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A DETAILED DESCRIPTION OF THE STRUCTURAL AND SUBSTANTIVE
CONTENT OF THE "TUHFAT UL-ABIDIN WA ANIS UL-ASHIQIN" BAYAZ
Jurayeva Nargiza Rafiq qizi
Master's student at Tashkent State University of Uzbek
Language and Literature named after Alisher Navoi
Annotation:
The beginning of the XIX-XX centuries have managed to arrive in manuscript and
tearing, and without our time in this process, socio-political and cultural changes have affected
to Uzbek literature. New directions, new spirits and new topics as well as new literary
movements have entered in the Uzbek literary. During this period, new names emerged in
Uzbek literature, and their works were covered in the Talent Projects. Many of them were
published in the form of bayaz, collections, the devans. The title of bayoz served as the main
literary source among works published during this period.
Keywords:
Bayaz, Muqimi, Hazini, Digar, Kami, Huvaido, Dilkash, Shvqi, Shahdi lithography,
lithography, muhammas, murabba, musaddas, ghazal, dugoh, chorgoh, tarje'band, munojat, fard.
Аннотация.
Начало XIX-XX веков успело дойти до рукописей и разрывов, и без нашего
времени в этом процессе социально-политические и культурные изменения затронули
узбекскую литературу. Новые направления, новые веяния и новые темы, а также новые
литературные течения вошли в узбекскую литературу. В этот период в узбекской
литературе появились новые имена, и их произведения были освещены в Талантных
проектах. Многие из них были опубликованы в виде баязов, сборников, деванов.
Название баяза служило основным литературным источником среди произведений,
опубликованных в этот период.
Ключевые слова:
Баяз, Мукими, Хазини, Дигар, Ками, Хувайдо, Дилкаш, Швки,
литография Шахди, литография, мухаммас, мурабба, мусаддас, газель, дугох, чоргох,
тарджебанд, муноджат, фард.
Among the many bayazes and collections produced during this period, such as
“Armugoni Khyslat”, “Turkish Gulistan or Morality”, “Bayazi Haziniy”, “Tuhfai Shavkat”,
“Majmuai shoiron”, “Bayazi Miriy”, “Bayazi Nodim”, “Bayazi Kamiy”, “Haft shuaro”,
“Bayazi Tabibiy”, “Tazkirai shuaro”, the unpublished and unstudied bayaze “Tuhfat-ul obidin
va anis ul-oshiqin” (“The Gift of the Obids and the Love of Lovers”) is also of particular
importance.[5] Although the term bayaz is not entirely new to us, we found it necessary to
briefly explain this term. Its lexical meaning is “whiteness”, and as a term it means “a collection
of poems”.[9:2] Bayazes usually consist of poems by two or more poets. Bayazes are mainly
composed of lyrical works by famous poets and do not promote or advocate a particular idea or
worldview, and there is no periodicity in the selected works. How much of whose poetry to
include depends on the desire of the compiler of the bayaz. Bayazes consist of a sarbayoz
(introduction), lyrical poems (the main part), a conclusion, and an appendix.[9:2] In some
bayazes, the names of the poets whose works are included are given as a table of contents. Such
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collections were compiled by the authors themselves or by literature lovers and calligraphers,
and played an important role in the promotion of literature.
We know that there are two copies of the bayoz that we are going to talk about below: one
that is kept at the Imam Bukhari International Research Center in Samarkand (in its full version)
and another that is kept in the museum-reserve in Bukhara under inventory number 12/443
(some pages are missing), and we will try to provide detailed information about the Bukhara
copy of this lithographed bayoz "Tuhfat ul-obidin va anais ul-oshiqin".
Since the cover of the book has not reached us, we have witnessed that it is conditionally
titled “Bayaz: Muqimi, Shawqi, Haji Sabir, Hazini, Mukhlis, Huwaydo”. Also, the fact that the
first six pages of this work and some pages in between are missing has caused us considerable
difficulties in transliterating this lithographed bayaz. For example, the first five pages
mentioned above, twenty-one, twenty-two, twenty-three and twenty-four, eighty-three and
eighty-four, one hundred twenty-one and one hundred twenty-two have not reached us. We
learned valuable information about the fact that this lithographed bayaz "Tuhfat-ul obidin va
anis ul-oshiqin" (hereinafter abbreviated as "Tuhfat ul-obidin") was printed in Tashkent in 1326
AH - 1908 CE by Mulla Hasan Orifjonov in lithography (lithography) from the article "About
the era of Obid Namangoniy" published in the online publication "bukhari.uz".
If we pay attention to the content of the Bayaz, the first pages of this lithographed bayaz,
which consists of a total of one hundred and forty-two pages, contain a mukhammas by an
unknown author. This mukhammas complains about the fashion of the times and the
arbitrariness of the wheel. From pages 10 to 17 of the Bayaz, 3 five-line poetic samples entitled
“Mukhammasi digar” are given, which talk about the Islamic religion and Sharia. From this, we
can assume that the mukhammas in the first pages also belong to the same author named
“Digar”. On page 17, we can find lyrical samples belonging to the author named Haji Sobir.
This lyrical sample is in the ghazal genre, and its radifi is the word “khotun” and the behavior
of bad wives is criticized. The satirical spirit of the poet Mukimi is noticeable in this ghazal. At
the beginning of the examples of Haji Sobir's work, he was sometimes referred to as Haji.
Under this name, starting from page 18, a large ghazal with the phrase "Andijan" is given, and
it covers the socio-political situation of the Andijan region in its time. This ghazal, consisting of
21 verses, has come down to us incompletely until page 20. Two sheets, that is, four pages, are
missing. On page 25, another poetic example of Haji Sobir's travelogue, starting with "The
Tsar's son went to Samarkand...", is given. On page 28 of the Bayoz, another example of Haji
Sobir's work is given, starting from page 29, a series of ghazals known as "Ghazali digar". As
can be seen from the table of contents, the poems of the poets are not included in the Bayoz
based on the same regularity. In some places of the Bayaz, the lyrical works of the author, who
is given as Digar, are given as “Ghazali Digar” in some places. A total of nine ghazals belong to
Digar. I do not have enough information about the life and work of this author yet. Examples of
the works of several other such unknown authors can be found in this Bayaz. For example, a
little information is given about Haji Sobir (or Sobir) in the books “Tazkirai Qayyumi” by
Polatjon Domulla Qayyumi, but we did not notice any clear similarity between the works of
Sobir and Haji Sobir in it.[6,7,8]
A total of five examples of lyrical samples belonging to the pen of Haji Sabir are given,
and all of them are in the ghazal genre, and their content is aimed at criticizing the social and
moral-legal problems of their time.
The Bayoz also includes poets who are not well-known, such as Mukhlis, Miskin, Dilkash,
Shawqi, Shahdiy, and Vasliy, but whose pen aimed to reveal the realities of their time through
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sharp satire and humor, created ghazals, muhammas, murabba, and musaddas. As proof of our
words, we will cite the following ghazal translation belonging to the poet Miskin on page 89 of
the lithographed bayoz:
Ey dil, hoyi-havas deb yutmagʻil qon, arzimas,
Ikki kunlik umringgʻa bu bogʻ-boʻston arzimas.
Mol farzanding haqiqatda sanga dushman erur,
Bas alar-chun chin soʻzingni qilma yolgʻon arzimas.
Bu jahonda shod-u xandonlik bila umr oʻtkazib,
Oxirat borganda, ey dil, yigʻlasang qon arzimas.
Olamda allomadek, boʻlsang jahonda benamoz,
Nomai a’mol oʻqur vaqtingda armon arzimas.
Har na bersa haq sanga shukr, qanoat pesha qil,
Qil ibodat tangriga har kun, ketar jon arzimas.
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Har gunohinggʻa qilib bas, tavba deb zor yigʻlagʻil,
Munda tavba qilmasang, anda pushaymon arzimas.
Haq jamolin koʻrsatur, tingla, tongla chin oshiqlargʻakim,
Vasl oʻlsang haqgʻa, yuz ming hur, gʻilmon arzimas.
Miskino, shomi sahar yodi Xudoni qoʻymagʻil,
Bandagʻa yodi Xudodin oʻzga chandon arzimas.[1:89]
Almost all of the poetic samples given in Bayaz contain the same invitation as above. The
four ghazals written by Huwaydo and listed on pages 102, 103, 104, and 107 of Bayaz also
promote the ideas of worshiping Allah, loving our Prophet, and glorifying Islam.
On pages 42 and 44 of Bayaz, there are samples titled “Dugoh” and “Chorgoh,” as well as
3 fard samples, but we have not yet been able to determine the author of the fard. Eight
muhammas, five ghazals, and one munojat, two musaddas, and one murabba are given from
Hazini’s work. Four ghazals by Huwaydo are listed on page 108 after one muhamma. However,
we can only guess that this muhammas belongs to Huwaydo. The only poem by the poet
Mukhlis in the musaddas genre is on page 96 of the Bayoz. The same author's poem in the
muhammad genre is on page 78. The only ghazal by Mukimi with the radif "sandali" is on page
71, and this ghazal appears in other publications by Mukimi. [3:589]
The Bayoz also contains a single poem written under the pseudonym Shavqiy Rojiy. The
only lyrical poem by the poet Dilkash is on page 93 of the lithograph. The ghazal by the poet
Shahdiy is on page 118 of the lithograph, and the ghazal by the author Vasliy is on page 120.
In addition, on page 74, the muḥamma by Obid Namangani, which describes the characteristics
of that period, is particularly noteworthy, entitled “Mukhammas ul-Obid ʻala-l-Majrukh fi
ahwoli ahli zamon (Obid’s muḥamma to Majrukh’s ghazal about the state of the people of the
time).” The title of the muḥammas is also mentioned as “The State of the People of the Time.”
In this muḥammas, the socio-political and cultural situation in Turkestan is skillfully described
and commented on, and it can be called a beautiful example of aruz. In particular, it talks about
the socio-political situation in Turkestan, the non-national and non-religious nature of various
orders and regulations, and their consequences. The muḥammas begins as follows:
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Boʻldilar bizlarga nosih befarosatlar chiqib,
Amri maʼruf aylashurlar betahoratlar chiqib,
Maslahatdon boʻldi necha bezakovatlar chiqib,
Boʻldi Fargʻona elikim gʻayri sunʼatlar chiqib,
Turfa tartibu nizomu oʻzga bidʼatlar chiqib
The poet laments that various orders and rules and innovations outside the Sharia have
been introduced, and that those who give us advice, while they themselves are ignorant, have
increased. He regretfully describes how the Betahorats (here non-Muslims are meant - M.S.)
have come to us and have increased the number of those who give us advice and "teach us
manners", that the foolish and ignorant have come to teach us reason, and that the Fergana land
has fallen under the control of such people.
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We learn from the system of thoughts in the book that at that time it was necessary to
deprive local nations of their religious beliefs and national spirituality in order to subjugate
them, and that this way of Tsarist Russia's policy towards Central Asia was implemented in
practice. As we read Muhammas, we imagine scenes in our minds of how the value of Islam is
beginning to be undermined, that people no longer have the will to maintain honor for the sake
of religion, to work hard for its development, and that people's signs of brotherhood towards
each other are diminishing:
Baʼzilar masjid aro ermas xudo uchun muqim,
Madrasa ichra mudarris vaqfi uchun mustaqim,
Gar oʻzi lutf aylamas boʻlsa xudovandi Karim,
Mavja kelturdi zinovu fisqni bahrigakim,
Zohiri zohidsifat ahli sharoratlar chiqib
.
In these verses, Obid Namangani lamented that people who were outwardly pious, that is,
hypocrites, were attending mosques only for show, and that the madrasas were not teaching the
students of knowledge, but were doing so for the land of the madrasa and the income from it.
Because of this, a sea of adultery and corruption began to rise. This led to a crisis in
the fate of the nation.[5]
In Muhammas, illiterate, unenlightened ignorant people who did not study at the national
Muslim school appeared, and they caused the decline of our values such as religion,
Sharia, and enlightenment, that is, they created a tendency to commit sins in people's hearts,
and evil vices such as darkness, envy, and corruption spread among people, and as a result, the
religion of Islam came under criticism, like the seed of an ankh, to the point of extinction.
Obid Namangani regrets that people who are hypocrites, do not know the definition of
their sect, do not fear the wages of others, and who appear to be imams but are actually
strangers in their inner world, are ungrateful, and thieves, have become leaders of Sharia. At
that time, a type of people appeared who considered themselves to be Alexander the Great. In
fact, instead of being charitable and generous, their actions are based on usury to gain wealth,
and their deeds are only swindling. The Muhammas gives a realistic picture of this:
Aylagung ixlos toʻxtovsiz koʻrib diydorini,
Qaysi mazhabdin xalifa deb munofiq oʻgʻrini,
Haqi mardumdin hazar qilmas, nadur bilmam dinini,
Xonaqohda raqs urub oldi nechani kafshini,
Botini kizbu xiyonat ahli suhbatlar chiqib
.
At that time, the socio-economic, political and cultural situation of society reached such a
level that greed for money was higher than all sacred things, even parents, knowledge, and
respect for the descendants of the Prophet, who were revered throughout the nation. Perhaps we
can learn from the mentality of the Muhammed that insulting learned and virtuous people for
the sake of money, disrespecting parents, and honoring non-believers have become more
important. Obid Namanganiy mentions the harmony of faith, morality, religion and
enlightenment, and that religion has called people to honesty, truthfulness, humility, kindness,
and generosity for centuries:
Xoja, mulloni haqorat aylagaylar pul uchun,
Ilm odobini gʻorat aylagaylar pul uchun,
Volidaynni tarki izzat aylagaylar pul uchun,
Kesmagan hinduni izzat aylagaylar pul uchun,
El arosida otangan ahli izzatlar chiqib
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Obid Namangani, who saw the decline of religious values, calls on Muslims to avoid it, to
always be on the path of God, to decorate the heart with the knowledge of God, and to abstain
from sinful deeds.
It is known that the end of the 19th century and the beginning of the 20th century was a
period when the worldview of godlessness (atheism - M.S.) began to take root in the minds of
people throughout Turkestan. During this period, "wise people" who did not fear God came to
power, promoted whatever undesirable things they could in the name of Islam, invented new
rules and oppressed the people. In Muhammas, we can see the stages of the gradual
development of this process:
Bu Ali Sino erur hayron zamon tazvirigʻa,
Kor eturlarkim, yetib boʻlmas ani taʼbirigʻa,
Aldabon shayton elin band aylagay zanjirigʻa,
Hech nayrang oʻxshamas bu xalqning tazvirigʻa,
Ushlatur shayton yaqosin ahli sanʼatlar chiqib.
Yaxshiliq qilsang kima qayda sanga sud aylagay,
Qaydagi ulfatlaring dilshodu xushnud aylagay,
San vafo qilsang, jafolar birla nobud aylagay,
Yetmagan aqli shayotin ishni mavjud aylagay,
Qoʻrqmagan qahri Xudodan ahli hikmatlar chiqib
Finally, at the end of the muhammas, the author reminds us that death is not to be mocked
by tricks and other means (bribes, apologies by giving positions), that everyone will receive a
reward according to their deeds, that both sinners and believers are not beyond the sight of God,
and that in the end, everyone will inevitably leave this mortal world. Obid Namangani
concludes that death is a fact, and therefore, people should increase their goodness in this
mortal world.[5] This muhammas reflects the artistic expression of the fact that in the early
days of colonialism, Muslims were trampled underfoot by others and the people were deprived
of their religion, national values, and spirituality. The poet embodies himself as a patriotic
person who preserves religious values.
In conclusion, it is worth saying that the creative examples of the creators presented in the
content of this lithographic bayaz are extremely relevant and significant not only for their time,
but also today. As the consequences of negative vices such as corruption, greed, ingratitude,
and godlessness that are rampant in society are showing their terrible consequences in today's
increasingly materialistic world, we must show diligence in translating such works of art and
instill the ideas put forward in the content of the bayaz into the minds of today's young
generation.
The list of used literature:
1. Bayoz Buxoro qo‘lyozmalari fondi,INV 12443/II(25)
2. Tuhfat ul-obidin va anis ul-oshiqin.‒ Toshkent: Orifjonov toshbosmasi,1908. ( Samarqand
qo‘lyozmalar fondi)
3. Муқимий. ”ТЎЛА АСАРЛАР ТЎПЛАМИ”/ Тузувчи: Абдуллатиф, Tурдиалиев ва
б./‒Тoshkent:”ИҚТИСОДИЁТ”,2021.
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4. Ҳазиний. Асарлар// сўзбоши, луғат-изоҳлар муаллифлари: А.Мадаминов, О.Жўрабоев,
махсус муҳаррир,сўнгсўз муаллифи: Ш. Юсупов,‒Тoshkent: “ Маънавият”, 1999.
5.
Madrahim SAFARBOYEV, falsafa fanlari nomzodi, dotsent “Obid Namangoniy zamonasi
haqida “ (“Tuhfat ul-obidin va anis ul-oshiqin” bayozi asosida), buxari.uz. 16.02.2023
6.
Пўлатжон Қайюмий. Тазкираи Қайюмий ИИИ томлик, И том– Тошкент: ЎзРФА
Қўлёзмалар институте таҳририй нашриёт бўлимки,1998.‒298 б
7. Пўлатжон Қайюмий. Тазкираи Қайюмий ИИИ томлик, ИИ том– Тошкент: ЎзРФА
Қўлёзмалар институте таҳририй нашриёт бўлимки,1998.‒298 б
8. Пўлатжон Қайюмий. Тазкираи Қайюмий ИИИ томлик, ИИИ том– Тошкент: ЎзРФА
Қўлёзмалар институти таҳририй нашриёт бўлими,1998.‒298 б
9.
Shukurova Z. Bayoz tuzish an'anasi va uning adabiy jarayondagi ahamiyati. – Toshkent: “Til
va adabiyot ta‟limi” jurnali,7-son, 2022. 2 bet.
