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A
BSTRACT
This article is dedicated to exploring the artistic depiction of the image of the mother-woman in the works
of Alisher Navoi. It examines the poet's perspectives on women, as expressed in ghazals and rubaiyat from
his collection "Khazayin ul-Ma'ani", as well as in his works "Nasayim ul-Muhabbat" and "Mahbub ul-Qulub".
The analysis demonstrates that in Navoi's poetry, the figure of the mother-woman uniquely represents the
identity, formation, and manifestation of an entire people and nation. The poet skillfully employed
expressive imagery in his verses, capturing both the era's and women's societal challenges with profound
philosophical depth. The simplicity of thought, conveyed through straightforward lines, holds a dominant
place in his lyrical work. Navoi’s poetry reflects national landscapes and realities through an intellectual
exploration of meaning and layers of ideas, achieved via artistic interpretation, depiction, and detail.
Ultimately, the poet portrays the destiny of women as intrinsically linked to their role as faithful
companions and mothers, ensuring continuity for future generations. These characteristics are echoed in
oral folklore, where female figures are simultaneously depicted as brave heroines and caring mothers,
blending diverse qualities into a syncretic image. The study of Navoi’s works reveals a progressive
enhancement and deepening of the artistic interpretation of the beloved's image across different genres
and works.
K
EYWORDS
Journal
Website:
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Copyright:
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Research Article
THE IMAGE OF THE MOTHER-
WOMAN IN ALISHER NAVOI’S
WORKS
Submission Date:
December 12,
2024,
Accepted Date:
December 17, 2024,
Published Date:
December 22, 2024
Crossref doi:
https://doi.org/10.37547/ijasr-04-12-25
Soatova Nodira Isomitdinovna
Acting Professor at JSPU, Doctor of Philology (DSc), Uzbekistan
Turopova Parizod
Associate Professor at JSPU, Doctor of Philosophy (PhD) in Philology, Uzbekistan
Volume 04 Issue 12-2024
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International Journal of Advance Scientific Research
(ISSN
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2750-1396)
VOLUME
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Pages:
167-178
OCLC
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1368736135
Image of the mother-woman, symbol of goodness, naive-wise, weak-philosopher, soft-hearted-mystic
woman.
I
NTRODUCTION
The history of humanity shows that the cultural
level and moral integrity of any society have
always been determined by its attitude toward
women. The aesthetic ideal associated with the
image of women has traditionally presented them
as symbols of beauty, grace, and goodness, as well
as nurturers and educators of well-rounded
individuals. "All noble feelings that exist in the
human heart originate from the mother" [1;136].
The great history of our people honors countless
women
—
Tomaris, Bibikhanim, Gulbadanbegim,
Zebunniso, Nodira, Uvaysiy, Anbar Otin
—
who
have left an indelible mark with their courage,
resilience, wisdom, and refinement. Respect and
reverence for women are defining features of
Eastern mentality. Their literary reflection
occupies a unique place in the history of national
artistic thought. Therefore, the investigation of
the emotional and mental transformations within
the human heart
—
central objects of artistic
literature
—
cannot be complete without the
analysis and interpretation of the image of the
woman, a symbol of love and creativity, who
connects generations. Accordingly, studying the
mastery with which the image of the woman has
been created in Uzbek literature, based on
universal humanitarian standards and national
values, within the inherent laws of literary art, is
among the urgent tasks of literary criticism.
M
ETHODS
In Uzbek literary studies, the portrayal of women
has primarily been explored in connection with
the system of characters and the author’s artistic
skills in creating images, encompassing both
classical and modern works. Scholars like A.
Qayumov, Yo. Is'hoqov, A. Hayitmetov, S. Erkinov,
S. Hasanov, N. Komilov, I. Haqqulov, and S. Olim
have conducted extensive research on the place of
female characters in classical literature, be it in
epic works or lyrical depictions of beloved figures
[2;3;4;5;6;7;8;9;10]. However, a specialized
methodological study on the interpretation of the
mother-
woman figure in Alisher Navoi’s works
has yet to be conducted.
R
ESULTS AND
D
ISCUSSION
Humanity cannot sustain itself, nor can art and
literature exist, without women. Indeed,
"Literature, as the study of humanity, is first and
foremost the study of women. Observing, even the
oldest works were dedicated to women, with
conflicts revolving around them. It can even be
argued that the development of literature is
closely intertwined with the artistic exploration
and deepening of the woman theme" [11;47]. The
artistic interpretation of the woman’s image in
literature and art and her societal role have been
the focus of disciplines such as literature,
psychology, philosophy, history, political science,
and art studies.
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In Uzbek literary studies, the earliest work on
women’s images was by Maqsud Shaykhzoda,
titled "The Image of Women in Navoi's Creativity"
[12;58-68]. He emphasized the harmonious blend
of physical, social, intellectual, cultural, and
warrior traits in characters like Shirin,
Mehinbonu, Layli, Dilorom, and Ravshanak. Sh.
Abdullayeva, in her doctoral dissertation,
explored women’s images in "Khamsa", arguing
that Navoi used these characters to critique the
feudal system's infringement on women’s rights
[13;119]. The Soviet era’s interpretation
predominantly depicted characters like Layli as
victims of oppression. However, during
independence, Navoi’s works were revisited with
universal ideas, as seen in the research of scholars
like N. Komilov and I. Haqqul. They provided new
insights, including Komilov's analysis of "Layli
and Majnun", where he interpreted the
transformation of "earthly love" into "divine love"
through the characters [16;73].
The depiction of maternal figures in classical
literature often includes nurturing characters like
Shirini’s nurse Mehinbonu, who plays a
significant role in her education and emotional
growth. Similarly, Navoi’s works frequently
reference mothers, such as in "Nasayim ul-
Muhabbat", which mentions 35 female saints
advocating truth and Sharia [19;13]. Navoi’s
ghazals and prose celebrate mothers, a theme
also explored in B. Rajabova’s "Conversations
with Mothers", which examines depictions of
women in "Baburnama".
This exploration demonstrates that the artistic
portrayal of women in Navoi’s works evolves and
deepens across genres, reflecting broader societal
and philosophical themes.
In Alisher Navoi's works, the sublime qualities of
Eastern women find their ideal representation.
When reflecting on women, Navoi writes in his
work Mahbub ul-Qulub:
"A virtuous wife is the wealth and fortune of a
household. The home’s tidiness comes from her,
as does the peace and comfort of the household.
Her beauty gladdens the heart, and her pleasant
demeanor nourishes the soul. If she is wise, there
is order in the home, and its tools and belongings
remain clean and well-arranged. A man who is
blessed with such a spouse finds in her a
confidant in sorrow and hardship, a companion in
open and hidden pain. Should trials arise in life,
she is a supportive partner; when the heavens
bring misfortune, she is a source of solace. If
sorrow clouds the spirit, she shares the burden;
when illness and frailty afflict the div, her soul
agonizes alongside."
Contrary to the archaic prejudices of the past that
deemed women as "feeble-minded," "weak," or
"the husband’s servant," Navoi’s poetic and prose
works elevate the mother-woman to a noble and
revered stature:
"At the feet of mothers lies the garden of paradise.
If you seek the bliss of paradise, become the dust
at your mother’s feet."
Navoi’s literary oeuvre is an inexhaustible
treasure trove. His work Nasayim ul-Muhabbat,
like his other writings, holds significant
importance. In this text, Navoi places particular
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emphasis on saintly women. The existence of
Tazkirat un-Niso, a work about female poets, is
well-documented in the history of literature, but
very few records address saintly women. Thus,
Navoi’s Nasayim ul
-Muhabbat, dedicated to 770
spiritual figures, stands out uniquely. Navoi
writes with particular reverence about Fatima
binti Muthanna, a saintly woman who mastered
the interpretation of the Quran’s Fatiha surah and
was renowned for her miracles. Ibn Arabi served
her and described her in his Futuhat al-Makkiyya
as “a divine mercy sent for all people.” Fatima was
regarded as Ibn Arabi’s spiritual "mother."
According to literary scholar O. Juraboyev, an
event narrated by Navoi in Nasayim ul-Muhabbat
aligns with a passage in Ibn A
rabi’s Futuhat
detailing the states of 189 true lovers and
highlighting Fatima’s spiritual condition. Scholar
A. Schimmel notes that Ibn Arabi held profound
respect for Sufi women. When Navoi described
saintly women, he often mentioned their cities,
interactions, and lives, occasionally including
poetic couplets. For example, Navoi’s portrayal of
Rayhona-i-Woliha highlights her devotion to God
through the following lines:
"You are my companion, my aspiration, and my
joy; my heart desires no one but you. O beloved,
my aspiration and goal, my yearning for you
never ceases. When will I be honored with your
presence? My goal is not the delights of paradise
but only to behold you."
This excerpt reveals Rayhona-i-
Woliha’s deep
love for God. Navoi’s Nasayim ul
-Muhabbat thus
provides invaluable insights not only into male
spiritual leaders but also into saintly women,
offering readers fascinating accounts.
Women’s history is the most profound and
radiant reflection of universal history
. The
status, rights, and conditions of women have
always been intertwined with a society’s socio
-
economic structure. In oppressive societies
throughout history, women have often been the
most marginalized and exploited, stripped of
their rights, and confined in their societal roles.
These systems disrespected women as mothers,
wives, sisters, and daughters, severely limiting
their participation in social life and denying their
freedoms.
Living within such a society, Alisher Navoi
maintained a consistently positive attitude
toward women. He respected their maternal and
marital rights and advocated for their happiness
and well-being. In one of his quatrains, Navoi even
considered wise and virtuous women superior to
unworthy men, asserting:
"The wisdom and morals of a noble woman
surpass the flaws of an unworthy man."
Yuz tuman nopok erdin yaxshiroq,
Pok xotinlar oyog‘ining izi[21;765].
The poet, who cherishes and exalts women
as human beings, mothers, and wives, compares
them to the sun:
Yaxshi xotinlar safoiy zuhdidin
Olam ic
ra gar yorug‘lik, bo‘lsa fosh.
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Yo‘q, ajab, chunkim arab alfozida,
Istiloh ichra muannasdir quyosh[22;134-136].
Navoi's thoughts, reflections, hopes, and
wishes regarding women often stemmed, on one
hand, from the realities of his contemporary
environment, and on the other hand, from his
dreams and aspirations for the future. These
perspectives frequently intertwined with the
actualities of life. Contrary to the degrading
dogmas of the past, which labeled women as
"feeble-minded," "weak," "fragile," or "the
husband's servant," the figure of the WOMAN-
MOTHER is elevated to a noble and revered status
in Navoi's poetic and prose works:
Onaning oyog‘I ostidadir,
Ravzai jannatu jinon bog‘i.
Ravza bog‘i visolin istar ersang,
Bo‘l onaning oyog‘in tuprog‘i.
In his works, particularly in the Khamsa epics,
Alisher Navoi gives significant attention to
women. Regarding this, Navoi stated:
Bu ikkining hidmatini bir bil,
Har necha ifrot esa, taqsir bil.
Boshini fido ayla, oto qoshig‘a,
Jismni qil sadqa ono boshig‘a[23;76].
Alisher Navoi depicts the image of the Mother-
Woman with profound care and mastery,
achieving an honorable depiction that we will
explore further.
“In regions dominated by
Islam, the condition of
women was even more precarious and dire. Islam
deprived women of even their most basic rights,”
writes A. Muminova [24;15]. Such views on Islam
and its “key,” the Quran, were shaped by the
demands of the pre-independence era in
interpreting national heritage. However, the
Hadith presents a different perspective:
“Abu Hurayra narrated that a man came to the
Prophet (peace be upon him) and asked, ‘O
Messenger of Allah, who is most deserving of my
good treatment?’ The Prophet replied, ‘
Your
mother.’ The man asked again, ‘Then who?’ The
Prophet said, ‘Your mother.’ The man further
inquired, ‘Then who?’ The Prophet answered,
‘Your mother.’ The man asked once more, ‘Then
who?’ The Prophet finally said, ‘Your father.’”
[25;77-78].
The Quran
also states: “O mankind, fear your
Lord, who created you from one soul and created
from it its mate and dispersed from both of them
many men and women” (Surah An
-Nisa, 4:1). This
establishes that women, from their creation and
throughout their lives, are equal to men.
Undoubtedly, one of the truths of Islam is that it
recognizes women as fully human beings with
souls and dignity equal to that of men. Contrary to
misconceptions, Islam does not oppress or
demean women, nor does it destroy their self-
esteem. Instead, it exalts women as sacred
representatives of the family and honors them as
Mother-Women.
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In Navoi’s works, the image of women is
portrayed in two primary directions:
The depiction of historical figures, especially
saintly women.
The representation of female characters in
literary works.
The first direction is directly associated with
Navoi’s Nasayim ul
-Muhabbat, which includes
mentions of 770 saints, 35 of whom are women.
Among these, 12 attained the status of saints and
demonstrated miracles, with the most prominent
being Rabia al-Adawiyya.
The text provides numerous accounts related to
this saintly woman:
“One day, Shaykh Hasan al
-Basri visited Rabia. He
placed his prayer mat on the water and said, ‘Let
us pray two rakats here.’ Rabia, in turn, lai
d her
prayer mat in the air, sat on it, and replied, ‘O
master, what you have done can also be
performed by a fish. What I have done can also be
performed by a fly. Such acts are meaningless;
what truly matters is righteous action.’” [26;6].
This anecdote illustrates the extraordinary
nature of Hasan al-Basri and Rabia al-Adawiyya, a
saintly woman capable of miraculous acts.
However, Rabia's response highlights her belief
that such displays of miracles hold no real value
compared to deeds of true virtue. This aligns with
Navoi’s views on miracles; he considered
meaningless miracles as mere deceit.
According to Navoi, only those miraculous acts
that serve to “guide people to God” and foster
enlightenment can be deemed true miracles.
Actions intended to deceive or impress others are
the work of charlatans, spreading ignorance
rather than wisdom. Initially, miracles were
regarded as the pinnacle of spiritual
development, but over time, as Sufism evolved,
attitudes toward miracles also changed.
Later interpretations emphasized not the display
of miracles but the ability to conceal and keep
such capabilities private, considering this
discretion a sign of spiritual maturity. Navoi
argued that indulging in the performance of
miracles could distract one from God and lead to
heedlessness. In Nasayim ul-Muhabbat, Navoi
cites a source, Asrar al-
Awliya, which states: “The
display of miracles is akin to neglecting one’s
obligatory duties.”
Moreover, Asrar al-Awliya mentions that the Sufi
path consists of 15 stages, five of which involve
uncovering miracles. If a seeker reveals these
miracles, they are denied access to the remaining
stages, thus failing to achieve the ultimate goal.
Navoi believed that the most spiritually
developed individuals are those who possess
miraculous abilities but choose to hide them, as
they cannot afford even a moment of
heedlessness from God. Displaying miracles
requires a temporary diversion of attention from
God, which true saints cannot accept. Navoi
writes in Nasayim ul-Muhabbat:
“There are se
rvants and friends of God who avoid
all such displays and even consider them
shameful, as they cannot bear to be distracted
from witnessing and being absorbed in God’s
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presence for even a moment. Until they are
separated from this bliss, they cannot turn their
attention to such matters. If these exalted
individuals are distracted by any worldly pursuit,
even if it is eternal paradise, it becomes a source
of torment for them.”
This reveals Navoi’s profound understanding of
spirituality, emphasizing deeds over displays and
unwavering devotion to God over fleeting worldly
distractions.
Rabia al-Adawiyya, originally from Basra, is first
mentioned in detail in Shaykh Fariduddin Attar's
Tazkirat al-Awliya. In this work, Attar provides
extensive accounts of Rabia’s
sainthood,
describing her as a beloved servant and friend of
Allah, with over 20 related stories. Similarly,
Abdurrahman Jami's Nafahat al-Uns includes
numerous details about Rabia, focusing
particularly on her piety in the translated sections
of the text.
Alisher Navoi, aware of his readers' familiarity
with Tazkirat al-Awliya and similar works,
highlights Rabia al-
Adawiyya’s most profound
and enlightening sayings, as well as her
conversations with Shaykh Sufyan al-Thawri.
Navoi begins by noting that Rabia hailed from
Basra and recounts two of her conversations with
Sufyan al-Thawri, one of the greatest spiritual
figures of her time:
First Conversation:
One day, Sufyan al-Thawri raised his hands in
Rabia’s presence and prayed, “O Allah, O Allah, I
ask You
for peace.” Upon hearing this, Rabia
began to weep. When Sufyan asked why she was
crying, she replied:
"Peace lies in abandoning this world. And you are
still attached to it."
In this conversation, Rabia criticizes Sufyan’s
prayer, suggesting that his request for peace
reflects his love for the world.
Second Conversation:
Sufyan al-
Thawri asked Rabia, “What is better
than acts that bring one closer to Allah?” Rabia
responded:
"If you desire closeness to Allah, then love nothing
but Him in this world and the hereafter."
Third Interaction:
On another occasion, Sufyan cried out, “Woe is
me!” in Rabia’s presence. Hearing this, Rabia
reproached him:
"Do not lie; if you were truly sorrowful, life itself
would feel like an unbearable burden for you."
Rabia’s response emphasizes that true grief over
the world detaches one entirely from it, making
existence within it devoid of joy and unbearable.
After recounting these dialogues, Navoi presents
two deeply meaningful aphorisms attributed to
Rabia al-Adawiyya, underscoring her saintly
character and closeness to God:
1.
“Every purpose bears fruit, and the fruit of
knowledge is turning one’s face toward Allah.”
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This wisdom implies that the ultimate goal of all
pursuits is knowledge
—
specifically, the kind that
directs and brings one closer to Allah. The Quran
itself affirms that the learned and the ignorant can
never be equal, highlighting the necessity for
knowledge that ultimately reveals the Creator.
Without such knowledge, all endeavors are
meaningless.
2.
“My sorrow is not because I grieve, but
because I do not grieve. My sorrow lies in the
absence of true grief.”
This aphorism carries profound spiritual
significance. In its first part, Rabia expresses her
sorrow over not grieving in God’s love. For her, no
worldly sorrow can compare to the anguish of
being disconnected from divine love. This concept
is a cornerstone of Sufi poetry and reflects a key
theme in spiritual literature.
As Jalal al-Din Rumi writes in his Masnavi:
"True sorrow is the longing for union with the
Divine; all else is but fleeting despair."
Rabia’s sayings and Navoi’s accounts of her life
reflect the essence of spiritual devotion,
underscoring her extraordinary role as a saintly
woman whose piety and wisdom continue to
inspire generations.
Tingla naydin chun hikoyat aylagay,
Ayriliqlardin shikoyat aylagay.
Men qamish erdim kesib keltirdilar,
Nola cheksam, el ham oh urdiлар[28;8].
Here, the flute symbolizes the human heart, and
Rabia al-Adawiyya highlights this in her wisdom.
In the second part of her aphorism, she expresses
grief over the absence of sorrow. For a true
believer, this world is a place of trials, challenges,
and hardships. Passing these tests while
preserving
one’s faith ensures eternal bliss in the
hereafter. However, Rabia laments the
insufficient difficulty of these trials, indicating her
elevated
spiritual
state
and
profound
understanding of divine wisdom.
Human life is sustained and balanced through the
unity of men and women. In this context, just as
men play a vital role in society's progress, women
hold equally significant positions.
One of the most pressing issues in contemporary
Uzbek Navoi studies is the analysis of the image of
the beloved in Navoi
’s works. The beloved refers
to the lyrical figure to whom the poet dedicates
his love. This topic is complex and challenging,
with several scholarly perspectives within Navoi
studies:
1. Interpreting the beloved in Navoi’s works as a
worldly figure
—
a beloved woman.
2. Understanding the beloved as a divine entity
—
Allah.
3. Viewing the beloved as both a worldly and a
divine figure.
4. Interpreting the beloved as a worldly figure
—
a
beloved man.
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5. Considering the beloved as a combination of a
woman, a man, and Allah, and blending these
interpretations in analysis.
How does the great thinker Alisher Navoi portray
the image of the mother-woman in his works?
How do his worldview and concepts reflect an
original and delicate beauty? Let us delve into
these aspects.
The history of women is the most prominent and
vivid reflection of universal history, as women’s
freedoms, rights, and conditions
—
both material
and spiritual
—
are always intertwined with the
socio-economic structure of society.
Alisher Navoi consistently maintained a positive
attitude toward women. He respected their
maternal and marital rights and advocated for
their happiness and well-being. In his ghazals, he
describes a pure, beautiful, and unattainable
beloved, whose allure and inaccessibility
transcend from one poem to another. He asks the
breeze to convey his state to the beloved. In one
verse, he says, “O breeze, carry my message to my
tulip-faced, moon-like beloved, whose hair is like
cypress branches.” Navoi compares his longing
for the beloved to
a beggar’s need for bread,
vividly illustrating the depth of his yearning to see
the radiant face of his beloved.
G‘arazim ul sanamga sajdadur,
Yer o‘pay, deb qoshida qo‘ysam yuz [29; 103].
The poet lives with a great hope for union. On this
path, he endures suffering, sheds tears, and
creates.
Orzu aylar Navoiy ko‘yung ichra orazing,
Zor bulbul aylagandek bog‘u gulzor orzu.
The poet, who cherishes and exalts women as
human beings, mothers, and wives, compares
them to the sun, symbolizing their vital and
radiant role in life.
Yaxshi xotinlar safoiy zuhdidin
Olam ichra gar yorug‘lik, bo‘lsa fosh.
Yo‘k, ajab, chunkim arab alfozida,
Istiloh ichra muannasdir quyosh [29;317].
Navoi's thoughts, reflections, hopes, and
aspirations regarding women are rooted, on the
one hand, in the realities of his contemporary
environment and, on the other hand, in his
dreams and ideals for the future. These often
intertwine with life’s realities. The figure of the
woman-mother is elevated to a noble and revered
status in Navoi's poetic and prose works.
Onalarning ayog‘i ostidadir,
Ravzai jannatu jinon bog‘i.
Ravza bog‘i visolin istar ersang,
Bo‘l onaning oyog‘in tufrog‘i
In his works, particularly in the Khamsa epics,
Alisher Navoi gives significant attention to
women. Regarding this, he stated:
Bu ikkining xizmatini bir bil,
Har neni ifrot esa, taqsir bil.
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Boshni fido ayla, ato qoshig‘a.
Jismni qil sadqa ano boshig‘a [23;204].
Thus, in the grand anthology of classical poetry,
the woman is primarily portrayed as a majestic
figure. For instance, when the heart, elevated by
love, soars to the heavens, Alisher Navoi glorifies
the beloved as the "queen of beauty" and marvels
at her life-giving grace with phrases like, "Your
ruby lips, reviving the dead, utter words like those
of Messiah." Not only does he revere the beloved,
but he also vows to sacrifice countless lives for
those who value her, elevating the lover’s
gallantry to its utmost height.
Ishq ichra aning fidosi yuz jon
Har jonki sanga fido bo‘lubtur.
At the same time, for Hazrat Navoi, a woman's
modesty, manners, and character are of immense
value. In his famous ghazal, he subtly approves of
humility and thoughtfulness, saying, "If she
maintained caution like her radiant face in the
moonlight." Furthermore:Mahbub durur gulu
visoli matlub,
Ko‘rmak ani gulbun uzra bilgil mahsub.
Bazm ichra uzub keturgan ermas marg‘ub,
Ul nav’ki majlis ichra o‘lgan mahbub,—
In one of his rubaiyat, Navoi expresses a similar
sentiment, emphasizing that a woman is beautiful
within the harmony of her beloved and her family.
The poet implies that wandering from gathering
to gathering, attending various festivities, and
straying from her inherent dignity withers and
degrades a woman, like a flower plucked from its
stem.
"Mahbub ul-Qulub" is a work that encapsulates
the essence of Alisher Navoi’s life experiences and
creative reflections. The first section of the book,
titled “The States, Actions, and Sayings of People”,
comprises 40 chapters in which the poet
characterizes various social groups and classes.
Chapter 37, “The Qualities of Household
Management and the Mention of Women”,
specifically discusses women. This alone
demonstra
tes Navoi’s recognition of women as an
essential and significant segment of society. As a
figure of his time, Navoi believed that the active
role of men in society and their service to the state
and nation were largely dependent on women. He
wrote:
"If the mistress of the house is worthy, prosperity
and harmony will bless the household and society
alike."
According to Navoi, if a woman is wise, she brings
order and flourishing to the home. In times of
hardship, a good woman is a friend and confidant;
when misfortune strikes, she is a companion and
source of solace. Such women are akin to angels,
and having them as partners in life is a sign of
divine blessing and happiness. The poet, as the
sovereign of the realm of ghazals, elevates
virtuous women to this noble status.
In Navoi’s view, the most esteemed qualities in a
woman are modesty, chastity, fidelity, and purity.
He believed that a woman’s virtue is paramount,
Volume 04 Issue 12-2024
177
International Journal of Advance Scientific Research
(ISSN
–
2750-1396)
VOLUME
04
ISSUE
12
Pages:
167-178
OCLC
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1368736135
as only from virtuous mothers can righteous and
noble children be born.
Pokdomon zuafodin neki
zoyanda bo‘lur,
Ruhparvardur, jonbaxsh zihi xilqati pok.
Undoubtedly, the highest honor for a woman is
motherhood. In the literature of the past, this role
has been celebrated with profound reverence.
The great thinker Alisher Navoi honors mothers
as “roziqi marsum”—a “lawful provider of
sustenance.” In his advice, he extols filial duty
with verses like:
"Sacrifice your head for your mother’s grace,
Offer your div in charity at her feet."
He emphasizes the equal importance of both
parents with the teaching:
"Regard the service of these two as one, If excess
arises, know it as a fault."
In another instance, Navoi elevates the image of
the mother, declaring:
"A father cannot replace a mother for a child... For
it is impossible to exist without a mother."
In Arba’in, drawing on hadiths, he writes:
"The gardens of paradise lie beneath the feet of
mothers. If you wish to see the gardens of
paradise, become the dust beneath your mother’s
feet."
C
ONCLUSION
Through the above analysis, we observed the
profound and vivid portrayal of women in the
works of Alisher Navoi. In his creations, Navoi
highlights the following qualities of women:
- Incomparable beauty (physical aspect),
- Profound intellect (intellectual aspect),
- Knowledge and enlightenment (cultural aspect),
- Active participation in state and societal
affairs** (social aspect),
- Courage and bravery in battle (martial aspect).
Navoi, aiming to uplift the spirits of women
oppressed by the hardships and injustices of his
time, expressed progressive thoughts and
aspirations about them in his works, using a
unique artistic style and vibrant imagery.
In conclusion, it is no exaggeration to say that the
characters Navoi created continue to captivate
hearts with their beauty and radiance. Navoi
himself recognized the immortality of his works
and characters during his lifetime, stating:
"I hope and imagine that the stature of my words
will never decline, and the triumph of these
writings will find no place other than the highest
rank."
This sentiment can undoubtedly be applied to
Navoi’s depiction of the Mother
-Woman. Indeed,
the portrayal of the Mother-Woman in his works
is exceptionally comprehensive and precise,
serving as a testament to Navoi’s literary
greatness.
Volume 04 Issue 12-2024
178
International Journal of Advance Scientific Research
(ISSN
–
2750-1396)
VOLUME
04
ISSUE
12
Pages:
167-178
OCLC
–
1368736135
R
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