International Journal Of Literature And Languages
34
https://theusajournals.com/index.php/ijll
VOLUME
Vol.05 Issue04 2025
PAGE NO.
34-37
10.37547/ijll/Volume05Issue04-10
The Depiction of Historical Ruler-Poets in The Tazkiras
“Majolis Un
-
Nafois” And “Hasht Bihisht”
Atoyeva Shamsiya
2nd-Year Basic Doctoral Student at Tashkent State University of Uzbek Language and Literature named after Alisher Navoi, Uzbekistan
Received:
18 February 2025;
Accepted:
16 March 2025;
Published:
17 April 2025
Abstract:
This article explores the representation of historical ruler-poets in Alisher Navoi's Majolis un-Nafois and
Sahiy Bey’s Hasht Bihisht, the latter being one of the foundational biographical anthologies (tazkiras) of Ottoman
Turkish literature. The study focuses on how these works praise rulers and reflect their noble character traits and
devotion to poetry. It also compares the two tazkiras in terms of their unique features and differences.
Furthermore, the article provides excerpts from the poetic legacy of ruler-creators, offering evaluative insights
into their literary contributions.
Keywords:
Tazkira, biographical tradition, poets, majlis, tabaqa (tier), paradise, analysis, matla (opening verse),
comparison.
Introduction:
A tazkira serves as a valuable resource
not only for literary scholars but also for researchers in
other fields. For historians in particular, such texts are
critical for understanding the lives, political conduct,
and personal attributes of scholars, scribes, officials,
and rulers from specific historical periods.
As literary scholar K. Quramboyev notes, the study of
literary connections and mutual influences has become
an undeniable fact and a key factor in the progress of
world literatures. No literature has ever developed in
complete isolation, confined only to its own traditions
and devoid of external influence. From this perspective,
our research compares Navoi's and Sahiy Bey’s tazkiras,
revealing that Hasht Bihisht, like many other tazkiras, is
heavily influenced by Navoi’s masterwork.
The seventh majlis (gath
ering) of Alisher Navoi’s
Majolis un-Nafois is dedicated to Amir Timur and the
literary figures of the Timurid dynasty. This section
provides invaluable insights into the literary
environment of the Timurid court. It discusses a total of
22 ruler-poets, beginning with Sahibqiran (Amir Timur)
and ending with Sultan Ali Mirza. Notably, four of these
figures
—
Khalil Sultan, Shah Gharib Mirza, Saydi Ahmad
Mirza, and Sultan Mas’ud Mirza—
are identified as
prince-poets who left behind complete poetic
collections (diwans).
Navoi begins this majlis with a description of Amir
Timur, calling him “the garden of royal trees and the
ocean of princely gems, the emperor of world
conquest, Sahibqiran.” Although Timur did not
compose poetry himself, Navoi emphasizes his deep
appreciation of poetry and eloquence:
"Though he did not engage in versifying, he recited
both verse and prose so eloquently in proper time and
place that his recitation of a single verse was worth
more than a thousand composed lines."
Navoi also highlights
Timur’s traits of forgiveness and
tolerance through a well-known story involving Haji
Abdulqadir, illustrating Timur’s exceptional moral
character.
The majlis also praises Timur’s son, Shahrukh Mirza.
While Shahrukh did not write poetry, Navoi notes that
he had a poetic sensibility and sharp intellect. This is
illustrated through an anecdote shared by Abulqasim
Babur:
When Khwaja Qivamuddin, an architect, criticized one
of Shahrukh's building projects, he fell out of favor for
about a year. Later, he attempted to regain his position
by presenting a calendar to Shahrukh. Upon receiving
it, Shahrukh smiled and recited a couplet by Saadi
Shirazi:
"You have not yet perfected your work on the earth
—
International Journal Of Literature And Languages
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International Journal Of Literature And Languages (ISSN: 2771-2834)
And now you turn to tasks in the heavens?"
Navoi concludes this account by remarking, "It is no
wonder that such a son would be born of such a father."
The first Timurid ruler-poet mentioned as a possessor
of a diwan in the seventh majlis is Khalil Sultan Mirza.
He was the son of Mironshah and the grandson of Amir
Timur, raised under the care of Saroy Mulk Khanum.
According to historical sources, he was known for his
charming personality and handsome appearance from
a young age, and there is a wealth of information about
him in various chronicles. For instance, in The History
of Timur, Ibn Arabshah describes him as follows:
"Khalil Sultan was as handsome as Yusuf, as well-
mannered as Muhammad, and as loyal as Abraham. He
possessed a variety of refined qualities… His virtues and
graces were apparent to all who met him… E
veryone
who followed him was fortunate to receive his
generosity."
Khalil Sultan was not only a patron of poets and artists
but also a distinguished literary figure himself, noted
for compiling a diwan
—
an endeavor beyond the
capacity of many.
In Majolis un-Nafois, Alisher Navoi praises this Timurid
prince with the following words:
"After the events of the Lord of Kings, he ruled on the
Samarkand throne. He would gather refined individuals
and poets at his court. It is well known that he also
composed poetry."
These comments suggest that, like other Timurid rulers,
Khalil Sultan not only supported poets and literary
circles but also actively participated in such gatherings
and contributed his own poetic works.
A sample couplet from Khalil Sultan included in Majolis
un-Nafois reads:
O you with the figure of a Turkish angel, abandon
cruelty,
And fulfill the desire of my heart with your soul-
soothing lips.
This ghazal is particularly praiseworthy for its use of
pure Turkic language.
Among the Timurid rulers, Ulugh Beg Mirza holds a
special place. Navoi emphasizes his wisdom, sharp
intellect, and outstanding knowledge in mathematics
and astronomy. He notes that Ulugh Beg compiled a zij
(astronomical table) and built an observatory, while
also showing an interest in poetry.
Navoi, when describing historical ruler-poets, does not
limit himself to praise alone; he also mentions less
admirable rulers with honesty and neutrality. This
objective approach enhances the persuasiveness of his
work and nurtures in the reader a sense of justice and
truthfulness. This is evident in his depiction of Abdulatif
Mirza, where he writes:
"He was of a melancholic temperament, obsessive in
nature, and bore signs of madness. Beyond this, he had
other strange negative traits unfit for open mention.
For worldly gain, he killed his wise father, the king."
Navoi supports this account by referencing the
historical episode of Khosrow and Shiruya:
"Just as the throne showed loyalty to Shiruya, it did so
to him."
Nonetheless, Abdulatif Mirza’s tal
ent in poetry is also
acknowledged
—
his inclination toward verse and his
skill in composing poetry are noted.
As Russian scholar S.A. Vengerov observed in 1919, a
true literary historian must not focus only on famous
figures but also consider lesser-known contributors to
literary history, as they often reflect the unique
characteristics of their era. In this regard, Navoi stands
out as a true literary historian. Within this majlis, he
also writes about Jahanshah Mirza, Yaqub Mirza, Saydi
Ahmad Mirza, Sultan Ahmad Mirza, Bayqara Mirza,
Kichik Mirza, and Sultan Badiuzzaman Mirza
—
documenting their lineage, personalities, and their
devotion to literature.
Among the diwan holders in the seventh majlis, Shah
Gharib Mirza, the son of Sultan Husayn Bayqara, is
mentioned with great respect. A poet in both Turkic
and Persian, Gharib Mirza was held in high esteem by
Navoi, as evidenced by his mention in several works
—
including the seventh majlis of Majolis un-Nafois, as
well as in Farhod and Shirin and Sab’ayi Sayyor, tw
o
poems from Navoi’s Khamsa.
In Majolis un-Nafois, Navoi describes Shah Gharib
Mirza as:
"A young man with a lively temperament, creative
intelligence, delicate imagination, and precise
reasoning."
He goes on to highlight Gharib Mirza’s literary talent in
both prose and poetry, noting that such mastery in
both genres earned the admiration of Navoi himself.
Furthermore, Navoi emphasizes his bilingual creativity
(zullisonayn) and provides examples of his poetic works
in both Turkic and Persian, starting with excerpts from
his Turkic verses.
One of the notable poetic excerpts from Shah Gharib
Mirza included in the Majolis un-Nafois is:
Which rose-faced beauty possesses a blooming lip like
hers?
Which cypress-limbed figure walks with the grace of my
beloved?
The compiler of the tazkira also emphasizes another
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International Journal Of Literature And Languages (ISSN: 2771-2834)
verse by Gharibiy as particularly passionate and
admired by poetry enthusiasts:
O friends, whenever you pass by the place of my
beloved’s grave,
Congratulate my soul and offer prayers for my
beloved’s soul.
It is important to note that Alisher Navoi held a deep
affection for Shah Gharib, and was profoundly affected
by his untimely death. In his honor, Navoi composed a
marsiya (elegy) in the tarkibband genre, comprising five
stanzas of twelve lines each. This poetic form occupies
a special place in classical literature. Professor D.
Yusupova, in her scholarly studies, has extensively
examined and interpreted this tarkibband.
Evidence of Gharibiy’s poetic talent and the
compilation of his diwan can also be found in Babur
Mirza’s famous work, Baburnama, where he writes:
"He was hunchbacked. Though his appearance was not
pleasant, he possessed a refined poetic sensibility.
Despite his physical frailty, his words were charming.
He used the pen name 'Gharibiy,' compiled a diwan,
and wrote poetry in both Turkic and Persian."
Babur mentions a detail Navoi does not
—
Shah Gharib's
physical condition
—yet his comments on Gharibiy’s
literary qualities are nearly identical to Navoi’s.
Alisher Navoi did not admire Shah Gharib merely for his
princely status, but also for his genuine poetic talent.
This is evident from the extensive attention he gives to
Gharibiy in the seventh majlis. As further proof, Navoi
concludes the section with the following sentence:
"His fine matlas are too many to fit into this short
selection
—
perhaps a whole book could be written."
This st
atement reveals Navoi’s intention to dedicate an
entire book to Shah Gharib Mirza. However, whether
such a work was ever written or has survived to the
present remains unknown.
When reading Navoi’s descriptions of historical ruler
-
poets, the reader gains not only insight into their
literary output but also a broader sense of their
character and personality. Navoi provides a
multifaceted portrayal that enhances the reader’s
understanding and appreciation of each figure.
As the majlis concludes, Navoi briefly touches on other
Timurid princes and poets, such as Baysunghur Mirza,
Sultan Mas’ud Mirza, and Sultan Ali Mirza. He ends the
seventh majlis with a prayerful quatrain, asking God to
grant the Timurids not only worldly power but also
nearness to the divine in the hereafter:
Since Timur and Shahrukh were their noble forebears,
And their successors bore the traits of blessed ones
—
O you who were adorned with fortune and dignity,
May your life always be surrounded by grace and glory.
In contrast to Navoi’s tazk
ira, the second tabaqa
(section) of Sahiy Bey’s Hasht Bihisht is dedicated to
ruler-poets but features significantly fewer entries.
Only six historical poet-rulers are mentioned in this part
of the work. Similar to Majolis un-Nafois, their poetry
and literary engagement are briefly discussed alongside
notes on their political and public life. However, the
level of depth and literary detail in Sahiy Bey’s accounts
is noticeably less than that found in Navoi’s
comprehensive portrayals.
The second tabaqa (sect
ion) of Sahiy Bey’s Hasht
Bihisht begins with a profile of Sultan Murad Khan
Ghazi. He is introduced as the son of Sultan
Muhammad, who was the son of Sultan Yıldırım
Bayezid. In the Tarikh-i Usmani, he is referred to as
“Abulkhayr,” a name bestowed upon n
o other ruler.
Despite his indulgence in alcohol, Sultan Murad is
described as a man of refined taste and a devoted
admirer of poetry. The following verse is attributed to
his pen:
Çalınur çengler ayalar karşılur
Rakş urur rakkaş çardak şarşılur
(Tambourines are struck as veils are lifted;
Horses dance, and the pavilion trembles.)
The next ruler mentioned is Sultan Bayezid, son of the
late Sultan Muhammad Abulfath. He used the poetic
pen name Adâlat (Justice). Sahiy Bey beautifully
portrays his qualities, noting his mastery in both
scholarship and governance, and his sense of justice. As
evidence, Sahiy Bey praises his learning and intellectual
breadth, stating that he was a true scholar with deep
knowledge in many disciplines. His exceptional skill in
archery is cited metaphorically
—
none could draw a
bow like him in his time
—
emphasizing his military
prowess. Sultan Bayezid is portrayed not only as a
patron of scholars, jurists, and poets, but also as a guide
to all of humanity.
Notably, he invited Idris Bitlisi from Persia, offering him
generous patronage and commissioning the writing of
the Tarikh-i Ali Usman. This work is noted for its
elegance, comparable to Sharaf al-
Din Ali Yazdi’s
Zafarnama.
Following the death of his father, Sultan Muhammad,
Bayezid entered a succession conflict with his brother,
Prince Cem (Cem Sultan). Ultimately, Bayezid emerged
victorious and ascended the throne, while Prince Cem
fled to Arabia. After performing the pilgrimage to
Mecca, he returned and resided in Karaman province,
yet he was again unsuccessful in reclaiming the throne.
International Journal Of Literature And Languages
37
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International Journal Of Literature And Languages (ISSN: 2771-2834)
Sahiy Bey devotes space in this section to Cem Sultan
as well. Despite his failed attempt to seize power, Cem
is remembered as a patron of learning and the arts. He
supported poets and scholars and was himself an
accomplished poet who compiled a diwan. Among his
most beautiful ghazals is:
Dil helâk eyler gözüñ hânçer çeker cân üstine
Gör ne hûnîdür gözüñ kim kan ider kân üstine
(Your gaze destroys hearts, drawing daggers upon the
soul;
See how your bloodthirsty eyes spill blood upon blood.)
Cem Sultan also composed a masnavi titled Khursheed
u Farahshad, noted for its elegance, fluent verses, and
refined style.
The section continues with Sultan Selim, the youngest
son of Sultan Bayezid. His bravery and determination
are such that when his father planned to hand the
throne to his elder son, Sultan Ahmed, Selim raised an
army, fought his father in battle, and secured the crown
for himself. Selim’
s passion for poetry is also
emphasized
—
he compiled a diwan whose quality is
said to rival that of Khusraw Dehlavi. Interestingly,
while Dehlavi’s diwan features Persian ghazals rather
than Turkic matlas, Selim’s ghazals are praised for their
poetic strength, paralleling his heroic spirit.
The second majlis (chapter) of Sahiy Bey’s tazkira
concludes with a tribute to Sultan Qorkud. As
customary, the section ends with a spiritual reflection.
The rulers and princes featured in this part are likened
to the just King Nushirvan and the powerful Alexander
the Great. The author prays that, just as these rulers
had conquered many lands in this world and were
crowned kings, they may also be honored and beloved
in the presence of God in the hereafter. The conclusion
features the following quatrain:
As long as the sultans of the world lie beneath the
earth,
May God exalt the Sahibqiran’s rank.
May He protect His noble essence from danger until
Resurrection,
And bless the princes with long life and prosperity.
CONCLUSION
Although the arrangement of majlis and the number of
ruler-poets differ between Majolis un-Nafois and Hasht
Bihisht, both works present unique portrayals of poetic
rulers, assessing their literary contributions with
individual nuance. Through the inclusion of poetic
excerpts, the authors invite readers to form their own
evaluations of the rulers’ artistic merit. As we read
these tazkiras, we are drawn into the literary and
historical atmosphere of their time. It becomes clear
that Sahiy Bey’s tazkira is s
piritually and stylistically
nourished by the legacy of Alisher Navoi, revealing a
profound intertextual connection between the two
traditions.
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