European International Journal of Philological Sciences
41
https://eipublication.com/index.php/eijps
TYPE
Original Research
PAGE NO.
41-43
DOI
OPEN ACCESS
SUBMITED
26 October 2024
ACCEPTED
29 December 2024
PUBLISHED
30 January 2025
VOLUME
Vol.05 Issue01 2025
COPYRIGHT
© 2025 Original content from this work may be used under the terms
of the creative commons attributes 4.0 License.
An Analysis of a Ghazal
From Sakkoki Devan
Nurmuhammedova Maftuna Hilol qizi
Independent researcher, Tashkent State University of Oriental Studies,
Uzbekistan
Abstract:
The article focuses on the ghazals of Sakkoki,
one of the bright examples of Uzbek classical literature,
the analysis of ghazals and their figurative means, and
the lyrics of Sakkoki.
Keywords:
Ghazal, lyrics, poem, analysis of ghazal, aruz.
Sufyona, Matlaa.
Introduction:
Sakkoki is a mature talent who left a
bright mark in Uzbek classic literature and created
unique ghazals and odes. Regarding the poet, Alisher
Navoi gives the following definition in his "Khutbai
Davovin": "Mavlano Sakkoki and Mavlano Lutfiy are the
fusaha of the Uyghur group and the mature of the
Turkish literature , the sweet ijtihad of one is in
Turkestan and the other is latif author of ghazal poetry
is alive in Iraq and Khorasan, and there are also divans.”
Analyzing traditionalism in classical poetry on the basis
of individual poet's works, especially his lyrics, helps in
deeper understanding and discovery of the worldview,
artistic skills, visual means, and talent of that creator.
Studying Sakkoki's lyrics and analyzing them are
important for illuminating new aspects of 15th century
Uzbek literature, defining the poet's individual style,
language, and artistic-aesthetic skills. Below is an
analysis of a ghazal from Sakkoki's divan.
ب زوک ارق
ی
هلر
ق هزمغ
یل
ی
ب
ی
زو
م
ی
کن
ق افج
ی
همل
ن ملاع هلرب همشرک
ی
نم
ی
کن
ت
ی
ک
ق لاتبم
ی
همل
ای
مهرمرور
نم
ی
کن
ناج هتسخوب
ی
هغم
نس
ی
کن
درد
ی
کن
قی
تما
ت هق
ی
نک
درد وب زکره
ی
م
ق اود هغ
ی
همل
ند
ی
ادا
ق هتشکرس
یل
ی
ب
آ روق نماق
ی
ی
م ا
ین
ی
ای
کش
ی
کن
قارفوت
ی
ن
فات اکزوک
ی
سامل
توت
یا
ق
ی
همل
European International Journal of Philological Sciences
42
https://eipublication.com/index.php/eijps
European International Journal of Philological Sciences
س
ی
روروغز
نت مد ره
ی
نم
ی
ا
ی
هرچ
سهتوب
ی
قارف
ی
کن
ی
نموزو
ی
ا نوتلآ
ی
لاکت
ی
مغ
ی
کن
ن
ی
ک
ی
م
یا
ق
ی
همل
کناسلوبراوق
کشا
ی
دکن
ی
ن
رک
ی
نا
ت
ی
ب
برخآ
ی
هناک
رلاوک
ی
زو
ک ل ّوا بوزوکروک
ی
ش
ی
ن
ی
ق انشآ
ی
همل
ناطلس
ی
م
ا
ی
ا هلربافجوروج
ی
دلا
ی
کن
ناقرغاب
موزوک
ی
شا
ی
ب
ی
هل
مد ره
ی
ادموزو
ق ارجام
ی
همل
فلزوچ
ی
ن
نغ توت هغ
ی
تم
قبق
ی
ن
کاکس هشوب
ی
ا
ی
س شوق ناغلاغاب
ی
ن
ه اغراچوا
ی
ج
ق اوه
ی
همل
قازآ
ی
ن
Qara köz birlä ğamza qïlïp yüz miŋ jafā qïlma,
Käräšmä birlä ’ālamnï meniŋteg mubtalā qïlma.
Meniŋ bu hasta jānïmğa seniŋ dardïŋ erür marham,
Qïyāmatğa tikin härgiz bu dardïmğa davā qïlma.
Meni, ey ay, qorqaman qïlïp dun
yāda särgäštä,
Ešikiŋ tupraqïn közgä tapïlmas totiya qïlma.
Fïraqïŋ botasï ičrä qanïmnï sïzğurur har dam,
Yüzümni altun etkäli ğamïŋnï kimiya qïlma.
Axïr begāna tep giryän ešikiŋdin quvar bolsaŋ,
Külär yüz körgüzüp avval, kišini ašna qïlma.
Bağïr qan ayladïŋ javr
-
u jafā birlä sultānïm.
Közüm yašï bilä har dam yüzümdin mājarā qïlma.
Ey Säkkäkiy bu
šah qobqïn ğanïmat tut ču zulfïğa,
Azaqïn bağlağan quš sen, učarğa heč havā qïlma.
4. Qara köz birlä ğamza qïlïb…
Qara köz birlä ğamza qïlïp yüz miŋ jafā qïlma,
Käräšmä birlä ’ālamnï meniŋteg mubtalā qïlma.
Gamza
- to wink, to point with the eyes (NAL, IV, 103).
Don't beckon with your black eyes and do a hundred
thousand things, don't make the whole world yours
like me with your subtle gaze. The lyrical hero
artistically reflects the beauty of the beloved in a state
of pleading. Its beauty and melodiousness can
be felt from the mat of the ghazal. That is, the pictorial
tools used in it, such as black eye, gamaza, gaze, are
particularly noteworthy.
Meniŋ bu hasta jānïmğa seniŋ dardïŋ erür malham,
Qïyāmatğa tikin härgiz bu dardïmğa davā qïlma.
The following words of the lover reflect his pure feelings
for his beloved: My pain is the salve for my sick soul, that
is, my love for you, so do not cure this pain until the end
of the day. He says that I will not regret if I burn with this
pain until the end of the day. In this place, the poet is
pleading with his beloved, that is, Allah, that pure divine
love and patience will not leave his heart. Words with
opposite meanings of pain and cure in the verse are
used together, creating the art of contrast.
Meni, ey ay, qorqaman qïlïp dunyāda särgäštä,
Ešikiŋ tupraqïn közgä tapïlmas totiya qïlma.
Särgäštä
- wanderer, wanderer; wanderer; distraught
(NAL, III, 48). The lover again turns to his beloved and
says: O moon, I am afraid that you will make me wander
in the world, do not make the soil of your threshold into
my eyes as an undiscovered parrot. That is, I am afraid
of wandering in this world without you, and I live
dreaming of knocking on your doorstep as soon as
possible and stroking my eyes.
Fïraqïŋ botasï ičrä qanïmnï sïzğurur har dam,
Yüzümni altun etkäli ğamïŋnï kimiya qïlma.
Sïzğur
- to burn, burn (NAL, III, 74). My lover always cuts
my blood in the boda of your farewell, and begs you not
to use your sadness as chemistry to turn my face into
gold. That is, Firaq - the wedding ceremony of parting
burns my blood so much that it turns my face yellow and
tells me not to use your sadness on me in order to make
me sad.
Axïr begāna tep giryän ešikiŋdin quvar bolsaŋ,
Külär yüz körgüzüp avval, kišini ašna qïlma.
Giryän
- crying, (NAL, I, 403), grunting, weeping,
acquaintance - comrade, friend, acquaintance (NAL, II,
541). That is, if you call me a stranger and chase me
outside your door crying, don't introduce yourself by
showing me your smiling face. In this verse, the use of
words with opposite meanings, such as alien and
familiar, cry and laugh face, created the art of contrast.
Bağïr qan ayladïŋ javr
-
u jafā birlä sultānïm.
Közüm yašï bilä har dam yüzümdin mājarā qïlma.
Bağïr
-
liver; heart; heart; heart (NAL, I, 236), mājarā
+qil
–
to quarrel (NAL, II, 313). My Sultan, you made my
heart bleed with pain and suffering, don't make me cry
every time with tears in my eyes. That is, according to
the words of the lyrical hero-lover, he does not show
affection and loyalty to his lover, but always hurts her,
as a result, the lover's liver and liver turn to blood, tears
European International Journal of Philological Sciences
43
https://eipublication.com/index.php/eijps
European International Journal of Philological Sciences
in his eyes are pouring out and on his face. reflects a
conflict. The words such as oppression and conflict in
this verse create the art of proportion, while the
exaggerations shown with the help of basic pictorial
means create the art of exaggeration.
Ey Säkkäkiy bu šah qobqïn ğanïmat tut ču zulfïğa,
Azaqïn bağlağan quš sen, učarğa heč havā qïlma.
Azaq
- leg In the eulogy, the poet with great skill, having
completed a story, says to himself: O Sakkoki, seize this
king's shell, because you are a bird whose foot is tied
to its gills, do not prepare to fly, because you are no
longer you can't fly to the sides. So, the lover loves his
lover so much that his legs are tightly tied to his lover's
tail, and he cannot fly anywhere. But from the praise
of the ghazal, another meaning can be understood: the
lover is not indifferent to the efforts of the lover. The
art of tashbeh is skillfully used in the praise of the
ghazal.
In the ghazal, Sufi images and meanings, starting from
matla, shine through to praise. The ghazal consists of
the words of a lover addressed to his lover in the form
of a command and in the sense of a request.
CONCLUSION
In conclusion, it should be said that Sakkoki's ghazals
have been little studied. Many of them have not even
been printed in the current alphabet. In this article, we
transcribe one of his ghazals from the manuscript of
the poet's office under the number 7685, analyze and
interpret it in detail with a dictionary, and provide the
tools of artistic art in it.
REFERENCES
Sakkokiy. Gʻazallar. —
T.: 1966;
Gʻazallar, qasida. Kitobda: Hayot vasfi. —
T.: 1988
Oʻzbek adabiyoti tarixi. Besh tomlik. T.1. —
T.: Fan,
1978.
Rustamov E., Uzbekskaya poeziya v pervoy polovine XV
veka, M., 1963;
Mallayev N., Oʻzbek adabiyoti tarixi, 1kitob, 2nashr, T.,
1976;
Maʼnaviyat yulduzlari, T., 2001.
