Volume 04 Issue 10-2024
17
International Journal of Advance Scientific Research
(ISSN
–
2750-1396)
VOLUME
04
ISSUE
10
Pages:
17-28
OCLC
–
1368736135
A
BSTRACT
The article analyzes the role of stories in the composition of the dastans “Hayrat ul
-
abror”, their important
function in the formation of the structure of the work, the ideological and artistic features of the story, their
classification, and plot issues.
When creating the “Hayrat ul
-
abror” architectonics, the issues of the original
style of Hazrat Navoi, his attitude to tradition, the early epics of his predecessors and innovation were
highlighted. It was found that the stories, considered the illustrative final part of the conversations of the
epic, are an important factor in proving the poet’s artistic intention. “Hayrat ul
-
abror” emphasizes that
conversations and stories are inextricably linked, that a specific moral, poetic idea is expressed in
conv
ersations based on the author’s own opinion, the author’s views on time, space, reality, that the stories
reveal the issue discussed in the conversations, problem, the attitude of the sages of the past, saints to the
idea. This article also reveals the principles of updating epic stories, a realistic reflection of the spirit and
problems of the era in which the poet lived.
K
EYWORDS
Story, composition, plot, classification, poetic interpretation, artistic skill.
I
NTRODUCTION
Journal
Website:
http://sciencebring.co
m/index.php/ijasr
Copyright:
Original
content from this work
may be used under the
terms of the creative
commons
attributes
4.0 licence.
Research Article
THE ROLE OF THE NARRATIVE GENRE IN THE COMPOSITION
OF THE FIRST EPICS "KHAMSA"
Submission Date:
Sep 29,
2024,
Accepted Date:
Oct 04, 2024,
Published Date:
Oct 09, 2024
Crossref doi:
https://doi.org/10.37547/ijasr-04-10-03
Nigora Sharipova
PhD, DSc students, Navoi state pedagogical institute, Navoi innavations university, Uzbekistan
Volume 04 Issue 10-2024
18
International Journal of Advance Scientific Research
(ISSN
–
2750-1396)
VOLUME
04
ISSUE
10
Pages:
17-28
OCLC
–
1368736135
The epic "Hayrat ul-abror" differs from the
subsequent epics "Khamsa" in having a single epic
plot due to its complex composition and wide
range of characters. This epic is fundamentally
different from the next four epics of the “five” not
only ideologically and semantically, but also in
construction. The work can be divided into three
compositional chains:
a) general, integrated composition of the epic;
b) composition of conversations;
c) composition of stories.
This classification is also an important basis for
grouping the system of images in the epic. Images
in the epic participate in the formation of a
compositional chain. It should be noted that in
“Hayrat ul
-
Abror” articles and stories are
interconnected, and the articles express certain
moral and poetic ideas based on the author’s own
opinion and views on time, place and reality. The
stories define the attitude of the sages and
revered saints of the past towards the issue,
problem and idea discussed in the articles. The
author's views, expressed in stories and articles,
are substantiated by the problems of the destinies
of real historical figures, mystics, rulers, through
a work of art that has a plot on a life event.
M
ETHODS
Navoi is also a brilliant storyteller, and in this field
he wrote folk oral works, Nizami, Dehlavi, Jami's
"Khamsa", as well as Jalaluddin Rumi's "Masnavi",
Fariduddin Attar's "Mantik ut-tayr", "Tazkirat".
ul-avliya", Saadi's well known plots and parables
in the works "Gulistan" and "Boston". At the same
time, as a statesman, Navoi knew perfectly well
the character and way of life of different social
categories of his time. That is why the stories
clearly convey the image and spirit of social life.
If we compare the range of moral, social ideas and
problems presented in Nizami's epic "Mahzan ul-
asror" with the ideas in Navoi's "Hayrat ul-abror",
we can see that Navoi's stories are on a much
higher level. The stories in Amir Khusraw
Dehlevi's "Matla ul-Anwar" and Abdurrahman
Jami's "Tuhfat ul-Ahrar" are much richer and
more colourful than Nizami's stories. In
particular, the enlightening spirit is strong in the
stories of Jami's epic. The figures of rulers
(Noshiravon, Harun al-Rashid) in Nizami's stories
do not appear at the level of vivid personalities.
These shortcomings, in Navoi's opinion, were
somewhat corrected by Khusrav Deglavi.
–
According to the principles of epic by
Nizami, Dehlavi and Jami, the stories in Navoi
fulfil three important poetic tasks:
–
Arguing, justifying the question on the
topic of the conversations;
–
if the problem is justified, to express an
opinion about it in artistic images;
–
The role of familiarisation with the ideas of
the following epic "Khamsa".
Some of the characters in the narrative stories are
historical figures, kings (Noshiravon, Bahram,
Iskandar) and saints (Boyazid Bistomi, Ibrahim
Ahmed, Abdallah Mubarak, Sheikh Iraki, etc.),
Volume 04 Issue 10-2024
19
International Journal of Advance Scientific Research
(ISSN
–
2750-1396)
VOLUME
04
ISSUE
10
Pages:
17-28
OCLC
–
1368736135
some are ordinary hard-working people (his son
- an old man demanding food, an old woodcutter,
a slave, etc.), some are animals (a lion, a deer).
Some characters are nameless, given only
symbolic names (the tame Tomy and the
contented Blood). Some stories have a complete
plot, some stories have part of a plot.
The stories of "Hayrat ul-abror" can be grouped
by theme and content as follows:
a) stories in a mystical-philosophical spirit;
b) stories focusing on justice, valour and bravery;
c) stories interpreting human virtues and vices;
d) stories glorifying science and scholarship.
First group. Bayazid Bistomi and Muridi (first
conversation), Ibrahim Adham and Robiai
Adwiya (second conversation), Abdullah Ansari
(fourth conversation), Sheikh Iraki (ninth
conversation),
Iskandar
(fourteenth
conversation), Stories of Zainul-Abidin and his
son (seventeenth conversation ) can be included
in the first group.
The second group includes the stories of Shah
Ghazi (third conversation), Abdullah Mubarak
(sixteenth conversation), and Shah Bahram
(nineteenth conversation).
Stories belonging to the third group include
"Hotami Toyi" (fifth conversation), "Noshiravon
and Nargis" (sixth conversation), "A Satisfied and
Dissatisfied Friend" (seventh conversation), "Ikki
vafoli Yor" (eighth conversation), "Lyon and
Durroj Masali" (tenth conversation). Ayub and the
Thief (thirteenth conversation), Israelite Rind
(fifteenth conversation), Chin Gozali and her
lover
(eighteenth
conversation),
Khoja
Muhammad Porso and his stories about Khoja
Abu Nasr (twentieth conversation) may be learnt.
The fourth group includes the stories about Imam
Fakhr Razi and Khorezmshah (eleventh
conversation) and Yakut (twelfth conversation).
The scholar N. Ganikhodjaeva Navoi, who
researched the stories of "Khamsa", said that
throughout his activity Navoi defended the
interests of the people in order to prevent feudal
massacres, which subjected this people to
destruction and humiliation, and to establish
peace in the country[13;4] . It can be said that
these ideas are more vividly expressed in the
poet's stories about the rulers.
According to N. Ganikhodjaeva, some stories
show the development of characters, while others
do not, and some stories are based on showing the
momentary state of the character. In our opinion,
during this short period of time the spiritual
world, worldview, spirituality and enlightenment
of the character can be clearly seen [14;225] In
particular, this is the case with the characters of
Herat Pir Abdullah Ansari and Bayazid Bistami.
This is not the case with the depictions of other
saints, dervishes, and Sufis. For example, in the
story about Muhammad Porso and his son Abu
Nasr, the character of the heroes is revealed on
the basis of a certain plot and development of
events.
In "Hayrat ul-abror" in the third conversation he
criticises tyrant-kings who tortured his people
Volume 04 Issue 10-2024
20
International Journal of Advance Scientific Research
(ISSN
–
2750-1396)
VOLUME
04
ISSUE
10
Pages:
17-28
OCLC
–
1368736135
and sultans with strong hatred according to the
subject of the article. Professor H. Boltaboev in
Fitrat's treatise "Navoi's Opinion on Humanity"
interprets Navoi's opinion of the Sultans in
Fitrat's interpretation: and concludes that he
showed his inability to pass the ulus on the path
of piety. Since they are clay, you are not pure light,
they are all made of clay[5;169].
It can be said that Alisher Navoi influenced his
friend Sultan Hussein Baykar to become a just
king by criticising the repressive sultans. This
chapter contains important information about
the biography of Sultan Hüseyin Baykar. It
records the historical battles of the poet Sultan
Hussein for the throne.
The story of Shah Ghazi and the complaining old
man in "Hayrat ul-abror" has a complete plot. In
it, the exposition - the previous state of the
characters is described on the basis of real reality:
Anda
ki, G‘oziy farxunda baxt
Toj olayin deb taloshur erdi taxt.
Yuz, ikki yuzcha kishi birla qazoq
Gah yeri Xorazm edi, gah Adoq[1;112].
In these verses the real historical reality is clearly
given. According to historical sources, Hussein
ibn Mansur ibn Baykara fought for the throne in
the Timurid region in the twenties and thirties
and fought fiercely in the steppes of Khorezm and
Kipchak. Sultan Abu Said did not heed the
warning of Khoja Akhror, led a large army into
Iraq, was captured and died in battle. Hearing this
news, Hussein Boigaro quickly defeated Yodgor
Mirza and took the throne. Navoi describes the
tyrant sultans in the article and the justice of Shah
Ghazi Hussein Boykar, who is their opposite, in
the story.
This story has a complete plot, a knot of conflict
(the old man's son was killed by Shah Ghazi in
battle); a development (the old man demands
food for his son and complains to the judge, the
judge demands a witness; a climax (the old man
recognises the king's justice and honesty as two
witnesses); denouement (finds the king guilty , or
receives punishment, or sentences him to pay
alimony); epilogue - as the old man, relinquishing
his claim, is moved by this justice - all elements of
the plot are beautifully worked out. The king
agrees with the verdict and places a sword and a
handful of gold before the old man.His story
mentions the Navoi Mazkur Zoli Zar, one of
Firdausi's heroes.Shah Ghazi's justice is also
developed in the character of Alexander in the
epic "Saddi Iskandari".
The theme of the story is the old man's demand
for justice, the problem is the judge's demand for
two witnesses. The idea in the idea - if a citizen is
oppressed, he has the right to complain to the
king. To say this took great courage from the poet.
Hussain Baigaro for no reason said in his "Risola"
that "Alisher is courageous in right words".
Khondamir writes in "Makorim ul-Akhlaq" that
Hussein Baigaro issued an order to resettle three
thousand families from Herat to Khorezm. Navoi
appealed to the king eleven times to change this
decree. Three thousand family numbers will be
reduced to one thousand. Two thousand families
will not leave the Motherland [5;90] Alisher
Volume 04 Issue 10-2024
21
International Journal of Advance Scientific Research
(ISSN
–
2750-1396)
VOLUME
04
ISSUE
10
Pages:
17-28
OCLC
–
1368736135
Navoi's personal courage and patriotism are
reflected in his stories and heroes.
R
ESULTS AND
D
ISCUSSION
Alisher Navoi devotes the fifth conversation of
"Hayrat ul-Abror" to the theme of generosity and
bounty and adds to this article the story of
Khotami's wedding. It is known from history that
Khotami Toyi, existing in Oriental literature and
mentioned by Navoi in his epic "Note 6-a. end 7-a.
chief of the Toyi tribe in Yemen, a famous military
leader and poet. Among the peoples of Arabia and
the East Khotami Toyi is known as Khotama of the
Toyi tribe" [16;378].
The idea expressed in the plot of this story is to
throw light on the reasons for the difference in the
characters and outlook of Hotam and the old
woodcutter. By contrasting generosity and
avarice in the story, the poet leads the reader
straight into the valley of generosity. He exclaims
that it is nobler to live by one's own labour than
to rely on the generosity of people:
Bir diram olmoq chekibon dastranj,
Yaxshiroq andinki birov bersa ganj. [H.A.
–
P.133]
Navoi's story shows that the old woodcutter is
physically weak but strong morally. The spiritual
strength of the woodcutter is that he does not
need Khotam's generosity but earns a living by his
own labour.
In Nizami's "Mahzan ul-asror" there is also an
conversation of such content, and the story
attached to it corresponds to Navoi's story in
theme and direction. The fifth conversation in
"Mahzan ul-asror" is called "On the Peculiarities
of Old Age", and Nizami added to it a story about
an old bricklayer [9;87]. These two stories share
the same idea. Nizami and Navoi glorify pious
people who spend their lives in honest labour and
make a living from the small income they thus
earn.
The third chapter of Saadi's work "Gulistan" is
called "Description of the
Virtues of
Contentment", and the author includes several
stories about Khotami Toya, close in plot to
Navoi's story. The dervish in Saadi's story, like the
old woodcutter and the bricklayer, asks for alms
and is content with what he earns rather than
helping others[8;78]. In Saadi's story, the old
man:
«O‘z mehnatidan non yegan kishi,
Hotam minnatidan ozod yoz-qishi»"- Suffice it to
say that this image in Navoi is ideal in many
respects. In addition to the woodcutter's reply
and the address to Khotam, the author himself is
also present in the story.
Himmat agar bo‘lsa Navoiy sanga,
Banda durur Hotami Toiy sanga. [H.A.
–
P.133]
brings a final judgement and in every way
encourages the reader to be satisfied.
Literary critic N.Gaffarov says that the character
of the old woodcutter in the story "Hotami Toyi"
is not an ordinary citizen of society, this character
is a saintly nature, a saintly quality, "a person who
puts the dirham earned by honest work above
Volume 04 Issue 10-2024
22
International Journal of Advance Scientific Research
(ISSN
–
2750-1396)
VOLUME
04
ISSUE
10
Pages:
17-28
OCLC
–
1368736135
grateful charity, renounces the pleasures of the
mortal world, and lives only for the pleasure of
the Truth. admits that [12;21]. Analyzing Sa'di
and Navoi's stories in terms of ideas and content,
Navoi scholar N. Ganiho'jayeva emphasizes that,
unlike his predecessors, Navoi skillfully used
psychological imagery, skillfully enlivened the
mysterious spiritual world of a noble person who
fell in love with Hotam in the work [13;18].
In idea and content, Navoi's story is somewhat
close to those of Saadi and Nizami. However, in
Navoi's story the social spirit and psychological
image are somewhat more perfect. Moisafid in
"Khairat ul-Abrar" harshly criticises Khotam,
criticises him mercilessly, includes him among
those who refuse to work, and says that the most
important sign of nobility is earning an honest
living:
Sen dog‘i chekkil bu tikan mehnatin,
Tortmag‘il Hotami Toyi minnatin. [H.A. –
P.133]
At the end of the story, the idea of the literary hero
(Hotam Toei puts the old woodcutter above him)
and the idea of the poet come together. According
to this idea, Khotam's generosity is good, but
living by one's own labour without needing
Khotam is even better. In this story, the poet
condemns greed and promotes the idea of hard
work. «The sixth conversation of "Hayrat ul-
Abror" is devoted to matters of manners, and
Navoi adds to this article a story related to
Noshiravon. According to the legend, when
Noshiravon was extending his hand to his beloved
in the garden, his gaze fell on a daffodil flower and
he immediately pulled her hand away. In
Noshiravon's opinion, it is impolite to extend
one's hand in front of this flower, which
resembles a human eye. In this story, the poet has
recognised politeness and modesty as necessary
qualities of a man, and Noshiravon in "Tarikhi
Muluki Ajam" appears as a just king, a wise man
who knows religion [2;633].
Literary critic N. Mallaev says that this plot can be
found in ancient Eastern and Western literature,
including in “Khumcha” by Titus Mac Plaut, a
work by the Uzbek storyteller of the 16th century
Khoja [7;213].
There is another story about Noshiravon in Tarihi
Muluki Ajam [2;634]. In this context, the story is
also found in the works “Gulistan” by Sheikh Saadi
and “Gulistan Bit
-
Turks” by Saifi Saroi, written as
a free translation of this work[11;92]. Both
creators have the same conclusion and solution:
you need to pay for the product. To take for free
did not become a habit and the village did not turn
into ruin. They asked him: “What damage will this
flax cause to the village?” Noshiravon replied:
there are few grounds for oppression. Everyone
improved little by little and reached the current
level.”
The story about Noshiravon, written by Navoi,
echoes Sheikh Sadi. However, the ending of
Navoi's story is somewhat ideal. If Saadi limits
himself to the general opinion of increasing
oppression, then this aspect finds a more
reasonable expression in Nawai: “It is amazing
that a king can adopt a bad habit for a small sum.”
After all, “fame goes to the one who created it.”
From this idea, the reader becomes alert,
Volume 04 Issue 10-2024
23
International Journal of Advance Scientific Research
(ISSN
–
2750-1396)
VOLUME
04
ISSUE
10
Pages:
17-28
OCLC
–
1368736135
synthesizes his actions and refrains from
oppression. In addition, other parts of Saadi's
Gulistan and Boston describe Noshiravani Adil
and events related to him. These are prose and
poetic works such as “About Noshiravon and his
minister
Buzurjmer”
and
“Noshiravon’s
testament to Hormuz before his death” in the first
chapter of “Boston”[2;634].
Literary critic N. Ganikhodjaeva believes that
“Navoi’s thoughts about justice are more similar
to the thoughts of Nizami and Saadi. That is why
some of Navoi’
s thoughts on the topic of justice
are very similar to the stories of Nizami and Saadi
on the topic of justice”[14;102]. In fact, Nizami
Ganjavi also included a story related to
Noshiravon in Mahzan ul-asror, the first epic of
his Khamsa. This story is completely different
from the ones above in plot and idea[8;88]. The
commonality of the stories, as noted by scientist
N. Ganikhodzhaeva, is not noticeable in the
stories of Noshiravon by both artists. However,
the plot of the story “About Shah Bahram”,
appen
ded to the nineteenth article of “Hayrat ul
-
abror”, is compatible in theme and idea with
Nizami’s story “About Noshiravon and his
minister”. Both stories have something in
common. However, the elements in the stories are
not exactly the same. In Nizami, the main
characters of the story are Noshiravon, his
minister and two owls, but in Navoi the situation
is a little different. In his story, Navoi turns to the
images of King Bahram and the poor farmer. The
fact that Navoi is a master of psychological
imagery can be seen from the tragic appearance
of the villages of that time and the honest and
courageous words of the peasant addressed to the
tsar. In this story, two characters are contrasted:
on the one hand, the powerful King Bahram, and
on the other, an honest old man in a difficult
situation, oppressed by oppression.
Xasta ko‘ngul ovlomog‘ etmay havas,
Sheva anga dashtda ov erdi bas. [H.A.
–
B.276]
In this verse, Navoi uses the word “hunt” in
different meanings and emphasizes that the main
task of a just and wise king is to solve the
problems of sick souls and make them happy.
In the tenth conversation of Hayrat ul-abror, the
parable of the lion and durrodj is included in the
epic to give the reader a deeper understanding of
the tragic end of lies. Durrodj did not adhere to
the terms of friendship: he deceived his friend,
who did not listen to his words. The most difficult
moment in his life is when he falls into the trap of
a hunter, the lion “companion” does not come to
the rescue and his life ends in tragedy. Navoi
wants to say that the position of a liar among the
people is sad. Regardless of whether he is a king
or a prince, if the public knows that he is lying, no
one will believe his truth:
Kimsaga yolg‘onchi debon qolsa ot,
Bu ot ila chorlasalar o‘zu yot,
Sidq xitobi yana yonmas anga,
CHin desa ham, xalq inonmas anga. [H.A.
–
B.182]
Volume 04 Issue 10-2024
24
International Journal of Advance Scientific Research
(ISSN
–
2750-1396)
VOLUME
04
ISSUE
10
Pages:
17-28
OCLC
–
1368736135
It is clear that Navoi, while writing "Hayrat ul-
Abror" and choosing a topic and image for each
conversation, took into account the wishes of a
wide audience. For this purpose, it is
characteristic that he chose an instructive parable
for the tenth article in the style of "contribution
from a story" rather than a story. With this, the
poet:
First of all, the influence of a metaphorical image
is several times greater than the influence of a
simple image.
Secondly, taking into account that the quality of
correctness should be formed in the human
personality in childhood, and after growing up,
even with all the influence, the person may not
fully reflect this quality in himself, the readers of
this article are children. , chose the youth
audience. He thought that the revelation of the
theme through the metaphorical characters of the
parable is both interesting and impressive for the
young reader.
Prophet Ayyub is mentioned as the main
character of the story appended to the thirteenth
conversation of the saga. In some studies and
sources, the character of Ayyub in “Khairat ul
-
Abrar” is interpreted not as a prophet, but as a
scientist Ayyub bin Khalaf Khazraj. However, at
the end of this story, Navoi, who stated that
although Noah did not desire his life, but desired
the patience of Ayyub, his views completely
confirm our opinion that the character of the
story is the prophet Ayyub:
Bot bo‘lu bir jom ila yetkur futuh,
Sabr esa Ayyubcha, yo‘q umri Nuh. [H.A. –
B.214]
It is known that Ayyub is one of the 25 prophets
whose name is mentioned in the Koran. Ayyub's
name and history are mentioned in the Torah,
Bible and other ancient books. Ayyub is known as
the symbol of a patient man who endures all kinds
of troubles and difficulties with steadfast
ness”
[17;248]. In the story he is embodied as a
benevolent image that does not require
obedience to prayer. Navai about Prophet Ayyubi
Sabur (a.s.), who saw a thief enter his house, did
not break his prayer, was patient, and then
showed mercy to the thief and burned his div
and soul in the fire of repentance. He also
provides information in his work "The History of
Anbiyo and Hukamo"[3;558].
According to sources, “Prophet Ayyub has been
world famous for his patience since ancient times
and this quality has been set as an example.
Indeed, in response to satanic envy, he endured
all the troubles and pains sent by God, and did not
complain” [3;329]. Many scientists prove that the
descendants of the Prophet Ayyub were subjected
to various tests by God and overcame all
difficulties on their own, relying on the suras of
the Holy Quran and a number of religious and
scientific literature.
“Some
historians
suggest
that
Ayub’s
probationary period was three years, others -
seven years and several months.
Secondly, all their property disappeared. Seeing
this, people of little faith and disbelief laughed at
Ayyub (a.s.) and said: “If he were a prophet, he
Volume 04 Issue 10-2024
25
International Journal of Advance Scientific Research
(ISSN
–
2750-1396)
VOLUME
04
ISSUE
10
Pages:
17-28
OCLC
–
1368736135
would not have suffered such pain and would not
have been separated from his wealth” and turned
away from him completely. . However, Ayyub
(peace and blessings of Allah be upon him) was
God's favorite prophet [10;76].
In “Hayrat ul
-
Abrar” there is the concept of
honesty, rightness of hand, and Navoi uses this
phrase to characterize the owners of husnikhats
and people who are accustomed to honest work
in their daily lives. In particular, to people who
have written the letter correctly, the poet says
“Tengri nasib aylab anga shodlik” together with
“Tengri nasib aylab anga shodlik”.
According to poets view, the owner of a crooked
hand acquires two different meanings:
1) in the form of crooked writers, secretaries who
exaggerate lies;
According to Navoi, it should be said about the
owner of the “Crooked Letter” that he is
accustomed to correctness: «Egri durur xatki,
emas mustaqim».
2) in the form of robbers. These thoughts of the
poet are very important for a complete
understanding of the essence of the story about
the Merciful Job and the thief in the epic. The
character of the thief plays an incomparable role
in the development of Ayub's character in the
story. The expression “crooked hand” has long
been used by our people to refer to thieves, and
the people hated them. Also in the proverb “A
thief will not stop stealing until his hand is cut off”
there is an indication that when a person commits
theft, he is punished by having his hand cut off.
Navoi also mentions this tradition in the tenth
article of “Hayrat ul
-
abror”:
Bo‘lsa ilik egrilik ichra samar,
El ani kesmakda tuz etgay magar. [H.A.
–
B.177]
In one place, the poet, seeing the punishment of a
thief by “cutting off his hand,” thinks that in
another place it is possible to enlighten his winter
heart with the rain of enlightenment, forgiving
and justifying his sins. such a high task for the
gracious Ayyub. The poet admits that the thief is
also a member of society. Navoi, who for many
years was a moral supporter of the people, could
not always see the thief as deserving of severe
punishment. Learning to forgive a thief can also
awaken the dormant qualities of righteousness in
the thief's personality, making him worthy of the
valley of truth. The poet, who understood this
well, included the story “The merciful Ayub
corrected the wickedness of the thief-
thug...” as
an expression of his views. This story has the
perfect plot. Ayyub, who opened the door of his
house to the “kisaburi nakbzanu”, who could not
squeeze into the “small hole” with a “big load”,
and showed the way, made the position of the
thief black and perverted. With a thousand
regrets about his action, the thief laid his head on
the blessed feet of Ayyub, shame burned his div
like hay, and he repented. In this place, Navoi
drew special attention to the fact that repentance
is the first stage of the spiritual and spiritual
improvement of tax in Sufism. The thief’s
crying
and repentance, Ayub’s becoming a murid, give
the idea of the story a mystical connotation.
Thanks to Ayyub's excellent behavior, the thief
Volume 04 Issue 10-2024
26
International Journal of Advance Scientific Research
(ISSN
–
2750-1396)
VOLUME
04
ISSUE
10
Pages:
17-28
OCLC
–
1368736135
reaches a state of repentance, curbs his ego and
takes the right path. In Sufism, the essence of
repentance
is explained as “renouncing disbelief,
turning back to morality, seeing one’s
shortcomings, turning away from evil deeds, evil
deeds and evil thoughts” [6;27] presents the wise
act of the prophet as the main motivation of the
story and emphasizes that as a result the thief's
heart turns to enlightenment:
Komil anga berdi chu bu parvarish,
Ayladi bir avf bila muncha ish. [H.A.
–
B.214]
In the epic “Hayrat ul
-
abror” Alisher Navoi gives
the character of Prophet Ayyub, popularly known
as a symbol of patience, the characteristic of
forgiveness, which shows that the image of
Prophet Ayyub in literature has reached an
ideological and ideological level. artistic
excellence, and it should also be recognized that
this aspect shows the innovation and artistic skill
of the poet.
A story with a poignant plot is attached to the
eighteenth conversation of “Hayrat ul
-
abror”.
This story, entitled “The Exploits of Chin Margzori
Mushkin Gizola...” describes an event in the spirit
of the fairy tale “A Thousand Nights.” The king
sentenced the lovers who saw the beauty of his
daughter to death, chained them to the wall and
made them drunk. Despite this execution, the
faithful lover lies among the ruins, happy that his
beloved is killing him. This tale has mysterious
meanings, folk art - a plot typical of a fairy tale,
new aspects of the romantic theme, an idea
related to truth and metaphor, the influence of the
love of a tyrant khan, loyalty, fidelity, joy to death.
,all artistic and ideological aspects.there are
elements.
The events of the story, conflicts, and conflicts
develop according to the logic of the characters.
The atmosphere of arrogance and malice in the
character of Khan and his daughter-master drives
the plot. Hakk Taala Chin is a beautiful girl who
gave beauty to her daughter and father - the khan
does not want the people and subjects to see this
blessing given by God. This creates tragedies of
negative characters. This story is not about
thinking, but about the loyalty and devotion of the
nobles - although it does not have a positive effect
on the ignorant and murderers, it can be found in
both fiction and fairy tales. The poet's purpose
and idea allow this.
The idea of the fairy tale is perfectly poetically
expressed that if happiness and beauty are not
combined with human qualities, then they will
bring grief, misfortune and destruction to the
people.
In the last twentieth article of “Hayrat ul
-
Abror”,
the story of Alisher Navoi describes how one of
the arrogant companions of Khoja Bahauddin
Nakshband went on a pilgrimage with his son Abu
Nasr. It is said that when the Hajj ceremonies are
performed and the people disperse, they ask
Khoja Muhammad Porso: “We have heard that
your prayers will be answered, please pray that
our wishes will be heard.” Khoja Mohammad
Porso said: “I came here with the hardships of
travel, my son found peace from the hardships of
the path, only thinking about the Truth. I cannot
pray without my teacher's permission. Since I am
Volume 04 Issue 10-2024
27
International Journal of Advance Scientific Research
(ISSN
–
2750-1396)
VOLUME
04
ISSUE
10
Pages:
17-28
OCLC
–
1368736135
my son’s teacher, I will allow him to bless you.”
The son of Abu Nasr prayed, and at the end the
Almighty said: “Amen!” to this prayer of my
father. “Please answer this prayer in my honor.”
These words have a strong impact on everyone.
These characters in the story are real historical
figures, and Khoja Muhammad Porso gave
information about the principles of the
Naqshbandi sect in his works “Kudsiya” and “Fa
sl
ul-
Khitab”. The incident mentioned in Khairat ul
-
Abrar is also described in Nasaim ul-Muhabbat.
It is not for nothing that this story about the
relationship between father and son is included in
the saga. In the twentieth article, which concludes
the saga, Navoi gives advice to Prince
Badiuzzamon. The father-son relationship
between Prince Badiuzzamon and Hussein
Boigaro was always irreconcilable, and much of
its improvement was due to Navoi. The addition
of the story of Khwaja Muhammad Porso and his
son Abu Nasr Porso from Hayrat ul-abror to the
article containing advice to Prince Badiuzzaman
is an important step towards improving the
father-child relationship between Hussein
Boykara and the prince.
C
ONCLUSION
« The conversations and stories in Khayrat ul-
Abror can be said to be related to the following
epics in terms of theme and character:
1. The proximity of the article about love and the
love story of Fakhriddin Iraqiy to “Farhad and
Shirin” and “Leyla and Majnun”.
2. An article about criticism of the sultans and a
story about Shah Bahram are close to the theme
of the “Sabayi Sayyor” saga.
3. The closeness of the article about people who
benefit the people to the ideas of Farhad digging a
mountain and bringing water in the epic "Farhad
and Shirin".
4. . The story of Alexander's will is developed in
"Saddi Iskandari".
The fact that other conversations, stories and
parables of the saga are not similar to the content
of subsequent epics shows that “Hayrat ul
-
abror”
is not just a prelude to other epics, but an
independent epic.
Another proof: the three miracles in “Khairat ul
-
Abrar”, journeys of the mind into the world of
property, existence and kingdom are not a
prelude, but the ideological and artistic center of
the entire saga. Therefore, in our opinion, it is
appropriate to study the stories of “Hayrat ul
-
abror” as components of an independent epic
plot.
The themes chosen in the stories of “Hayrat ul
-
abror” not only express the worldview of Navoi,
but also reflect the worldview of the heroes of the
story - (Noshiravon, Bahram, Jamshid, Iskandar,
Abdullah Mubarak, Abdullah Ansari, Ibrahim
Adham, Rabia Adavia, etc.) It should be noted that
the worldview of each of them contains very
important ideas for real life, society and
individual life.
Volume 04 Issue 10-2024
28
International Journal of Advance Scientific Research
(ISSN
–
2750-1396)
VOLUME
04
ISSUE
10
Pages:
17-28
OCLC
–
1368736135
It should be noted that the plots of the first epic,
in addition to illustrating the essence of the topic
presented in the articles, are valuable historical
and artistic sources that express the artistic and
aesthetic views of the author and provide
important information about the life of historical
figures. Who lived in history.
R
EFERENCES
1.
Alisher Navoi. Hayrat ul-abror. CSW. Ten
volumes. Volume six.
–
T. Photo: Press and
Information Agency of Uzbekistan.Gulam
Publishing House-Creative House of Printing,
2013.
2.
Alisher Navoi. The history of the rulers of
Ajam. CSW. Ten volumes. Volume eight.
–
T.:
Gafur Gulam Publishing House-Creative
House of Printing, 2013.
3.
Alisher Navoi. The history of the prophets and
sages. CSW. Ten volumes. Volume eight.
–
T.:
Gafur Ghulam Publishing House-Creative
Press House, 2013.
4.
Abdulaziz
Mansour
"Translation
and
interpretation of the meanings of the Holy
Quran". - Tashkent, 2001.
5.
Boltaboev N. Uzbek literary criticism of the
beginning of the XX century and the scientific
heritage of Fitrat. Philol.science.doc. Diss. -
Tashkent, 1996.
6.
Komilov N. Sufism.
–
T.: MOVAROUNNAHR-
UZBEKISTAN, 2009.
–
B. 27.
7.
Mallaev N. Alisher Navoi and folk art. - T.:
Gafur Gulam Publishing House-Creative Press
House, 2015.
8.
Nizami Ganjavi. Mahzan ul-asror. - T.: TAP
PRINT. 2013. - (Translated from the original
by Olimjon Buriev).
9.
Nizami Ganjavi. Mahzan ul-asror. Translated
from the Persian by Jamal Kamol. - T., 2016.
10.
Rahmatullah Kari Obidov. The history of the
prophets is the history of Islam. (The image of
the prophets in the Quran). The first book. - T.:
"Movarunnahr", 2005.
–
p.76.
11.
Saadi. Gulistan. - T.: Gafur Gulam Publishing
House-Creative House of Printing, 2014.
12.
Gafforov N. The image of Sufis in Alisher
Navai's "Hamsa". Phil.fan.nom.Abstract. - T.:
1999.
13.
Ganikhodzhaeva N. The stories "Khamsa". - T.:
Nauka, 1986.
14.
14.Ganikhodzhaeva N. Questions of artistic
skill in Navoi stories // Questions of Navoi and
literary image. - T.: Nauka, 1986.
15.
Khondamir "Makorim ul-Akhlaq". Translated
from the Persian by M.Fakhriddinov and
P.Shamsiev.
–
T., 1967.
16.
National Encyclopedia of Uzbekistan. Vol.11.
17.
National Encyclopedia of Uzbekistan. Vol.1.
