International Journal Of Literature And Languages
22
https://theusajournals.com/index.php/ijll
VOLUME
Vol.05 Issue06 2025
PAGE NO.
22-24
10.37547/ijll/Volume05Issue06-07
The Literary Legacy of Adib Sobir Termizi
Ergash Ochilov
Uzbekistan Republic Academy of Sciences, Institute of Uzbek Language, Literature, and Folklore, Senior Researcher, Candidate of
Philological Sciences, Uzbekistan
Received:
12 April 2025;
Accepted:
08 May 2025;
Published:
10 June 2025
Abstract:
This article provides information about the literary legacy of the great master of words, Adib Sobir
Termizi, his place in classical Eastern literature, his contributions to the development of genres such as qasida,
ghazal, and qit’a, the main themes and s
tylistic features of his works, certain aspects of his poetic mastery, and
the translations of his poetry into the Uzbek language.
Keywords:
P
oet, divan, manuscript, bayaz, genre, qasida, ghazal, qit’a, rubai, publication, translation, mastery
.
Introduction:
The sacred land of Uzbekistan, which has
been the cradle of numerous scholars and poets such
as Am’aq Bukhari, Suzani Samarkandi, Asiriddin
Akhsikati, Sayfi Farghani, Badriddin Chachi, Pakhlavon
Mahmud, Khoja Ismat Bukhari, Abdurahmon Mushfiqi,
Shavkat Bukhari, Nasir Bukhari, Mirzo Sodiq Munshi,
and Shamshiddin Shahinhas given rise to many Persian-
speaking poets across various eras. Studying their lives
and works, translating their creations, and making
them accessible to our people undoubtedly enriches
and advances Uzbek literature. Among these literary
figures, Adib Sobir Termizi holds a special place due to
the brilliance of his artistic talent.
Shahobiddin Adib Sobir ibn Ismail Termizi (1078
–
1147)
was the author of a comprehensive divan. According to
the preface of his 13th-century divan, his poetic legacy
amounted to 15,000 bayts (couplets). However, over
the centuries, this divan has been passed down in a
fragmented state. To date, four divans containing his
works are known to exist, preserved in the India Office
Library in England, the British Museum, the manuscript
collection of the Azerbaijan Academy of Sciences, and
the Institute of Oriental Studies of the Tajikistan
Academy of Sciences. [1.34] Copies of his works also
exist in Iran and India. For several years, renowned
bilingual literary scholar Ahmad Abdullaev has been
diligently studying Adib Sobir’s life and works,
collecting and publishing his legacy. By comparing eight
manuscript versions and examining over 200 bayaz
(poetry anthologies), Abdullaev identified 126 qasidas,
7 tarkibbands, 64 ghazals, 154 qit’as, 88 rubais, 25
miscellaneous poems, and 7 poems found in bayaz,
totaling 7,045 bayts. These were published in 2002 by
the “Al
-H
uda” international publishing house in Iran.
[2.]
It is well known that in classical Eastern poetry, the
qasida holds a prestigious position, not only used for
praising kings and dignitaries but also for creating
remarkable examples in philosophical-mystical and
moral-didactic themes. In this regard, the qasida was an
important measure of a poet’s talent. Particularly in the
Middle Ages, this genre was widespread, producing
many distinguished qasida poets. Adib Sobir’s qasidas
demonstrate his significant contribution to the
development of this genre during his time. He was
primarily a qasida poet, showcasing his poetic prowess
in the introductory sections (nasibs) of his qasidas. Each
qasida’s nasib is adorned with a specific theme or
poetic device. For instance, one may focus on the
theme of love, another on descriptions of nature, and
another on the beauty of a beloved. Some employ
metaphors, others use antithesis, allusion, parallelism,
repetition, or etymology, expressed beautifully and
evocatively. Notably, Adib Sobir depicts natural scenes
with the skill of a masterful painter. A study of his
qasidas suggests that no poet in the world could
surpass him in describing nature. The praise sections of
his qasidas, however, are largely similar, extolling the
power and generosity of the patron while requesting
their support. These qasidas are mainly dedicated to
Majiddin Abulqosim Ali ibn Ja’far, the governor,
scholar, and naqib of Khurasan. A few qasidas are
International Journal Of Literature And Languages
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International Journal Of Literature And Languages (ISSN: 2771-2834)
dedicated to Sultan Sanjar and Khwarazmshah Atsiz. It
should be noted that Adib Sobir not only praised
Abulqosim Ali and Atsiz in his qasidas but also in his
ghazals and qit’as. His qasidas vary in length, ranging
from 13 to 101 bayts in his divan.
Through his ghazals, Adib Sobir made a worthy
contribution to the development of the ghazal, which
began flourishing in Persian and Turkic poetry from the
10th century. His role in the rise of impromptu ghazals
is particularly significant. His ghazals were highly
praised by Muhammad Awfi, Davlatshah Samarkandi,
Taqiuddin Kashani, Abdurahmon Jami, Lutfalibek Azar,
Rizaqulikhan Hidayat, and others, who regarded them
as comparable to the ghazals of Rudaki, Daqiqi, Shahid
Balkhi, and Farrukhi. Adib Sobir’s ghazals typically
consist of 5, 6, or 7 bayts and rarely include a takhallus
(pen name).
His qit’as stand out for their simplicity, accessibility,
and lifelike quality, free from the lofty romanticism
typical of Eastern poetry. These qit’as, written in
various moods and themes with diverse lengths, can be
seen as Adib
Sobir’s daily notebook or lyrical
miniatures.
Few poets in Persian literary history have been as
refined and sensitive as Adib Sobir. Scholars
unanimously emphasize the sweetness of his ghazals’
language and the elegance of his style. Indeed, Adib
Sobir is a true artist. He skillfully employs poetic
devices, adding unique charm to his poetry. His style is
noted for being both fluid and somewhat complex due
to its richness in poetic devices.
It is recorded by his contemporaries that Adib Sobir
wrote not only in Persian but also in Arabic. Rashididdin
Vatvat highlighted his mastery in both poetry and
prose. Unfortunately, his Arabic works and prose have
not yet been found. There are references to his treatise
on astronomy, a collection of letters, and an album of
drawings.
Adib Sobir’s legacy primarily consists of qasidas,
ghazals, tarkibbands, qit’as, and rubais. His prominence
in qasidas and ghazals is particularly noted by
researchers. Themes of love, nature, complaints about
the times, and moral advice dominate his poetry.
Optimism and resilience shine through his works
despite the political instability, hardships, and complex
fate he endured. His poetry is distinguished by its
formal beauty, profound meaning, natural metaphors,
and sincere ideas. Rich in poetic devices and folk
expressions, his works strive for artistic perfection in a
simple, Khurasani style, continuing the traditions of
Rudaki, Daqiqi, and Farrukhi. Iranian scholar Saeed
Nasafi noted that no poet from Turkestan surpassed
Adib Sobir in the fluency of expression, the impact of
meaning, and the beauty of style after these three
poets. Adib Sobir himself likened his poetry to soaring
stars in brilliance and radiance, stating that even fire
takes pride in their glow. Indeed, his poetry captivates
readers with its simplicity of expression, fluidity of
style, clarity of thought, vibrant spirit, and enchanting
tone. His adherence to simplicity earned him the title
“Second Rudaki.”
Overall, Adib Sobir’s oeuvre consists of praise,
description, and complaints: he praises kings and
dignitaries when held in esteem, sensitively describes
natural scenes, and laments fate, the heavens, the
world, the times, and people when marginalized or
slandered.
Uzbek readers were first introduced to Adib Sobir
Termizi’s
works in 1979 through a modest collection of
his “Selected Works,” translated by Chusti, a prominent
poet and translator of Persian-Tajik literature, and
literary scholar Eshboy Pardaev. [3] The collection
included ghazals, nasibs (qasida introductions), and
qit’as translated by Chusti, with rubais translated by
Eshboy Pardaev. In 1982, a selection of Adib Sobir’s
works was published, with rubais translated by the
renowned poet and translator Jamol Kamal. These
editions included translations of 38 nasibs, 55 ghazals,
49 qit’as, 68 rubais, and samples of tarkibbands (303
bayts in total). [4]
In 2018, as part of a project by the Institute of Oriental
Studies named after Abu Rayhan Beruni under the
Uzbekistan Academy of Sciences, titled “Studying the
Scientific Legacy of Termez Scholars and Translating
and Publishing Their Works,” Mahmud Hasaniy and
Ergash Ochilov prepared and published a selection of
Adib Sobir’s divan. This edition is more comprehensive,
larger in scope, and diverse in genre compared to
previous ones. It includes full translations of 64 ghazals,
156 qit’as, 86 rubais, 25 miscellaneous poems, and 7
poems from bayaz. Gaps in earlier translations of
ghazals and qit’as were filled. For example, while only
49 qit’as had been translated into Uzbek p
reviously,
this collection increased the number to 156, correcting
errors and omissions. Similarly, the number of rubais
was expanded from 68 to 86 (two incomplete rubais
were excluded), translated in the traditional metrical
form. Adib Sobir’s rubais are
tarana rubais, with all four
lines rhyming (aaaa), a feature preserved in the new
translations. Earlier translations by Eshboy Pardaev (58
rubais in finger meter) and Jamol Kamal (68 rubais in
their original meter) did not always adhere to this form.
Gaps in ghazal translations were also addressed. For
the first time, about 40 qasidas were translated into
both poetic and prose forms. [5]
CONCLUSION
International Journal Of Literature And Languages
24
https://theusajournals.com/index.php/ijll
International Journal Of Literature And Languages (ISSN: 2771-2834)
In conclusion, continuing research on Adib Sobir
Termizi’s literary legacy, restoring his complete divan,
conducting in-depth studies of his life and works, and
translating his poetry to a high standard for readers are
urgent tasks for Uzbek literary studies. A refined and
captivating poet like Adib Sobir Termizi deserves a
worthy place in Uzbek literature.
REFERENCE
А д и б С о б и р и Т и р м и з и й. Осори мунтахаб
(Ба чоп тайёркунандаи матни мажмўа, муаллифи
муқаддима ва мураттиби луғату тавзеҳот Аҳмад
Абдуллоев). –
Душанбе: “Ирфон”, 1981. –
С. 34.
Девони Адиб Собир Термизий. –
Теҳрон, 1380
(ҳижрий
-
шамсий).
А д и б С о б и р Т е р м и з и й. Танланган асарлар
(Форсчадан
Чустий
ва
Эшбой
Пардаев
таржималари). –
Тошкент: Ғафур Ғулом номидаги
Адабиёт ва санъат нашриёти, 1979.
А д и б С о б и р Т е р м и з и й . Сайланма
(Форсчадан Чустий ва Жамол Камол таржималари).
–
Тошкент: Ғафур Ғулом номидаги Адабиёт ва
санъат нашриёти, 1982.
А д и б С о б и р Т е р м и з и й. Девон (Форсчадан
Чустий, Маҳмуд Ҳасаний ва Эргаш Очилов
таржималари). –
Тошкент: “Наврўз”, 2017.
