International Journal Of Literature And Languages
146
https://theusajournals.com/index.php/ijll
VOLUME
Vol.05 Issue06 2025
PAGE NO.
146-149
10.37547/ijll/Volume05Issue06-41
The Sufi Interpretation of a Historical Figure in
Navoi’s
Works
Alisher Razzoqov
PhD in Philology, Doctoral Researcher, Tashkent State University of Uzbek Language and Literature, Uzbekistan
Received:
30 April 2025;
Accepted:
28 May 2025;
Published:
30 June 2025
Abstract:
In his literary activity, Alisher Navoi portrayed numerous historical figures, including characters from the
pre-Islamic era. This article deals with the image of one such figure Nushiravan and examines its sufi interpretation
within Navoi’s creative frame
work. The methodological approach is based on auto-interpretation, meaning the
poet’s own hermeneutic lens. A selected couplet from Navoi’s ghazals serves as the basis for analysis, wherein
the artistic imagery and symbolic essence are interpreted through a comparative lens alongside a character from
the narrative poem “Hayrat ul
-
abror” (The Wonder of the Righteous). The study concludes that although Navoi’s
literary tradition is historically situated within the Islamic period and geographical sphere, he often references
figures from pre-Islamic history solely for their names or symbolic resonance, without aligning them ideologically
with Islamic doctrine. Specifically, in the portrayal of Nushiravan, Navoi employs the figure as a symbolic vessel
for conveying Sufi ethical ideals, rather than a historical or religious endorsement.
Keywords:
Alisher Navoi, ghazal, auto-interpretation, sufism, futuwwat (a chivalric code of conduct), perfect
human.
Introduction:
By its very nature, the poetry of Alisher
Navoi is didactic; in other words, for the poet, literary
creation is not merely a pastime of the heart concerned
solely with love and passion. Rather, it is a profound
and weighty responsibility to acquaint his reader with
knowledge and wisdom, and to guide them toward an
understanding of the true meaning of life. It is for this
reason that Navoi, in the preface to his first divan
Badoye’ ul
-
bidoya (“The Beginning of Art”), criticizes
poetic collections limited to a single theme. In this
respect, Navoi maintained a highly self-critical attitude
toward his own creative output.
Consequently, every image and symbol in Navoi’s
poetry possesses not only its primary, literal meaning,
but also layers of secondary, metaphorical significance.
On the other hand, when analyzing and interpreting
literary works created throughout the history of
literature, it is essential to consider the historical period
in which a work was written, the prevailing social
environment, and the philosophical worldview of its
time. As rightly stated, “At the foundation of li
terary
history lies the principle of historicism. This principle
demands that the literary process be studied as a
phenomenon intimately connected to specific socio-
historical circumstances” [Ulughov, 2018:14].
Literature review
Although Alisher Navoi’s H
ayrat ul-abror has been the
subject of extensive scholarly inquiry by numerous
Navoi specialists, the story and character of Nushiravan
within the poem have yet to be examined in depth from
a sufi perspective. In her dedicated study of the poem,
N. Sharipo
va concludes: “In this narrative, the poet
acknowledges modesty and a sense of decorum as
essential virtues for a human being” [Sharipova,
2018:492]. Meanwhile, I. Pardayeva, who has explored
the literary artistry of Navoi’s historical works,
emphasizes that the poet highlights two particular
qualities of the just ruler Anushirvan, his commitment
to justice and his sense of shame ,not as imaginative
exaggerations, but as qualities grounded in historical
reality [Pardayeva, 2018:111]. Literary scholar A. Malik,
who has written an in-depth commentary on Hayrat ul-
abror, builds upon these interpretations, asserting that
Alisher Navoi presents Nushiravan’s purity of intention
and modesty as the very qualities that elevate him to
kingship and make his justice a source of protection for
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147
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International Journal Of Literature And Languages (ISSN: 2771-2834)
all humanity. In doing so, Navoi implicitly calls upon
rulers to emdiv modesty, decorum, and justice
[Malik, 2021: 267
–
268].
METHODOLOGY
One of the most fundamental and enduring principles
of Navoi studies is the interpretive approach that seeks
to elucidate the poet’s works through the lens of his
own writings. This principle demands a meticulous and
comprehensive reading of each of Navoi’s texts. A
recurring phenomenon in his oeuvre is that a problem
or thematic question raised in one work often finds its
resolution, clarification, or commentary in another. In
modern literary theory, this phenomenon is referred to
as auto-interpretation. According to this concept,
“auto
-interpretation is defined as a literary work being
i
nterpreted by its own author”. Such self
-commentary
may either encompass the work in its entirety or
pertain to specific aspects or issues within it [Erkinov,
2018: 293]. At times, auto-interpretation may occur
within the confines of a single work; in other cases, the
author may address a problem posed in one text by
offering its resolution in another. For this reason, in the
present article, we have attempted to analyze a couplet
by Navoi through the narrative framework of his poem
Hayrat ul-abror.
RESULTS
In many cases, Navoi’s epic and prose works serve as a
broad and nuanced commentary on his lyrical poetry.
For this reason, one often encounters artistic
interpretations of complex lyrical themes within his
“Khamsa” poems or in works such as
Lison ut-tayr (The
Language of the Birds). This principle holds true even in
the interpretation of a single couplet from his lyrical
corpus. For instance, in the 46th ghazal of the divan
Gʻaroyib us
-
sigʻar (Wonders of youth), we find the
following couplet:
Yor chun barcha zamon nozir erur holinga, bo‘lg‘il
Bori holatda mushohid, bori el birla muaddab [Навоий
(а), 2011: 67].
English transcreation:
For each time, the watchful eye beholds its state,
At times, it observes in solitude, at times with the
crowd,
dignified. [Navoi (а), 2011:67].
Before delving into an analysis of this couplet, it is
essential to first consider the meaning of the term “yor”
(beloved) as defined in the lexicon of sufi terminology.
In Sayyid Ja’far Sajjadi’s “Farhangi Istilohot va T
abiroti
irfoni”(A dictionary of sufi terms and expressions), the
word yor is explained as follows: “Yor refers to the
realm of witnessing (shuhud), that is, to the
contemplation of the divine essence” [Sajjadi,
1370:803]. In other words, yor signifies the spiritual act
of contemplating Allah recognizing him as the one who
sees, hears, and is fully aware of every state of being.
Notably, the word “mushohid” (witness/observer),
derived from the same root as mushohada
(contemplation), appears in the couplet under
discussion. This linguistic parallel highlight a thematic
and conceptual link between the mystical definition of
yor and the deeper meaning embedded in the verse. In
sufi terminology, mushohada carries meanings such as
“vision”, “unveiling”, “spiritual
beholding” or “mystical
journey”. More specifically, it can denote: a) the
presence of the divine within the heart, b) essential
self-disclosure (zotiy tajalli),
c) perceiving material reality through the lens of divine
unity (tawḥid),
d) the spiritual st
ation of “absolute union” (ayn al
-jam),
e) the state of absolute certainty of truth (ḥaqq al
-
yaqin),
f) the inward spiritual states experienced by
Naqshbandi Sufi masters and Gnostics, as they perceive
the realm of meaning in connection with the visible
world.
[Uludagh, 1995:391]
In the couplet above, Navoi is essentially stating: “The
beloved is ever watchful of your condition in every
moment; therefore, in every state, be contemplative,
and in the company of others, remain within the
bounds of decorum”.
According to the logic of the
verse, the word “yor” cannot be understood in its
conventional, worldly sense, since no earthly beloved
could possibly be “vigilant at all times”. This aligns with
the Sufi understanding, where it is frequently
emphasized that noble conduct manifests in two
distinct modes: one in relation to the Divine (Haq), and
the other in relation to creation (khalq) [Hujviri,
1435:39].
A deeper interpretation of this couplet can be found in
Navoi’s own writings specifically, in his Hayra
t ul-abror.
In the sixth discourse of the poem, which is devoted to
the theme of adab (etiquette), Navoi presents the story
of Prince Nushiravan. While on the surface this tale
appears to promote ethical conduct, on a deeper level
it constructs the figure of a gnostic (arif) a spiritual
seeker who perceives divine knowledge (maʻrifa) and is
acutely aware of being under the constant gaze of the
Divine. What is most significant here is that adab, the
central theme of the story, is also one of the ultimate
aims of Sufism. Navoi explicitly underscores this point
in the 306th ghazal of his Favoyid ul-kibar (Teachings of
the great) divan, which is dedicated to the definitions
and descriptions of sufism.
Tasavvuf rizo ahlidin yaxshi axloq,
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International Journal Of Literature And Languages (ISSN: 2771-2834)
Erur istilohoti zebu taka
lluf [Навоий (b), 2011: 311].
English transcreation:
Sufism is but the noble conduct of those content with
the Divine,
Its terms are but adornments, its speech mere
ornament [Navoi (b), 2011:311].
Spiritual guides (murshids) who undertook the training
of saliks those walking the sufi path fought vigorously
against negative traits such as pride and arrogance.
They devoted their utmost effort to cultivating in their
disciples’ noble manners, gentleness, and humility.
Depending on the temperament, character, and even
the social background of each disciple, they prescribed
different forms of riyazat (spiritual discipline). In the
corresponding discourse of “Hayrat ul
-
abror”, Navoi
addresses the concept of adab (etiquette and ethical
conduct) from the perspecti
ve of the sufi path (ṭariqa).
While the chapter does acknowledge the social
significance of adab, its primary focus is spiritual. The
Naqshbandi order, to which Navoi belonged,
encompassed all layers of social life, reflecting the
Islamic legal tradition, wherein every aspect of worldly
conduct is regulated by a specific form of adab
grounded in the Sunnah. Sufism, as the spiritual
dimension of Islam, draws each of its core ideas and
principles from Islamic sources. The Sufi master Abu
Hafs Haddod famously
stated that “all of sufism is
comprised of adab” Abul Ḥasan Nuri further refined
this view, asserting that sufism is neither a system of
customs nor a div of knowledge, but rather the
embodiment of virtuous character. Had it been a set of
rituals, it would be acquired through effort (mujahada);
had it been a collection of sciences, it could be attained
through instruction [Hujviri, 1435:41].
The Naqshbandi sufi order likewise established its
principles on the foundation of strict adherence to the
Prophetic Sunnah. Bahauddin Naqshband himself is
quoted as saying: “Our path is among the rare forms of
the firmest handhold (urwat al-wuthqa); that is, it is to
grasp the hem of obedience to the Sunnah of the noble
Muhammad Mustafa (peace and blessings be upon
him) and his followers, and to walk in the footsteps of
the great Companions may God be pleased with them
all”. [Abul Muḥsin Muḥammad Baqir ibn Muḥammad
Ali, 1993:78]. Given this foundation, every effort and
aim of the Naqshbandi path, like those of Islam more
broadly, is directed toward the cultivation of noble
character and the moral and spiritual formation of the
perfect human being.
In the narrative structure of “Hayrat ul
-
abror”, one
finds a telling episode from the life of Nushiravan.
While still a prince, he becomes captivated by love.
Eventually, he encounters his beloved in a secluded
garden. Just as he reaches out his hand to her, he
suddenly restrains himself and withdraws. He then
offers the following explanation for his change of heart:
Kim bu visol ichraki voqe’ durur –
Nargisi shahlo ko‘zi mone’ durur [Навоий (с),
2011:143].
English transcreation:
Just as I stood at the threshold of union’s delight,
Her violet narcissus-
eyes forbade the rite [Navoi (с),
2011:143].
It becomes clear that at the very moment Nushiravan
reaches out to his beloved, his gaze falls upon a
narcissus flower blooming in the garden. The flower
commonly likened to the human eye in classical poetry
appears to him as if someone is watching. Struck by this
sense of being observed, Nushiravan is overtaken by
modesty and moral restraint, and he recoils from the
act he was about to commit.
Ayni hayo birla futuvvat anga,
Bermadi ul amrda quvvat anga [Навоий (с), 2011: 143].
English transcreation:
With modesty came chivalry to his aid,
And in that moment, strength to act was stayed [Navoi
(с), 2011:143].
Thus, what prevented the prince from committing the
wrongful act was his modesty and chivalry. In his
“Tarih
-i muluki ajam (History of the Kings of Persia),
Navoi quotes a wise saying of Nushiravan that
resonates with the prince’s situation in “Hayrat ul
-
abror”: “The wise man is he who, having secretly
conceived a certain deed, does not carry it out openly
when it becomes known” [Navoi (d), 2011:639]. The
sufi mystic Husain Mansur Halloj describes futuwwat in
the following way: “Futuwwat is the quality possessed
by a person who ties all their desires to God, seeking
God’s direction for the sake of God alone” [Gulpinarli,
2011:19]. In general, many definitions of futuwwat are
found in sufi sources, and one such definition aligns
precisely with the character portrayed by Navoi:
“Futuwwat is the final stage in the journey towards
God. It is the name of the station attained by those who
have purified themselves from carnal qualities. This
purity is the increase in guidance that follows faith”
[Porso, 1913:63] Although the central concept of
futuwwat revolves around selfless and sincere good
deeds done for the sake of God, in the story, Navoi also
emphasizes its literal meaning (in
Arabic, “fatiy” means
youthfulness or bravery). In this context, Nushiravan
demonstrates bravery in his fear of Allah and his piety.
He refrains from wrongdoing solely for the sake of
Allah, thus exhibiting the courage to maintain virtue
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International Journal Of Literature And Languages (ISSN: 2771-2834)
despite temptations. This quality in a person arises
from recognizing Allah’s attributes, such as His all
-
seeing (Al-Basir) and all-hearing (As-Sami) nature.
Naturally, a person possessing such qualities will
conduct their actions within the framework of adab and
hold a noble position in society. The emphasis on adab
in the previously cited couplet from “G’aroyib us
-
sig’ar”
is not without reason.
CONCLUSION
From this brief analysis, it can be concluded that,
although the works of Alisher Navoi are historically and
essentially considered a part of Islamic literature
(within the context of the region), he nevertheless
frequently chose historical figures, even those
unrelated to Islam, as his protagonists. Nushiravan is
one such figure. Navoi “revitalizes” him
as a sufi disciple
based on his own Islamic and mystical worldview.
The literary output of Alisher Navoi is a cohesive and
harmonious phenomenon. In it, no contradictory or
opposing views can be found. Navoi”s Sufi beliefs are
unified in a single image. Each character created by
Navoi embodies his aesthetic ideals the qualities of the
perfect person he envisioned. The essence of an image
or symbol in one of his ghazals can be interpreted
through the narrative and characters in another of his
works. In oth
er words, Navoi provides the “key” to
unlocking the mystique of his works to his readers. The
first and most important way to correctly understand
and interpret his works is, above all, to study Navoi
through his own lens. Additionally, it is crucial to
become familiar with the Islamic and Sufi sources that
inspired Alisher Navoi, the classical literature that
developed within this region, and the major literary
traditions, perspectives, and systems of imagery in
poetry.
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