Volume 03 Issue 05-2023
32
International Journal of Advance Scientific Research
(ISSN
–
2750-1396)
VOLUME
03
ISSUE
05
Pages:
32-37
SJIF
I
MPACT
FACTOR
(2021:
5.478
)
(2022:
5.636
)
(2023:
6.741
)
OCLC
–
1368736135
A
BSTRACT
The article discusses the interpretation of the image of nature in Ogahi's Rubaiyat. Rubaiy has a special
position in literature and poetry as one of the most convenient forms of expression of thoughts and feelings,
so the study of its genre possibilities and its place in the works of poets is as important for classical poetry
as it is for modern literary studies. is important.
K
EYWORDS
Musammat, tazmin, tasmit, ghazal, takhmis, rhyme, exclamation.
I
NTRODUCTION
The birth of every great poet is a special event.
The difference is that the work of a true poet
creates new changes in the spiritual life of the
nation, and uplifts thinking. Also, a real poet can
justify the trust of his people in any situation, and
also be a support for his soul. According to
historical data, when the people were in a difficult
situation, they turned to Maulana Jalaluddin
Rumi, asking him for help and comfort. One day,
when the artisans complained about injustice and
oppression, Maulana said, "Have you ever seen a
butcher slaughter a dog, he certainly slaughters a
sheep." Even in the most dangerous times,
Jalaluddin Rumi did not separate himself from the
working people, he did not withdraw himself at
all. For example, when the troops of the Mongol
Journal
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Research Article
TEXTILOGICAL STUDY OF OGAHI MUHAMMAS
Submission Date:
May 05, 2023,
Accepted Date:
May 10, 2023,
Published Date:
May 15, 2023
Crossref doi:
https://doi.org/10.37547/ijasr-03-05-05
Nodirjon Abduhalil Ogli Jamolov
Second-Year Master's Student, Majoring In Textual Studies And Literary Source Studies, Tashkent State
University Of Oriental Studies, Uzbekistan
Volume 03 Issue 05-2023
33
International Journal of Advance Scientific Research
(ISSN
–
2750-1396)
VOLUME
03
ISSUE
05
Pages:
32-37
SJIF
I
MPACT
FACTOR
(2021:
5.478
)
(2022:
5.636
)
(2023:
6.741
)
OCLC
–
1368736135
commander Boychu approached the border of
Kunyo, the people who lost hope in the
government sought the presence of Mavla. That
night, His Holiness Rumi left the children and
went alone to a hill near the Mongol commander's
residence, watched the situation of the invaders
and spent the morning on this hill.
The formation of musammats as a genre dates
back to the 11th century. The sources mention the
names of Manuchehri Damghani (d. 1040) and
Qatron Tabrizi (middle of the 11th century) as the
poets who created the first musammats. The
creation of musammats was strongly influenced
by the use of the art of musajja' in ghazals and the
forms of stanzas in Arabic poetry such as
muvashshah and zajal. Musammats were
originally named Tasmit [1, 92].
The first information about musammats in
Turkish literary studies is given in the work
"Funun ul-balagha" by Sheikh Ahmad Tarazi. The
author mentions five types of musam-mats:
murabba', mukhammas, musaddas, muzambal
and muashshar [2, 20b].
Musammats are of 2 types according to the nature
of their creation:
1) tabi hud, i.e. independent objects;
1) tasmit - musammats created on the basis of
ghazals (tazmin musammats) [3, 113].
Naturally, all the verses are created by the same
poet. In this case, the creator does not use the
poem of another poet as a basis but creates a
poem independently. In Tazmin musammat, the
author takes another poet's ghazal or sometimes
(in very rare cases) his own ghazal as a basis and
continues the same theme, creating a musammat
while preserving weight, rhyme and radif. 3 or
more verses are added to the upper part of each
verse of the ghazal based on this. In the eulogy,
the poet's nickname is mentioned. In the history
of
our
classical
literature,
murabba',
mukhammas, musaddas and muzamkal types of
musammats are widespread.
In our previous research, we have studied the
features of the creation of muhammas, musaddas
and muzamsal in Alisher Navoi's "Khazayin ul-
maani" collection and reported that all the poet's
musammats are in the direction of compensation
[4, 143-147]. In this article, we would like to touch
on some aspects of Ogahi's predictions created in
Turkish.
According to the information in Ogahi studies,
there are about 90 mukhammas in the Ogahi
Divan [5, 400]. They can be divided into three
groups according to the characteristics of their
creation:
1) tabi khud muhammas;
2) Takhmis to the ghazals of predecessors and
contemporaries;
3) Takhmis to his ghazals.
It is not easy to determine the boundaries and
foundations of an enlightened worldview. There
is no doubt that his religious and theological
views were formed under the influence of Islamic
concepts, especially the Holy Qur'an. Ogahi's
Volume 03 Issue 05-2023
34
International Journal of Advance Scientific Research
(ISSN
–
2750-1396)
VOLUME
03
ISSUE
05
Pages:
32-37
SJIF
I
MPACT
FACTOR
(2021:
5.478
)
(2022:
5.636
)
(2023:
6.741
)
OCLC
–
1368736135
connection with the mystical world goes back to
the way of Najmuddin Kubro, maybe even further.
Ogahi is Alisher Navoi's most loyal follower and
most talented student who continued his path in
poetry. His saying: "Agahiy, kim topqay erdi sozi
nazmingdin navo, Bahra gar yoktur Sanga from
Navoi's navoi", was a sincere expression of his
disciple's belief and respect. So, Ogahi was a
genius poet who summarized the experiences of
great artists of the East such as Nizami, Nasimi,
Saadi, Jami, Babur, Fuzuli in his figurative poetry
and showed the way to the poets after him.
According to the famous Turkish scientist
Muhammad Fuad Kupruli, "Ogayhi, who created
Mansur's works in a beautiful and impressive
style, like Munis, was far ahead of his uncle in
decorating them with poetic passages." It is not
unreasonable to say that Ogahi, who was a master
of the craft of poetry and a powerful poet, could
show his skill in writing poems describing battle
events in the style of "Shahnoma" in his works
about love and may.
The purpose of saying these things is one. Ogahi is
not a poet of Sufism, but an admirer of Sufism. He
looked at the beauty and truths of mystical life
with a critical eye. He relied on the teachings and
instructions of Sufism to purify the soul and
morals, perfect the heart and soul, and achieve the
pleasure of love and passion. But he never turned
the poem into a Sufism creed or empty advice.
Ogahi's poetry is related to Sufism. But it is by no
means limited in showing the principles of
relativity.
Not only was it embodied in the lyrical hero, but
poverty was a spiritual quality that was absorbed
into the "I" of Ogahi's personality and became his
way of life. Munis and Ogahi refer to themselves
as "poor" in their entire work, especially on which
page of the 1440-page "Firdavsu-l-Iqbal"
chronicle. This is not just a traditional case. As he
marched step by step, sometimes on horseback,
sometimes on foot, sometimes joyfully,
sometimes sullenly, in the afternoon and evening,
on military expeditions with the official officials of
the palace and the army, the carnage in front of
his eyes was formed by bloodshed and
martyrdoms. The hope of the poet and historian
from the fleeting, deceitful and cruel interests of
this world has completely from the human heads
piled up as tall as horsemen, from the people who
ate human flesh at the height of the famine, the
evil in human history and Hirsu has completely
turned away from envy. The only comfort,
comfort and refuge for him was God alone, he
lived with trust in God every second. It was a
miracle that Ogahi was able to survive the death
penalty in a terrible time, in the midst of countless
murders, and to create examples of high art.
The slogan "My poverty is my pride" shines in
every stanza of the poet's gazal, which will be
analyzed now.
Bizki, bukun jahon aro kishvari faqr shohimiz,
Boshimiz uzra ohimiz shu’l
asidur kulohimiz.
In the psyche of the lyrical hero of the gazal, the
most
important
generalized
qualities
characteristic of representatives of all orders of
Sufism are embodied in a state of synthesis. In his
artistic image, the dervish, restful mood, and
youthfulness are clear.
Volume 03 Issue 05-2023
35
International Journal of Advance Scientific Research
(ISSN
–
2750-1396)
VOLUME
03
ISSUE
05
Pages:
32-37
SJIF
I
MPACT
FACTOR
(2021:
5.478
)
(2022:
5.636
)
(2023:
6.741
)
OCLC
–
1368736135
In the first stanza of Malta, the poet is proud to say
that we are the king of the poorest country in the
world. Choosing a poor lifestyle means choosing a
dervish. Renunciation of the desires of the world,
leaving the castle of passion, and walking free
from the shackles of interests is a state of being.
Accepting the rites of the poor and the poor as a
conscious necessity, even though the person is
weak and poor, and the poor person is in a poor
condition, feeling as a king, noble, and brave in the
poem is a sign of youth-like bravery. In the gazal,
we come across the symbol of "oh" that divides
the universe in Mashrab. It's not for nothing. This
work is Ogahi's gazal written in the spirit. This
does not mean that Ogahi learned or was
influenced by Mashrab. The fact is that the gazals
are different, the authors are different. However,
the psyche, symbol and lyrical hero are one and
the same. This shows that our great poets are
close partners in the image of a perfect human
being. It also reflects the style of artistic depiction
in Uzbek's mystical poetry and the generalized
nature of the world of images.
G‘am shomi firoqingda kabob etti falakni
Ohi saharim, xohi inon, xohi inonma
In the verse, the "oh" of Mashrab's lyrical hero,
smoked in the morning, surrounds the world all
day long and "roasts the sky like a kebab" in the
"evening of sorrow", while the "oh" of Ogahiy's
lyrical hero is the heart flame of a fiery lover, and
his it is constantly worn over the head like a hat.
Ogahi's lyrical hero is such a king that his hat on
his head is his heart.
The attractive image of the lyrical hero's image
and character continues consistently:
Qasri rafe’imiz buzuq kulbayi ko‘hnamiz bo‘lub,
Go‘shayi ajzu maskanat tufrog‘i taxtu johimiz.
Being proud of poverty is a unique way to prevent
the devil and control the ego. If not, how can we
be proud of a broken and old hut as our high and
tall castle? In one corner, being proud of marrying
in weakness and poverty as a great rank and a
crown is a way of comforting sensuality and
maintaining spiritual and spiritual highness. In
Ogahi, the pride of poverty is so complete that the
lyrical hero exalts the place of poor poverty - the
soil as his crown, throne, and position.
If anyone suspects that Ogahi was an official
historian of the Khorezm palace, chief, a close
adviser of the khans and a state leader, he cannot
be so humble in life, then the great "Firdavsu"
written in praise of all the Khorezm khans -l-
Iqbal" [6, 78] at the end of the annals, please pay
attention to the following lines that describe the
state of mind of a thinker who is sad and painful,
needy and helpless:
“Nechuk bo‘lmas alamdin toqatim toq
Ki, borman g‘amga juftu juftdin toq.
Uyim vayrondurur davron g‘amidin,
Ko‘ngul oshuftadur
uy motamidin.
Na yotsam, bistari xobim muhayyo,
Na tursam, uyda asbobim muhayyo.
Volume 03 Issue 05-2023
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International Journal of Advance Scientific Research
(ISSN
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VOLUME
03
ISSUE
05
Pages:
32-37
SJIF
I
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FACTOR
(2021:
5.478
)
(2022:
5.636
)
(2023:
6.741
)
OCLC
–
1368736135
Hujum aylab manga faqr ibtilosi,
Yana bir sori tanholig‘ balosi.
Erur holimg‘a nozir yig‘lag‘udek,
Musulmon birla kofir yig‘lag‘udek.
This gazal of Ogahi has great educational, moral
and educational value. It is a fascinating piece of
art. First, the creation of a gazal in a very musical,
playful way is a sign of great artistry. Through
this, the poet could express complex meanings in
light, smooth, pleasant tones, sing words and
make sounds, ensure the bright, clear and intense
consistency of the artistic content, and brilliantly
describe the spiritual image of the lyrical hero.
The gazal begins with the verse "We are the king
of poverty in the world" [7, 69] and ends with this
verse - radd ul-matla' - the art of returning the
matla. This artistic art ensures the integrity and
completeness of the gazal's content and artistic
device. The internal rhyming in the verses "Our
head is over, our head, our heart is our heart", and
"We are sad, we are sad" brought out the playful
tone of the gazal and the intense mental image of
the lyrical hero. In the text, it is possible to show
dozens of artistic methods that contributed to the
harmonious and attractive formation of the gazal
in terms of form and content.
In conclusion, it can be said that Mohammad Reza
Ogahiy Alisher Navoi, Fuzuli and other great
wordsmiths, made five of his gazals and turned
them into this. While writing a gazal on a specific
topic, the poet felt the need to return to this topic
after a while and thus made his gazals a
masterpiece. As a result of attaching takhmis to
his gazal, Ogahi gave a new spirit to the traditions
brought by Alisher Navoi to our classic literature
and showed his followership potential. When the
poet chose his gazals for this, he paid special
attention to the youthful and intense spirit in
them.
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режиму
русского
Volume 03 Issue 05-2023
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International Journal of Advance Scientific Research
(ISSN
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2750-1396)
VOLUME
03
ISSUE
05
Pages:
32-37
SJIF
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MPACT
FACTOR
(2021:
5.478
)
(2022:
5.636
)
(2023:
6.741
)
OCLC
–
1368736135
протектората // История и култура
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