European International Journal of Philological Sciences
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TYPE
Original Research
PAGE NO.
12-16
DOI
OPEN ACCESS
SUBMITED
20 January 2025
ACCEPTED
19 February 2025
PUBLISHED
17 March 2025
VOLUME
Vol.05 Issue 03 2025
COPYRIGHT
© 2025 Original content from this work may be used under the terms
of the creative commons attributes 4.0 License.
Addressing Messenger
Characters and Poetic
Mastery
Mardanov Rahim
Jizzakh Polytechnic Institute, Lecturer in the Department of Uzbek and
Foreign Languages, Uzbekistan
Abstract
: In the poetry of the great thinker Navoi,
ghazals on the theme of news constitute a significant
portion. Most of them begin with an appeal to
characters who convey messages. We will examine this
in the example of the great poet's ghazal, included in the
divan "Badoe' ul-vasat" under number 366.
Keywords:
Messenger Characters, Poetic Mastery.
Introduction:
In the poetry of the great thinker Navoi,
ghazals on the theme of news constitute a significant
portion. Most of them begin with an appeal to
characters who convey messages. We will examine this
in the example of the great poet's ghazal, included in the
divan "Badoe' ul-vasat" under number 366. In
ghazals on the theme of news, the main focus is
inquiring about the beloved's well-being or conveying
one's situation in separation to the beloved, and most
importantly, describing the hope of meeting the
beloved. In such ghazals, the anguish, lamentation, and
hope for union experienced by the lover in separation
from the beloved are depicted as the central image. In
the opening couplet, the lover's desire to convey his
ruined state to the beloved through a messenger, and
the wish to gain the beloved's attention are described.
The lover is troubled about whether the messenger can
convince the beloved that his grief in separation has
grown heavier and his suffering has reached the point of
taking his life:
Qosido, ollinda ahvoli xarobimni degil,
Mufrit anduh birla muhlik iztirobimni degil.
In the bayt, the poet skillfully uses the art of proportion
and epithet through the phrases "ahvoli xarob,"
"mufrit," "anduh," and "muxlik," so that the thought
penetrates deeper into the consciousness of both the
reader and the listener.
Qasid ‒ the
state of the lover, who asks the messenger to convey to
the beloved that he is in a difficult situation due to
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European International Journal of Philological Sciences
separation, is intensified by baytma bayt:
Ishqi ichra za’fligʻ jismim shikanji sharhin et,
Tor-
u zulfidek oʻt uz
ra pechu tobimni degil.
The lyrical hero, explaining to the messenger the
torment of his div, weakened by love, asks him to
report that his div is burning in the fire of separation,
twisting and bending like the strands of a beloved's
hair. The metaphors used in the verse, such as
*tashbeh* (like *tor-u zulf*) and *tanosib* (like
*za'fliğ*, *shikanj*; *tor
-u zulfb pechu tob*), enhance
its artistry.
In the next verse, the
lover asks the messenger:
Soʻrsakim, gʻam bazmida mensiz tuzarmu bazmi aysh,
Qon y
oshimdin boda, bagʻrimdin kabobimni degil.
That is, if the beloved asks the messenger: "Is the
beloved arranging a feast of pleasure without me at a
feast of grief?" ‒ he asks her to speak of the wine made
from the lover's own bloody tears and the kebab
prepared from his heart. The use of the syntactic unit
‒ ғам айши, which is formed from logically opposite
concepts in the first line of the verse, as well as the fact
that the units ғам айши and базми айш have opposite
meanings, created the art of tazod and increased the
artistry of the verse.
In the maqta of the ghazal, in order to exaggerate the
state of the lover, the poet follows the path of wit:
Ey Navoiy, gʻam bila bexudlugʻumdin nukta soʻr,
Yor hajrinda bu yangligʻ xoʻrdu xobimni degil.
The lyrical hero asks the messenger to the beloved to
drink his bloody tears as wine, to eat his burnt heart as
kebab, and to talk about his sleep, because he is
unconscious due to the grief of his beloved, that is, as
described in the previous verse. In the verse, the art of
proportionality is used by means of the words g'am,
buxudlug', hajr.
The rhyming words in the ghazal ‒ xarobimni
-
iztirobimni-tobimni-azobimni-behisobimni-
shitobimni-kabobimni-
xobimni) ‒ 3 words (tobimni
-
kabobimni-xobimni) are Persian-Tajik, the rest are
Arabic words. In the ghazal, the word degil, which
means "speak," "tell," is used as a radif. The rhyme
used in the ghazal is considered an absolute rhyme,
because after the consonant rawi "b" in rhyming
words, two suffixes are used - the possessive suffix -im
in the 1st person and the accusative case suffix -ni. The
ghazal is written in the ramali musammani mahzuf
meter of aruz: foilotun-foilotun-foilotun-foilun.
Takte'si: ‒ v ‒ ‒ / ‒ v ‒ ‒ / ‒ v ‒ ‒ / ‒ v ‒. It is know
n
that most of Hazrat Navoi's ghazals were created in this
meter.
Another ghazal by Alisher
Navoi, "Mendin ul chobukning...," which clearly
reflects his address to the messenger, is numbered 77 in
the "Badoe' ul-bidoya" divan.
This ghazal by Hazrat Navoi begins with an address to
the morning messenger:
Mendin ul chobukning, ey payki sabo, maydonin oʻp
Koʻyiga boshim niyozin etkurub, chavgonin oʻp.
In the matla, the lyrical hero asks the messenger Sabo,
on his behalf, to kiss the square of that mischievous
beauty, to offer his head to the street of his beloved,
and to kiss the chavgon that plays in this square. In the
verse, the words chobuk-maydon-chavgon created the
art of tanosib.
Bodpoyi sayrigʻa hamtaklik aylay olmasang,
Erga mendin yuz qoʻyub koʻrgan soyi javlonin oʻp.
In the couplet, the lyrical hero asks the messenger, if he
cannot accompany the mistress's swift horse on the
ride, that is, cannot run alongside her, to put his face on
the ground in his name and kiss every speck of dust
rising from the trail of the mistress's horse. In the
couplet, the poet uses the art of metaphor, expressing
the mistress's ride on a swift horse with the combination
bodpoyi sayr.
In the maqta' of the ghazal, Hazrat Navoi expresses his
dream of going on Hajj:
Ey Navoiy, Ka’bayi maqsud vaslin istasang,
Shohi Gʻoziy qasrining dargohi oliy shonin oʻp.
In this verse, the lyrical hero addresses himself thus: if
he aims to reach the Kaaba, he must first kiss the exalted
threshold of Shah Ghazi's court, that is, Sultan Husayn
Bayqara's palace.
The ghazal is composed in the ramali musammani
mahzuf meter of aruz: afoyili ‒ foilotun
-foilotun-
foilotun-
foilun, taqte'si ‒ ‒ v ‒ ‒.
In the ghazal, the words maydonin-chavgonin-javlonin-
bosqonin-paykonin-xandonin-domonin-shonin serve as
rhymes: 5 of them are Persian (maydonin-chavgonin-
paykanin-xandonin-domonin), 2 are Arabic (javlonin-
shonin), and one is Turkic (bosqonin). Based on their
endings, the absolute rhyme type is employed. In the
ghazal, the word "o'p" functions as a radif (refrain). The
lexical meaning of "o'p" used as a radif in the ghazal is
defined in specialized dictionaries, including the
"Explanatory Dictionary of the Uzbek Language," as
follows: O'PMOQ 1. To touch one's lips to someone or
something as an expression of affection or love, to kiss.
2. To touch one's lips to something considered sacred or
dear as an expression of respect, loyalty, or reverence.
[1:48]
In the ghazal "Ey sabo, jonim halokin...," which is
included in the divan "Badoe' ul-bidoya" as number 304,
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the address to the messenger also takes a leading role:
Ey sabo, jonim halokin ayla jononimgʻa arz,
Yoʻqki, jismi notavon ahvolin et jonimgʻa arz.
At the very beginning of the ghazal, the lyrical hero
appeals to the messenger in the form of the morning
breeze, asking him to convey his condition to the
beloved: the lover first (in the first line) asks the
messenger to complain about the death of his soul to
his beloved, and then (in the second line) not about
this, but about the condition of his weak div. In the
couplet, the art of tadrij (the beginning of the couplet,
that is, a stronger depiction of the theme set in the first
line in the next line) is used. Also, the poet skillfully
used the arts of ishtiqoq (jon‒jonon), tanosib (soul,
div, condition) in the verse [2:134].
Oh dudin, ashk qonin, nola maddin aylagil
Zulfi sunbul, yuzi gul, sarvi xiromonimgʻa
arz.
That is, the lover asks the messenger to complain
about the smoke of his sighs, the blood of his tears, and
the length of his lament to the cypress with hyacinth-
like hair, flower-like face, and graceful cypress. In the
verse, the poet used the art of tanosib (oh, ashk, nola)
and tashbeh (sunflower-haired, flower-faced, graceful
cypress).
In the maqtas of the ghazal, the poet skillfully used the
art of iyhom:
Ey Navoiy, hajr zindonida jonning xavfi bor,
Qilgʻasen topsang mahal, albatta, sultonimgʻa arz.
That is, in the verse, the poet appeals to himself, saying
that in the prison of separation there is a danger to the
soul, and when time is found, it is necessary to
complain to the sultan. The two meanings of the word
sultan in the verse, namely the explicit meaning of
Sultan Husayn Boyqaro and the implicit meaning of the
beloved, use the art of iyhom[3:68].
Navoi's ghazals created in the style of expressing his
heart's experiences while referring to the morning
breeze that came as a messenger constitute the
majority. Among the ghazals in the spirit of addressing
the messenger, such ghazals are distinguished by their
artistic content and philosophical depth. In particular,
we pay attention to the matla of the ghazal of the same
spirit, included in the divan "Navodir un-nihoya" under
number 93:
Ey sabo, holimni arz et gulruxi tannozima,
Egma qaddimning salomin ayt sarvinozima.
From this verse, one can understand that "the lyrical
hero is asking the morning breeze - the messenger - to
convey his condition to the coquettish, playful rose-
faced beauty, and to deliver the greetings of his bent
posture in separation to the tall, graceful beloved."
However, we are not satisfied with such a
straightforward interpretation of the verse; we sense
that there are other mystical meanings underlying it
that we have not yet grasped. The complexity arises
from the poet's attempt to express abstract inner
spiritual feelings through tangible imagery. In the
opening couplet, not only the experiences but also the
images of "coquettish rose-face," "bent stature," and
"graceful cypress," which express the associated lyrical
reality, are intertwined to holistically reflect the lover's
psyche in artistic hues. The use of metaphors (rose-face,
graceful cypress) and descriptive devices (coquettish
rose-face, bent stature) in the verse enhances its
artistry[4:120].
The ghazal "Ey sabo, sharh ayla avval..." (O morning
breeze, first explain...), considered one of Hazrat Navoi's
love ghazals, is included in the divan "G'aroyib us-sig'ar"
as number 179. Through an address to the messenger,
it extensively portrays the lover's spiritual state. In this
ghazal, romanticism and mysticism are intertwined to a
certain degree. Indeed, "oshiqona" (romantic) refers to
a lyrical work that depicts the joys and sufferings of love,
praises the beloved's beauty, and expresses the
emotions, excitement, and aspirations of a heart striving
to attain this beauty.
The entire ghazal is structured around addressing the
messenger, through which the experiences of the lover
in the throes of separation are expressed in a unique
style characteristic of Navoi's genius[5:4].
At the very beginning of the ghazal, the lyrical hero
addresses the messenger who has been to his beloved -
the morning breeze:
Ey sabo, sharh ayla avval dilsitonimdin xabar,
Soʻngra degil koʻngul otligʻ notavonimdin xabar.
That is, he asks the messenger first to explain the
message he brought from his beloved, and then to
speak of what is called the impatient heart. In the verse,
the art of proportion is created with the help of the
words дилситон, кўнгил, нотавон.
In the 85th ghazal "Ey sabo, holim borib..." of Alisher
Navoi's divan "Navodir ush-shabob," the address to the
messenger is described in a unique way. Because the
ghazal is written in a simple and fluent style, it has
become very popular among the people and is still sung
by singers today.
In Navoi's ghazals, there are many ghazals written to
address the morning wind and express his feelings to his
beloved through it [6:3].
The gentle, pleasant morning breeze touches the chest
of the lyrical hero who emerges from the night of
separation, writhing due to the pain of separation. The
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lover, whose heart is filled with the bitterness of
separation, releases his soul by pleading with the
morning wind:
Ey sabo, holim borib sarvi xiromonimga ayt,
Yigʻlarimning shiddatin gulbargi xandonimga ayt.
In the first verse of the matla, the lyrical hero, pleading
to inform his beloved of his condition, in the second
verse expresses his condition in comparison with the
beloved's state through the art of tazod: the lover is
surrounded by grief and tears, and the beloved,
unaware of this, is, on the contrary, happy and
cheerful.
Buki, oning ahd
u paymonida men oʻlsam, dogʻi
Yaxshi fursat topsang, ul bad ahdu paymonimga ayt.
It is understood that as a result of the lover's failure to
fulfill his promise, the lyrical hero found himself in such
a state. Through the phrase "bad ahdu paymon," the
poet promises and expresses non-compliance, and in
the same line, he uses this phrase as an alternative to
the word "yaxshi," strengthening and developing the
contrast in the matla'.
In the next couplet, hope for union with the beloved
appears mixed with the lover's complaint, declaration
of love for the beloved, and praise of her:
Buki, oning zulfi zunnorida dinim hosili
Kufr ila boʻlmish mubaddal, nomusulmonimga ayt.
If we look at the content of the verse superficially, it
expresses a complaint. Zulfi zunnor ‒ a specific colored
cord that Jews or Christians living in Muslim countries
are forced to wear around their waists ‒ the beloved's
infidel hair resembling such a cord separates the lover
from their faith and beliefs. In essence, the poet
depicts in this way how the beloved's long hair
captivates the lover. In Navoi's ghazals, the length of
the beloved's hair is not only a symbol of beauty, but
also serves to express long separation.
In the ghazals of Hazrat Navoi, the states of humility of
the lover before the beloved are described in a unique
way. We can see this in his ghazals written in the spirit
of addressing the messenger. In particular, in the
following ghazal, included in the divan "Badoe' ul-
vasat" under number 498, there is such a verse:
Men onsiz tufrogʻ oʻldum, ey sabo, sen rahm etib
bore,
Qotishtur koʻyining tufrogʻigʻa jismim gʻuboridin.
In this couplet, the lyrical hero tells the morning breeze
that he has turned to dust in separation from his
beloved, and begs it to have mercy by carrying away
the dust of his div and mixing it with the dust of his
beloved's street. The verse alludes to the Sufi doctrine
of wahdatul-wujud, which teaches the unification of
parts into a single, whole form: it speaks of the dust
(lover) merging with the dust on the beloved's street to
become one. In the verse, the art of proportion (tanosib)
is created through the use of the words tufrog' (dust),
ko'y (street), and g'ubor (particles).
In the following couplet from the ghazal beginning with
"Otashin gul bargidin xil'atki..." (numbered 194 in the
"Badoe' ul-vasat" collection), the spirit of addressing a
messenger is also clearly evident:
Tutmas
un gul suhbatidin sarv oʻzni koʻp sarfaroz,
Ey sabokim, ul tuni gulgun mening yonimdadur.
From the verse, it is understood that the lyrical hero,
addressing Sabo, emphasizes that he should not take
pride in the fact that he talked with the cypress in the
garden, that is, he should not be arrogant, that the
beloved, dressed like a flower, was beside him that
night. The complementary use of the arts of tanosib
(flower, cypress, morning breeze), ishtiqoq (flower-
flowery) and istiora (flowery) in the verse testifies to the
high skill of the poet.
Also, in the ghazal "Ul quyosh oq uyda-yu, men
muztaribmen," included in this divan under number
591, there is an appeal to the messenger:
Ichkari ul gul tuvurlugʻni koʻtarmaslar, netay,
Ey sabo farroshi, bir lutf aylabon ul yon dari.
In the verse, the state of a lover longing for union with
his beloved, suffering greatly in his separation, is
revealed in an even more beautiful way by addressing
the messenger. When the lyrical hero tries to look inside
the yurt where his beloved sits, no one picks up the felt
hanging on the window and opens the window.
Regretting this, the lover shows mercy to the morning
breeze once, goes towards that yurt, lifts the felt
covering of the window, and begs to be given the
opportunity to see his beloved.
The use of the arts of tanosib (inner, tuvurlug), nido (ey
sabo farroshi), istiora (sabo farroshi) in the bayt became
the basis for the perfection of the bayt. Among the
poet's ghazals in the spirit of addressing the messenger,
there are even ones where the heart acts as a Qasid:
Ey koʻngul, koʻyida ahvolimni jononimgʻa ayt,
Oʻlmakimni mehnati hijronida jonimgʻa ayt.
“Favoyid ul
-
kibar”, 81
-
gʻazal.
That is, in the verse, the lyrical hero appeals to the heart,
asking it to inform its beloved about the state of
separation from the beloved, about the state of death
in the torment of separation. The depiction of the heart
in the image of a messenger can be considered a
discovery by Hazrat Navoi. In the verse, the art of
exclamation, proportion, and passion are used.
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From our observations, it became clear that the
following conclusions can be drawn regarding the
section "Appeal to the images of the messenger and
poetic skill":
‒ firstly, in the ghazals of Alisher Navoi, ghazals in the
spirit of addressing the messenger also occupy a
significant place, and in them, the artistic skill
characteristic only of Navoi was able to manifest itself
in its entirety;
‒ secondly,
the poet skillfully used the means of artistic
imagery - badoe' us-sanoe' to bring his artistic
intention to the reader of the ghazal, as well as to the
consciousness of the listener;
‒ thirdly, in the ghazals
in the spirit of addressing the messenger, tanosib,
tazod, ishtiqoq, talmeh and iyhom are the most
common artistic devices. Because these arts are
considered one of the most convenient means of
expressing the poet's spiritual world, the fragment of
life that the poet wants to reflect in the ghazal;
‒ fourthly, unlike his predecessors and followers, Navoi
sometimes referred to the symbol of the heart as a
qasid. This, in turn, proves that the great poet made
innovations regarding symbols in the role of a
messenger.
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