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The genesis of the symbol of the “Soul” in lyric poetry
Dilafroz KAHHAROVA
1
Uzbekistan State World Languages University
ARTICLE INFO
ABSTRACT
Article history:
Received August 2024
Received in revised form
10 September 2024
Accepted 25 September 2024
Available online
25 October 2024
This article explores the use of symbols in the lyrical genre,
with a particular focus on the historical evolution of the symbol
“soul/heart.” It also examines the earliest sources in Uzbek and
Turkic literature that feature the symbol of the soul/heart, along
with the various terms used to represent it in these texts.
2181-3701
/©
2024 in Science LLC.
DOI:
https://doi.org/10.47689/2181-3701-vol2-iss4
/S
-pp349-356
This is an open-access article under the Attribution 4.0 International
(CC BY 4.0) license (
https://creativecommons.org/licenses/by/4.0/deed.ru
Keywords:
Soul,
symbol,
source,
history,
spirit,
heart,
lyric,
proverb,
folk song,
poem.
Lirik she’rdagi “Ruh” ramzi
iborishi
ANNOTATSIYA
Kalit so‘zlar
:
ko‘ngil,
timsol,
manba,
tarix,
ruh,
dil,
lirika,
maqol,
xalq qo‘shig‘i,
she’r.
Ushbu maqolada lirik janrda timsollardan foydalanish
masalalari muhokama qilinib, “jon/yurak” timsolining tarixiy
rivojlanishiga alohida e’tibor qaratilgan. Bundan tashqari,
u oʻzbek va turkiy adabiyotdagi qalb/qalb timsoli aks etgan ilk
manbalar va ushbu
matnlarda uni ifodalashda qoʻllanilgan turli
atamalar haqida maʼlumot beradi.
1
Teacher, Uzbekistan State World Languages University.
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Генезис символа «Душа» в лирической поэзии
АННОТАЦИЯ
Ключевые слова:
душа,
символ,
источник,
история,
дух,
сердце,
лирика,
пословица,
народная песня,
стихотворение.
В статье исследуется использование символов в
лирическом жанре, с особым акцентом на историческое
развитие символа «душа/сердце». Особое внимание
уделено ранним источникам узбекской и тюркской
литературы, в которых упоминается этот символ,
а также разнообразным терминам, применяемым для его
обозначения в данных текстах.
Literature is a field that allows one to reach into the human heart. Especially within
literature, the lyrical genre holds an even broader sphere of influence in this regard.
Lyricism serves as a genuine arena for expressing the heart’s sentiments. However, in
literature, the soul/heart has been elevated to the level of a symbol or image, becoming
one of the most fundamental symbols in lyricism. This is because, through the expression
of this symbol, the creator conveys their own emotional experiences. When discussing a
particular symbol or image, every reader initially strives to understand its origin and
essence more deeply. This endeavor leads to a clearer understanding of the symbol.
Therefore, we aim to explore the origin, essence, and genesis of the symbol of the
soul/heart specifically within lyricism.
“Ko‘ngil” (soul/heart) is one of the oldest and most widely used words in the lyrical
genre of the Turkic language, dating back to ancient times. The unparalleled role of folk
oral creativity in the establishment of the word “ko‘ngil” (soul/heart) as a poetic image in
literature, particularly in poetry, is undeniable. The word “ko‘ngil” (heart) originally
derives from Persian and Arabic languages and is synonymous with “dil” (soul), “qalb”
(heart), and the pan-Turkic “yurak” (heart). Despite this, the poetic expression of the word
“ko‘ngil” (soul/heart) is significantly broader compared to its synonyms mentioned above.
Our research has revealed that, compared to its synonyms, the word “ko‘ngil” (soul/heart)
itself has been used more frequently in the earliest written examples of Turkic literature.
This is one of the most significant aspects that attest to the distinctiveness of Turkic
poetry. In dictionaries,
ko‘ngil
(soul) is defined as the source of a person’s emotions and
feelings; yurak, qalb, dil, [1.415.] xotir, yod, fikr, hayol, ixtiyor [2.151] har narsaning
markazi, o‘rtasi, [3.26] (heart, soul, mind, memory, thought, imagination, will, the centre
or core of anything).
A.
Gulpinorli emphasizes that “Ko‘ngil (soul) is the name given to a person’s spiritual
essence, vitality, love, hatred, trust – the entirety and expression of all good and bad
feelings” [4.136].
When examining the historical roots of the word “ko‘ngil” (soul/heart), we cannot
overlook the folk proverbs, which are oral samples of cultural heritage. As we continue our
discussion, it is worth noting that in the realm of folk oral creativity, which is the
foundation of the art of words, expressions such as “ko‘ngil bermoq” (to love), “ko‘ngil
ko‘yi” (desire, wish), and “ko‘ngil olmoq” (to make happy) frequently appear. This
widespread usage of the word “ko‘ngil” in comparison to “yurak” (heart) and “qalb” (soul)
highlights its broader application [5.415-416].
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Proverbs are widely used among people and contain reflections aimed at drawing
conclusions from events that lead people towards goodness. Specifically, the word
“ko‘ngil” (soul/heart) has been reflected in proverbs for centuries and has been passed
down from language to language. Looking at examples, we encounter proverbs like
“Ko‘ngil kirini yetti daryo yuvsa ham ketmas” (The stain on the heart cannot be washed
away by seven rivers), “Ko‘ngil toshdan qattiq, guldan nozik” (The heart is harder than
stone, more delicate than a flower), and “Ko‘ngilning qolishi shishaning sinishi” (The
breaking of the heart is like the breaking of glass). These proverbs show that for centuries,
proverbs have acknowledged the heart as the most exalted thing. In proverbs like “Ko‘z
ko‘ngil oynasi” (The eyes are the mirror of the heart) and “Ko‘ngil gulini sevgi suvi
sug‘orar” (The flower of the heart is watered by the waters of love), we can understand
that the heart is compared to a mirror and a flower.
If we observe another form of folk oral creativity, the “lapar”s, we also encounter
instances where the word “ko‘ngil” (soul/heart) is used. Specifically:
“Oting bozor deganda, oting bozor,
Tol-tolgina sochingni taroq yozar.
Yaxshi bilan o‘ynashsang, ko‘ngling bozor,
Yomon bilan o‘ynashsang, ko‘ngling ozor”
[6.20].
In the excerpt from the above “lapar”, the primary emphasis is placed on the
concepts of good and evil. However, in both ideas, the significance of the human heart is
underscored. That is, if you choose to bond your destiny with a good person, your heart
will be like a bustling market. Conversely, if it is with a bad person, your heart will only
suffer. This clearly illustrates that the heart is so exalted that it cannot be treated carelessly
or with a wrong choice.
Or in another lapar (folk song):
“Qosh
ing qora qayloma,
Yorga ko‘ngil boylama.
Yorga ko‘ngil boylasang,
Tashlab ketsa yig‘lama.”
[6.27]
In most folk songs like the one mentioned above, the protagonist's pain and sorrow
are reflected. In such instances, it is not uncommon to encounter the symbols of the heart,
soul, and spirit. This is because the protagonist expresses their emotions through these
symbols.
As evident, in folk oral creativity, the symbol of the heart, which plays a central role
in conveying human emotions, desires, and aspirations, evolved over centuries and
adapted to the context and era. However, it did not develop to its fullest potential. Yet, once
this symbol transitioned into written literature, it attained a significantly higher position
in terms of both ideological and artistic value.
Some sources suggest that the word “ko‘ngil” (soul/heart) frequently mentioned in
examples of folk oral creativity and folk ceremonial songs, was actually used even earlier.
Specifically, the oldest text in which the word “ko‘ngil” (soul/
heart) appears in written
literature is considered to be the Orkhon-Enisey inscriptions, where it is found in forms
such as
“ko‘ngulteki, “ko‘ngulte”, “ko‘nglung
-
cha”
. These forms conveyed meanings related
to desire, wish, and aspiration [7.73].
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In Mahmud Kashgari’s “Devoni Lugotit Turk”, it is evident that the word “ko‘ngil”
(soul/heart) has evolved in form and meaning, becoming richer over time. He explains
“ko‘ngil” as follows: “Ko‘nyl – heart, acumen, intelligence. The phrase “ko‘nyllyk er” derives
from this, meaning an intelligent and astute person” [8.377]. Yusuf Khos Hajib’s epic
“Kutadgu Bilig” also emphasizes the concept of “ko‘ngil”. This can be understood through
the dialogues of the four main characters in the epic. Additionally, the epic states an
important notion: “Ko‘ngil istaganini topmasa, kishi erksiz bo‘lur” (If one’s heart does not
find what it desires, the person becomes powerless). Furthermore, the epic contains
wisdom attributed to the legendary Turkic mountain “Alp Er Tong”, referred to as ‘Alp Er”,
“Tonga Alp Er”, and and one of them says:
Et-
ul bu kishi ko‘ngli artar yidir,
Eti kad kadazgu e qilqi qadir.
(Kishi ko‘ngli go‘shtdir, hidla buzilur,
Go‘shtni avaylagin, ey fe’li qodir).
In this context, the heart (ko‘ngil) of a person is likened to a king, while the div and
soul are considered captives. It is said that a single word can either completely cool or
warm it. As we know, Yusuf Khos Hajib’s epic discusses how kings and khans should govern
the state. The wisdom related to the heart is not mentioned arbitrarily by the author.
In another masterpiece of ancient Turkic literature, Ahmad Yugnaki’s “Hibat ul-
haqaiq”, the concept of the heart is also discussed.
“Yig‘ip ko‘ngli to‘ymaz ko‘zi suq baxil,
Qul ul molga moli
angar erklik ul.”
[9.64]
Ko‘zi och baxil kishi qancha mol to‘plasa ham ko‘ngli to‘lmas, u mol dunyoning quli,
davlati uning ustidan hukmron (A miser’s heart is never satisfied no matter how much
wealth he accumulates; he becomes a slave to his possessions, and his wealth dominates
him). It is evident that a person attached to material wealth lacks peace of mind, while one
who possesses inner tranquillity is distant from materialism. In this regard, Yahya ibn
Muaz states, “My heart is superior to the worldly life and the hereafter. Because the world
is a place of toil and blessings, but my heart is a place of knowledge. Thus, knowledge is
superior to both the worldly life and the hereafter” [10.48].
It is evident that the earliest use of the symbol of the heart/soul (ko‘ngil) traces back
to the most exquisite masterpieces of Turkic literature. Additionally, the concept of the
heart/soul is also referenced in Sufism. In Sufi teachings, the heart is held in high regard,
with significant efforts made to analyze its role in a person’s life and destiny. “In Sufism,
there is a unique sanctuary that unites people of all religions, races, sects, and nations. This
sanctuary is the source of Sufi life – the heart, referred to as the throne of Allah” [11.88].
Ghazali frequently discusses the soul, or the concept of the heart, in his works.
Specifically, in his book “Ihyou ulumid-din” (The Book of the Heart), he states: “The heart
is such a thing that if a person knows it, indeed, he knows himself. If he knows himself,
indeed, he knows his Lord. The heart is such a thing that if a person does not know it, he
does not know himself, and if he does not know himself, he does not know his Lord.
Whoever is ignorant of his heart is even more ignorant of others” [12].
According to Ghazali, the first type of heart is extremely rare, while the most
common is the second type, a heart filled with the desires of this transient world. Although
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there are the third and fourth types of hearts, their numbers are not very large. At this
point, it is also appropriate to clarify another truth: the source and manifestation of Sufi
life is the heart.
In Sufi literature, the term “ko‘ngil” (heart or soul) is frequently mentioned, often
more so than “qalb” (soul) or “yurak” (heart). Numerous thoughts and reflections are
expressed about the “ko‘ngil”. So, what is the reason for this? The words in “Miftohul-
qulub” provide a unique answer to this question: “The ko‘ngil (soul) is within the heart. Its
honour far exceeds that of the heart. To harm the heart distorts and destroys a person
outwardly... Because the ko‘ngil (soul) is nestled within the heart, deeply wounding the
ko‘ngil (soul) can devastate a person both outwardly and inwardly”. This is why reflections
and considerations on the fate, condition, and truths of the ko‘ngil (soul) hold a prominent
place in Sufism. In fact, among Sufi terminology, words and terms explaining the states or
truths of the heart and ko‘ngil (soul) occupy a leading position. Without understanding
these, it is impossible to accurately comprehend and interpret the essence and meaning of
Sufi poetry. In Sufi teachings, the ko‘ngil (soul) is likened to the “arsh” (throne), “ka’ba”
(holy site), “ummon” (ocean), and “dengiz” (sea).
Later, in Turkic literature, particularly in the works of Ahmad Yassavi, who was a
prominent figure in Sufi teachings, significant attention was given to the imagery of the
"ko‘ngil" (heart or soul). However, Ahmad Yassavi differed from other Sufi poets in that he
began to compare the heart to a bird and a mirror.
Ko‘zum tushti, ko‘nglum uchti, Arshqa oshti.
Umrum kechti, nafsim qochti, bahrim toshti.
Karvon ko‘chti, manzil oshti, horib tushti,
Sir ulashti, netak bo‘lg‘ay holim mening.
(My eye fell, my soul soared, it rose to the Throne.
My life passed, my ego fled, and my sea overflowed.
The caravan moved, the destination advanced, it arrived weary,
Secrets were shared, what will become of my state?)
In this wisdom, Ahmad Yassavi describes the soul as aspiring to the Throne, free
from worldly attachments, by stating “ko‘nglum uchti” (my soul soared). In the above
wisdom, particular emphasis is placed on the concept of the “nafs” (ego). The fleeing of the
“nafs” (ego) enables the heart to yearn for the Throne.
According to Nasiba Bozorova, “In Sufism, the cultivation of the soul is considered
crucial. Therefore, Sufi poets have extensively discussed the state of the soul, the secrets
of attaining spiritual perfection, and the importance of the soul in Sufi poetry. The
significance of the soul in Sufi poetry is notable because it is poetry that has dedicated
considerable effort to drawing human attention to the soul, unveiling the mysteries of the
heart and soul, and resolving the relationship between God and man through the path and
needs of the heart. In Sufi poetry, the soul has acquired a fundamentally new essence. It
has been elevated to the status of the divine throne of Arsh, the seat of God” [13.24-25].
In general, the significance and analysis of the heart in Sufi literature, especially in
Sufi poetry, are deeply influenced by the holy book of Islam, “the Quran”. Specifically,
certain verses of the Quran emphasize this: “Fear Allah! Verily, Allah is the Knower of the
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secrets of hearts” (Al-Maida: 7)”. “Know that Allah intervenes between a person and his
heart” (Al-Anfal: 24).
This implies that even in sacred texts, the heart is depicted as the focal point of
Allah’s gaze. In Hadiths, the heart is not only described as Allah’s throne but also
emphasizes the importance of focusing on the heart rather than becoming enslaved by
material wealth, desires, and discontent.
For instance, one Hadith states: “Wealth is not in the abundance of possessions, but
(true) wealth is the wealth of the heart” [14.251].
According to history books, Uzbek literature ascended to a new stage of
development starting from the 14th-15th centuries. The thematic scope of the literature
expanded significantly. The connections between oral folklore and written literature
strengthened even further. During this period, poets primarily emphasized themes of love
and romance in their poetry. Professor A.
Hayitmetov also expressed similar views about
the poetry of the 15th century. He stated, “Poets like Lutfi, Gadoi, Atoi, and Sakoki
increasingly and seriously dedicated space to depicting the love, pain, desires, and
aspirations of the lover. They not only praised the beauty of their beloved but also spoke
loudly about their love, dreams, inner excitement, pain, and sorrow, as well as their
dissatisfaction with unrequited love. This led to the emergence of more profound
psychological depictions, and the portrayal of the human figure became more complete”
[15.66].
During that period, Persian literature saw the influence of poets such as Ferdowsi,
Saadi, Hafez, Attar, Nizami, and Khayyam, whose works impacted the literatures of many
countries. Poets writing in both Turkish and Persian predominantly focused on the theme
of love. In poems featuring themes of love and romance, the state of the lyrical hero‘s heart
is inevitably depicted.
Koʻnglim bu – hayronim mening shaydoyu sayroning sening,
Shaydoyu sayroning sening koʻnglim bu – hayronim mening [16].
“My heart is bewildered, for I am your wanderer and admirer,
Your wanderer and admirer, my heart is bewildered”.
In the excerpt from a ghazal attributed to Hafez, it is said that the heart is bewildered
by the beloved’s love, and the bewildered heart is infatuated with the beloved.
Bir g‘arib ko‘nglini qila olsang shod,
Yaxshidir yer yuzin qilgandan obod,
Lutfing-la bir dilni qul qila olsang,
Afzaldir yuz qulni qilmoqdan ozod
[16].
“If you can gladden a single lonely heart,
It is better than making the whole world prosperous.
If with your kindness you can enslave a heart,
It is better than freeing a hundred slaves”.
The following quatrain by Khayyam also revolves around the theme of love for the
beloved. The poet describes the state of a heart that has become estranged in the pursuit
of love.
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From the poems of the two creators mentioned above, it can be understood that the
symbol of the soul/heart (ko‘ngil) appears either as an intermediary to achieve love or as a
confidant and friend when suffering from love. Similarly, almost all representatives of Persian
literature depict the symbol of the heart in this way in their poems.
When examining the works of Turkish literature creators, the elements found in
Persian literature are distinctly noticeable. This is especially evident in the depiction of the
heart symbol.
Tortaram yuz ming jafo koʻnglum elindin, koshki
Bergay erdi haq koʻngul, berguncha sangi xoraye
[16].
“I would endure a hundred thousand torments from the beloved’s hand, if only The
Divine had given a heart, instead of giving me a stone”.
In the excerpt from Lutfiy’s ghazal, attention is drawn to both inner and outer love.
Ey koʻngul, bu yoʻlda ne gʻamdur senga
Kim, xayoli yor hamdamdur senga.
Sevdung oʻz haddingdin ortuq yorni,
Gar seni kuydursalar, kamdur senga
[17].
“Oh heart, what sorrow is there for you on this path,
For the beloved’s thought is your companion.
You have loved beyond your limits,
If they burn you, it is not enough for you.”
In the following quatrain, the poet’s love for the beloved is expressed. Lutfiy
describes the sorrow that has come to his heart in the path of love, yet he continues to live
with the thought of the beloved. He illustrates that even if his heart burns from love, it is
not enough for him.
Koʻnglum kuyarindin sanga men pand berurmen,
Ey mahrami jonu jigarim, netti, ne boʻldi
[18.38]
?
My heart burns from your love, and I offer you my advice,
Oh confidant of my soul and my liver, what has happened,
what has become?
In another excerpt from the ghazal with the refrain “Ne bo‘ldi” by the Turkic poet
Atoi, the poet describes the state of his heart, tormented to know the condition of his
beloved.
From the excerpts analyzed above, drawn from the works of Persian and Turkic
poets, it becomes evident that as literature has developed, the range of themes embodied
by its characters and symbols has also expanded. The soul/heart (ko‘ngil) symbol, in
particular, has been variously interpreted in both Persian and Turkic literatures through
didactic poems, romantic verses, and those reflecting Sufi teachings, shifting its
connotations with time and context. This symbol has persisted through the ages because
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the heart is considered the most precious gift bestowed by God to humanity. Hence,
regardless of the theme in which the heart symbol appears, it invariably manifests the
connection between human emotions and the individual.
This indicates that in any literary genre or type when the human figure is presented,
the depiction of the heart is inevitably included. Here, a bond is formed between the
creator's heart and the heart of their literary character. As it is said,
“The enjoyment of an artwork lies in engaging with the artist’s heart...”.
Overall, the symbol of the soul/heart (ko‘ngil) in classical literature was directly
shaped by the verses of the Quran, Hadiths, and especially the thoughts of prominent Sufis
regarding the spiritual perfection of God and humanity. Later, the refinement of these ideas
by great Sufis over the centuries and their artistic elaboration in the works of great
wordsmiths served the spiritual development of humanity, turning the heart symbol into
a central theme in classical literature.
In conclusion, it is worth noting that the unique interpretation related to analyzing
the role of the human being and their destiny is a fundamental aesthetic expression in the
lyrics of Zahiriddin Muhammad Babur.
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