurid
intellectual flourishing, this work encapsulate
s Navoi’s
vision of a just and virtuous society rooted in spiritual
ethics and personal discipline. Far more than a mere
poetic introduction, Hayrat ul-Abror establishes a
foundational ethical framework that reverberates
through the remaining works of the Khamsa.
Structured around didactic narratives, allegorical
reflections, and rhetorical wisdom, the poem
elaborates on essential human virtues such as adab
(etiquette), tavoze (humility), vafo (loyalty), and
qanoat (contentment)
–
values seen by Navoi as critical
to the integrity of both individual character and
political governance.
Through parables involving kings and sages, lovers and
mystics, Navoi articulates a moral order in which
spiritual insight triumphs over material ambition and
where inner refinement supersedes social status. Each
story functions as a microcosm of ethical deliberation,
embedding divine wisdom in accessible, human-
centered tales. The poem’s subtle critique of
arrogance, injustice, greed, and hypocrisy reflects
Navoi’s profound engagement with Sufi metaphysics
and Islamic ethical thought, blending Eastern
philosophical ideals with Turkic poetic sensibilities.
Particularly notable is Navoi’s use of literary artistry
not only to entertain but also to instruct, positioning
the poet as a spiritual guide in the public sphere.
Hayrat ul-Abror thus emerges not simply as a mirror for
princes, but as a universal guidebook for ethical living
–
relevant as much to the rulers of courts as to the
seekers of the soul. The virtues exalted in this work
speak across time and cultural boundaries, offering a
timeless code of conduct grounded in modesty,
faithfulness, dignity, and restraint. By situating moral
values within poetic beauty and narrative complexity,
Navoi ensures that ethical instruction is not imposed
but inspired. This article investigates these key virtues
as developed throughout the poem and reflects on
their philosophical depth, societal resonance, and
enduring relevance in the modern world [1].
Alisher Navoi’s Hayrat ul
-Abror is an exemplar of the
didactic literary tradition in classical Eastern literature,
emdiving a hybrid structure that seamlessly
integrates philosophical reflection (dībācha), social
critique, and a series of morally instructive allegorical
narratives. From its outset, the work reveals a
deliberate pedagogical intent: not merely to delight
the reader with elegant verse, but to guide them
through a moral landscape where virtue is both the
theme and the method of poetic expression. The poem
begins with a lofty dībācha–
a prologue rooted in
metaphysical musings on divine wisdom, the
responsibilities of humanity, and the order of the
cosmos. This section establishes the poem’s ontological
framework, asserting that ethical behavior is a reflection
of divine order and that poetry, as a divine gift, should
serve a higher educational purpose.
From the philosophical prelude, the text transitions into
a more socially grounded critique, wherein Navoi turns
his attention to the maladies of his time: unjust
governance, spiritual decay, moral ignorance, and the
corruption of both courtly and religious institutions. Yet,
rather than issue direct rebuke or political polemic,
Navoi employs the allegorical tale as a subtle but potent
tool of instruction. The poem thus becomes a moral
mirror (ayina-i ibrat)
–a reflection of society’s ills and an
invitation to personal and collective reform. Kings,
viziers, dervishes, lovers, and sages populate the poem’s
narrative universe, each figure offering an embodiment
of either moral failure or exemplary virtue. Through
their actions and fates, the reader is led to internalize
principles of adab (etiquette), tavoze (humility), vafo
(loyalty), and qanoat (contentment) [2].
One of the distinctive features of Hayrat ul-
Abror’s
structure is its interweaving of narrative episodes with
concise maxims, proverbial wisdom, and moral
commentary. This oscillation between story and
reflection encourages not only passive reception but
active contemplation. The stories themselves are often
archetypal, echoing Qur’anic parables, Persian romantic
traditions, and Sufi didacticism, yet Navoi renders them
uniquely his own through vivid imagery, psychological
insight, and linguistic sophistication. The poetic form
serves a dual function: its aesthetic beauty draws the
reader in, while its semantic depth unveils layers of
ethical instruction that require reflective engagement.
The intended audience of Hayrat ul-Abror is broad.
While Navoi addresses rulers explicitly
–
urging them
toward justice, humility, and responsibility
–
he also
speaks to the learned and the lay alike. The masnavi
form, with its rhythmic accessibility and moral
resonance, allows the text to circulate among diverse
strata of society, thereby becoming a tool of ethical
elevation not confined to the elite. In this sense, Hayrat
ul-Abror serves a dual didactic purpose: it functions as a
mirrors-for-princes text offering political advice
grounded in spiritual ethics, and simultaneously as a
popular manual of virtuous conduct for everyday
individuals [3].
Navoi’s use of poetic devices–
metaphor, simile,
allusion, and hyperbole
–
is not decorative but
instrumental in conveying complex moral truths. The
structure of the poem allows for transitions between
themes with seamless fluidity, guiding the reader from
the individual to the universal, from the temporal to the
eternal. In doing so, Navoi affirms
the poet’s role as a
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European International Journal of Philological Sciences
moral architect, a guide of souls, and a reformer of
societies. His verse becomes a vehicle through which
divine guidance and ethical wisdom are transmitted in
a form both memorable and moving.
In the moral and aesthetic universe constructed by
Alisher Navoi in Hayrat ul-Abror, adab transcends its
superficial understanding as refined behavior or
courtly decorum. It is conceptualized as the outward
manifestation of a deeply internalized ethical and
spiritual state
–
a visible sign of a p
erson’s alignment
with both divine order and societal harmony. Far from
being ornamental, adab is portrayed as the essence of
civilization itself, the very axis upon which both
personal dignity and public justice revolve. Navoi
repeatedly suggests that in the absence of adab, even
the most powerful of rulers or the most eloquent of
scholars fall into moral decay and spiritual blindness
[4].
The characters who emdiv adab in the poem
–
be they
wise counselors, righteous ascetics, or even
enlightened
monarchs
–
demonstrate
a
delicate
balance between personal restraint and social
responsibility. Through their comportment, speech,
decision-making, and relationships, they model the
integration of ethical principles into everyday life. Such
figures are not only respected by their peers but serve
as moral catalysts, uplifting the societies around them
by the sheer force of their virtuous conduct. Navoi
draws a direct correlation between a ruler’s adherence
to adab and the justice of his reign; the sovereign who
listens to wise counsel, acts with humility, and treats
his subjects with fairness is blessed with peace and
prosperity, whereas the tyrant who lacks adab invites
chaos and rebellion.
In the philosophical backdrop of the poem, adab is also
presented as a form of intellectual and emotional
discipline. It encompasses not only politeness or
external behavior but also knowledge of one’s place in
the cosmological order, self-restraint in the face of
provocation, and the ability to act in accordance with
ethical norms under all circumstances. This makes
adab both a personal virtue and a public necessity
–
essential for leaders, scholars, and common citizens
alike. Through rich metaphor and illustrative
anecdotes, Navoi exalts adab as a civilizational
imperative: a practice that cultivates the soul, dignifies
the individual, and preserves the moral architecture of
society [5].
In Hayrat ul-Abror, Alisher Navoi elevates tavoze
(humility) to the rank of spiritual enlightenment,
treating it not as a sign of weakness or inferiority but
as a mark of genuine wisdom and inner strength. The
humble individual in Navoi’s ethical framework is the
one who has recognized the limits of worldly power,
renounced egotism, and placed themselves in
submission to a higher divine order. This form of
humility is not performative or strategic; it is existential.
It arises from a deep awareness of the fleeting nature of
status, wealth, and authority
–
and the eternal
significance of spiritual integrity [6].
Navoi contrasts tavoze with kibr (arrogance),
particularly the arrogance of rulers who rely solely on
their armies, material opulence, or flattery of courtiers.
These kings are often portrayed as morally bankrupt,
their downfall hastened by their detachment from
ethical counsel and their overconfidence in temporal
power. By contrast, the humble figures in the poem
–
most notably dervishes, sages, or self-effacing advisors
–
possess an inner clarity and foresight that elevate them
above their seemingly lowly social position. Through
their humility, they access divine insight and are often
the ones whose wisdom reforms corrupted leaders or
transforms tragic circumstances [7].
Navoi’s treatment of humility is also deeply Sufi in tone.
The dervish figure, recurrent throughout the poem,
serves as a spiritual archetype whose outward poverty
masks an inward richness of faith and wisdom. Tavoze
becomes, in this light, a form of mystical consciousness
–
an ongoing process of self-effacement (fana) in the
presence of divine truth. It is through this humility that
the soul becomes receptive to knowledge, love, and
grace. Furthermore, Navoi portrays humility as a
prerequisite for other virtues: one cannot be truly just,
compassionate, or loyal unless one first overcomes the
tyranny of the ego.
Importantly, Navoi’s call to
humility is not limited to
spiritual figures. He extends this virtue as a universal
ethical principle relevant to all members of society,
especially those in power. For Navoi, a ruler who
practices humility is better equipped to serve his
people, enact fair laws, and maintain social harmony.
Tavoze thus becomes both a personal moral ideal and a
civic necessity, binding the soul to the divine and the
individual to the collective. Through poetic allegory and
narrative symbolism, Navoi urges readers to abandon
pride and embrace modesty as the truest path to
wisdom, justice, and human dignity [8].
Among the cardinal virtues extolled in Hayrat ul-Abror,
vafo
–
commonly translated as loyalty or fidelity
–
emerges as a deeply revered moral value and a pivotal
pillar of ethical life. Alisher Navoi portrays vafo not
merely as an emotional bond but as a moral covenant,
binding individuals to their promises, relationships, and
duties in both the personal and public realms. In a socio-
political context where betrayal, opportunism, and
shifting allegiances often undermined the foundations
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of trust, Navoi’s poetic emphasis on loyalty functions
as both a critique of moral decay and a prescription for
social cohesion.
Loyalty, in Navoi’s vision, is a multi
-dimensional virtue.
It encompasses the steadfastness of a lover who
suffers in silence rather than betray their beloved, the
constancy of a friend who remains true in times of
hardship, and the devotion of a servant or advisor who
fulfills their duty even at personal cost. These
archetypes populate Navoi’s stories as luminous
counterpoints to those who are swayed by fear, greed,
or ambition. Their endurance and moral clarity serve as
models for readers navigating a complex and often
treacherous world. Through their actions, Navoi
communicates that true loyalty is neither self-serving
nor blind
–it is rooted in sincerity (ikhloṣ),
responsibility, and moral courage [9].
Navoi’s treatment of vafo is not limited to
interpersonal relationships but extends into the
domain of statecraft and governance. The righteous
ruler is one who remains loyal to the principles of
justice, to his promises made to the people, and to the
ethical legacy of his predecessors. Conversely, the ruler
who breaks oaths, forsakes allies, or betrays public
trust is inevitably condemned
–
either through poetic
downfall or through explicit moral commentary. Thus,
loyalty is not only the glue that binds private affections;
it is the ethical foundation of political legitimacy.
Without
vafo,
institutions
collapse,
alliances
disintegrate, and societies descend into suspicion and
violence.
In a Sufi-inflected layer of interpretation, Navoi also
alludes to divine loyalty
–
the unbreakable bond
between the Creator and the sincere seeker. In this
mystical reading, human loyalty becomes a reflection
of divine fidelity: just as God is loyal to those who
approach Him with purity and devotion, so too must
humans emdiv vafo in their relationships with one
another and with the divine law (sharī‘a). The reward
for loyalty in Navoi’s mora
l universe is not only worldly
respect but eternal recognition
–
a place among the
truly righteous (abror).
In sum, vafo in Hayrat ul-Abror is more than a social
virtue; it is an ethical imperative. It fosters trust,
stabilizes relationships, and undergirds the moral
fabric of society. By embedding this virtue in
emotionally resonant stories and elevated poetic
diction, Navoi teaches that loyalty is not simply to be
admired
–
it must be lived, practiced, and honored even
under duress [10].
Qanoat, or contentment, is one of the most distinctive
and philosophically nuanced virtues championed in
Hayrat ul-Abror. Far from being a passive acceptance
of one’s fate, Navoi presents qanoat as an active,
conscious discipline of the heart and mind. It is the
ability to restrain desires, moderate ambitions, and find
inner peace through sufficiency rather than
accumulation. In a world driven by the pursuit of power,
wealth, and fame, qanoat stands as a form of quiet
resistance
–
a spiritual and ethical refusal to be enslaved
by insatiable craving.
Navoi’s narratives feature several characters–
often wise
ascetics, just rulers, or enlightened commoners
–
who
emdiv contentment through their modest lifestyles
and principled choices. These individuals are portrayed
as happier, more virtuous, and more spiritually aware
than the kings or merchants who are consumed by
greed. In one tale, a man who lives with little yet offers
hospitality to a stranger is praised not for his material
wealth, but for the richness of his soul. Such portrayals
challenge the prevailing social norms that equate worth
with status and demonstrate that true nobility resides in
the heart, not the treasury.
Contentment, for Navoi, is also a political principle. A
ruler who embodies qanoat governs with justice and
temperance; he does not exploit his subjects for the
sake of grandeur or expansion. In contrast, the tyrant
driven by tamaʻ (greed) imposes heavy taxes, wages
unnecessary wars, and hoards resources at the expense
of public welfare. In this context, qanoat is not simply an
individual virtue but a safeguard against systemic
injustice. It encourages rulers to focus on stewardship
rather than domination, and subjects to cultivate
gratitude and discipline rather than envy and
resentment.
The virtue of contentment is also deeply interwoven
with Navoi’s Sufi influences. In the mystical path, qanoat
is a sign of ridā–
satisfaction with the divine decree. The
seeker who has qanoat is not disturbed by fluctuations
in fortune because he sees all things as emanations of
divine wisdom. This spiritual tranquility allows him to
focus on the inner journey, free from the distractions of
worldly competition. In this sense, qanoat becomes a
path to both inner liberation and closeness to the divine.
Navoi’s elevation of qanoat thus
challenges both
materialist values and unbridled political ambition. It
promotes a culture of moderation, justice, and moral
clarity in both personal conduct and governance. In a
literary tradition where heroic conquest and romantic
yearning often dominate
, Navoi’s celebration of
contentment stands out as a bold ethical stance
–
a call
to redefine success not by what one possesses, but by
what one can do without.
A distinctive narrative strategy employed by Alisher
Navoi in Hayrat ul-Abror is the dramatization of ethical
discourse through the interactions between kings and
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sages. These episodes serve as allegorical tableaux that
explore the relationship between power and morality,
knowledge and authority, governance and spiritual
responsibility. The figures of the king and the sage are
not simply characters; they are archetypes
representing temporal rule and divine wisdom
respectively. Through their dialogues, Navoi constructs
a vision of ideal kingship grounded in ethical reflection,
humility, and a constant openness to moral counsel.
In these vignettes, kings are portrayed not as
omniscient figures, but as fallible humans in need of
guidance. The sages they consult are often spiritual
figures
–
dervishes, hermits, or anonymous ascetics
–
who speak truth to power, sometimes at great
personal risk. Their words are not flattering but
truthful, drawing upon religious, philosophical, and
moral principles to illuminate the responsibilities that
come with sovereignty. Navoi’s literary technique here
is subtle but effective: by embedding political critique
within poetic allegory, he avoids overt confrontation
while still addressing the ethical lapses and
shortcomings of his era’s ruling elites.
These exchanges emphasize that rulership is not a
license for indulgence or oppression but a sacred trust
(amanat) entrusted by God. A just king, in Navoi’s view,
is one who cultivates adab, practices tavoze, remains
vafo to his duties and people, and governs with
qanoat
–
moderation and restraint. The legitimacy of
political authority is thus tied not to lineage or
conquest, but to the ruler’s moral character and
willingness to serve the public good. In this framework,
justice (‘adl) becomes the highest form of governance,
and the king’s ethical compass must be constantly
realigned through the advice of the wise.
Through these moral dialogues, Navoi provides a
model of enlightened kingship that draws from both
Islamic political philosophy and Persian literary
tradition. His ideal ruler is an embodiment of ethical
intelligence
–
one who listens more than he speaks,
who fears God more than he desires glory, and who
understands that power without wisdom is both fragile
and dangerous. The king-sage paradigm in Hayrat ul-
Abror is not a relic of medieval didacticism, but a
continuing call for moral accountability in leadership
–
relevant in any age or polity.
Rather than delivering his ethical message through dry
moral prescriptions, Alisher Navoi relies on rich
symbolic and allegorical constructions to invite
reflection and internalization. Every character, setting,
and event in Hayrat ul-Abror serves as a vessel of
meaning
–
layered,
evocative,
and
open
to
interpretation. This artistic choice not only enhances
the aesthetic appeal of the poem but also enables
Navoi to communicate complex spiritual and moral
truths in a form that is accessible, memorable, and
transformative.
Symbols in the poem are not arbitrary; they are drawn
from a shared cultural and religious lexicon familiar to
Navoi’s audience. A blind beggar, for instance, may
symbolize not deprivation but divine insight
–
suggesting
that spiritual vision often exists where physical sight
fails. A king adorned in gold may represent not power
but inner emptiness
–
an illusion of greatness masking
moral bankruptcy. Rivers, gardens, palaces, and deserts
function not just as backdrops but as metaphors for
states of the soul or stages of moral development.
Allegory allows Navoi to layer meaning without didactic
rigidity. Stories that appear simple on the surface
–
tales
of love, betrayal, loyalty, or suffering
–
are in fact ethical
dramas that reflect the human condition. Readers are
encouraged to look beyond the literal and engage in a
process of interpretation, thereby internalizing the
lessons on a personal level. This participatory aspect of
the text transforms it from a passive experience into an
active moral dialogue between poet and reader.
Navoi’s symbolic style serves a protective function. In a
political context where open criticism of rulers or clergy
might be dangerous, allegory becomes a safe and
effective means of social critique. It empowers the poet
to raise ethical questions about injustice, hypocrisy, and
corruption without direct confrontation. In doing so,
Navoi exemplifies the intellectual courage and moral
creativity of the classical Islamic literary tradition, where
metaphor becomes a shield and a sword
–
protecting the
poet while piercing the reader’s conscience.
Although deeply embedded in the cultural, religious,
and philosophical milieu of the 15th-century Timurid
world, Hayrat ul-Abror transcends its historical moment.
The core virtues it promotes
–
etiquette, humility,
loyalty, and contentment
–
resonate across time,
geography, and civilization. These are not merely Islamic
or Turkic values; they are foundational principles of
ethical humanism that speak to the moral aspirations of
all societies. In an age marked by material excess,
political volatility, and moral relativism, Navoi’s call for
principled living and ethical governance feels strikingly
contemporary.
Navoi’s poem continues to be studied not only for its
literary beauty but for its moral clarity. It has inspired
generations of readers in Central Asia, the wider Turkic
world, and beyond. Its influence can be seen in
educational curricula, political thought, and spiritual
literature throughout the region. The universality of its
message lies in its rootedness: by articulating timeless
values through local language, form, and symbolism,
Navoi constructs a bridge between the particular and
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the universal.
The endurance of Hayrat ul-Abror is a testament to
Navoi’s genius as both a poet and a moral philosopher.
He understood that the human soul yearns for more
than pleasure or power
–
it seeks meaning, coherence,
and moral anchorage. His poetry provides that
anchorage, offering a compass for navigating ethical
challenges in both private and public life.
In today’s wo
rld
–
where leaders often lack humility,
societies are fractured by mistrust, and individuals are
alienated from spiritual traditions
–Navoi’s vision
remains a beacon. He invites us to revisit the meaning
of dignity, the necessity of moderation, the beauty of
faithfulness, and the transformative power of self-
restraint. Hayrat ul-Abror thus lives on, not as a relic of
literary history, but as a living guide for the conscience.
CONCLUSION
Alisher Navoi’s Hayrat ul
-Abror stands as an enduring
testament to the power of literature as a vehicle for
ethical reflection and moral transformation. It is far
more than a poetic exercise or a cultural artifact of the
Timurid Renaissance; it is a deeply human document, a
repository of timeless virtues presented with lyrical
brilliance and philosophical depth. Navoi does not
merely write to please or entertain
–
he writes to
educate, to awaken the conscience, and to inspire
righteous conduct in every domain of life.
By exalting the core virtues of adab (etiquette), tavoze
(humility), vafo (loyalty), and qanoat (contentment),
Navoi articulates a comprehensive moral framework
that remains as relevant today as it was in the 15th
century. These virtues are not presented as abstract
ideals but as living principles embodied by characters,
dramatized through parables, and reinforced through
philosophical reflection. In doing so, Navoi creates a
blueprint for ethical life that addresses both the inner
development of the soul and the outer responsibilities
of leadership and citizenship.
His portrayal of the ethical king, the humble sage, the
faithful lover, and the contented ascetic offers readers
models of excellence that transcend social status,
historical context, and religious affiliation. Whether
speaking to rulers in need of moral restraint, scholars
in search of deeper insight, or ordinary individuals
grappling with daily temptations, Navoi’s poetic voice
carries a universal resonance. He bridges the gap
between the sacred and the secular, the political and
the personal, offering a vision of life governed not by
ego or ambition, but by self-discipline, compassion,
and spiritual awareness.
The literary form of Hayrat ul-Abror
–
rich in allegory,
symbolism, and narrative variety
–
ensures that its
ethical teachings are not only accessible but profoundly
engaging. By embedding morality in beauty, Navoi
ensures that virtue is not imposed but discovered; not
preached, but evoked through reflection and emotional
resonance. His work encourages readers not only to
admire goodness but to practice it
–
to become
participants in the moral drama he so eloquently stages.
In an age increasingly defined by moral ambiguity,
political corruption, and spiritual emptiness, Hayrat ul-
Abror reminds us that the pursuit of virtue is not a relic
of the past, but a living necessity. Its lessons remain vital
for educators, leaders, philosophers, and all who seek a
principled
existence.
Navoi’s
ethical
universe,
constructed in verse, invites every reader to reflect
deeply, live intentionally, and contribute to a more just
and harmonious world. As such, Hayrat ul-Abror is not
only a jewel of classical literature but a timeless
guidebook
–
a poetic blueprint
–
for ethical life.
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