Masnavi in dakhini "Layli and Majnun" was written under the pseudonym Ajiz, and the differences between the six manuscripts of Masnavi Ajiz were analyzed. It is known that among the poets who responded to the epic "Layli and Majnun" in Urdu, or rather in the ancient Urdu-Dakhini, the Masnavi of Muhammad Sharif Ajiz occupies a special place among other versions of "Layli and Majnun". "in Dakhini. Among the Dakhini poets, several poets wrote under the pseudonym Ajiz. The goal was to determine the authorship of the Masnavi Leyli and Majnun by identifying information about several poets with the same pseudonym based on gazelles, muhammas and other inscriptions stored in the museum Salorjanga During a scientific trip to Hyderabad, we studied the life and work of poets under the pseudonym Ajiz, and the results of our attempts to find out who wrote the masnavi showed that Arifiddin Khan Ajiz was a famous poet who lived during the reign of Asafjah. The second poet was Muhammad Ali Ajiz or Sayyad Mahmud Ajiz, the author of Masnavi, Queen of Egypt. The author of another Masnavi, Gul o-sanobar, was a poet who wrote under the pseudonym Ajiz, and from his linguistic features it became clear that he was a poet who lived after Vali. Author of the prose work Iblisnoma "In the ancient dakhini - also a poet with the pseudonym Ajiz. It turned out that" Layli and Majnun "did not belong to this poet. Naval Singh is a poet who wrote in during the reign of Ajiz Asafjokh. Another poet, under the pseudonym Ajiz, has a 16-verse Muhammad, whose language refers to the author of the ghazal copied by the aforementioned bayaz. The Bayaz titled "Muhammas" contains the muhammas of several poets, including the Muhammad poet named Ajiz, whose language is close to the language of the time when the wali was created, and the overall author of the muhammas included in this were poets who lived soon after Wali.
This article examines the verse and its characteristics, the poetic requirements for the verse, and the degree to which they are preserved and developed in the historical development of our classical poetry. The work of the great poet Z.M. Babur was taken as an object of classical poetics. In Babur’s ghazals, the composition of the verse, its leading theoretical requirements, the functions and types of different poetic genres have been revealed. Also, the methods of determining the main verse in the ghazal have been observed
The article is about the creativity of poets who lived in Golkonda in the XV–XVIIth centuries during the reign of the Kutubshah dynasty, such as Muhammad Kuli Kutubshah, and Sultan Ibrahim, his sons – Muhammad and Abdullah and their kulliyats, Muhammad Mazharuddin ibn Nishatiy, about his masnavi "Irshadnama", "Sukh Sahela", as well as poets such as Aminuddin Ala, Kamal Khan Rustami, Mirzo Muhammad Mukimi and others.
In this article, the origin, genesis, gradual development of irfoniy epics, principles of development in Turkish and Persian literature are researched. The epics of Fariduddin Attar, Gulshahri, Alisher Navoi, Rezai Payvandi, and Salahi were analyzed. the characteristics of vazn, measurement possibilities, poetic arts, rhyme system in the epics of these creators were studied and analyzed. The article also reveals the relationship between weight and content in irfoniy epics. Also, the article expresses the reaction to the existing views and opinions in literary studies. In order to read epic verses expressively, the events of vasl, imola, tag’yir, and taslim are clarified. In the process of writing the research, the book «From the history of Uzbek epic poetry» by B. Valikho’jaev, the article «Gulshahri and Navoi» by Arasli Noshoba, the book «Genesis and ideological-artistic features of the epic «Lison ut Tair»» by Sh. Sharipov , Sh. Hasanova’s «Bird» by Maulana Khoji Qazi Payvandi Rezai»language» epic and its comparative-textological study» monograph, Z. Mamadalieva’s «Images of Lison ut-Tair: symbol and metaphor» based on theoretical views. The convenience of Ramali musaddasi mahzuf and Ramali musaddasi maksur vazns for works in the direction of irfoniy epics has been revealed.
In this article, which is dedicated to the 140th anniversary of the birth of great poet and philosopher, singer of freedom and independence Muhammad Iqbal, the international significance of the thinker's creative activity is considered, the works of scientists and writers of Uzbekistan on the study of the creative heritage of Iqbal are presented, and their content is disclosed.
The article is about the creativity of poets who lived in Golkonda in the 17th century during the reign of the Kutubshah dynasty, such as Mulla Gavasi and about his book Sharkhi Margub al-Kulub and Shahadat al-hakika, Mulla Vajahi, about his masnavi "Irshadnama”.
In the late 19th and early 20th centuries, Khorezm's Muhammad Rahimkhan Feruz created a unique literary atmosphere around his palace. Poets and writers who are Tabibi, Mutrib, Bayani, Avaz Otar, and Chokar worked during this period. The works of the poets are in Persian-Tajik and Turkish languages and have their own traditions. The interest in science significantly grew in Khiva. According to the khan's decree, qualified secretaries set up devons, mukhammases, bayozs, tazkirs, and complexes. At present, such works are kept in the manuscript fund of the Institute of Oriental Studies of the Academy of Sciences of the Republic of Uzbekistan and in the Ichankala Museum in Khiva. The collection "Majmuai mukhammasoti ash-shuaroi Feruzshahiy" is a large source of lyrical works of Khorezm literary environment. The complex was built in the second half of the XIX century and was built by Tabibi by royal decree. It contains samples of poems by contemporary artists. This source, which provides valuable information about the literary environment of its time, is now stored in the main fund of the Institute of Oriental Studies named after Abu Rayhon Beruni of the Academy of Sciences of Uzbekistan under inventory number 1134. The complex differs from other collections in that it consists of poems of the mukhammas genre. Muhammad Hasan Devon Haji Tabib o‗g‗li Mutrib Khonaharab is one of the poets whose works are included in the creative heritage of the poets. The article analyzes the mukhammases of Mutrib Khonaharab, which are connected with the ghazals of the master poets Ogahi and Feruz. The artistic features of Mutrib‘s mukhammases, which are not found in manuscripts, have been studied. It is based on primary sources that the poet‘s ghazal retains aspects such as weight and content, and introduces innovations, focusing on the gradual development of the content. The mukhammas and musaddas included in the collection were studied from the point of view of textual and source studies, comparing them with the poems copied to the manuscript.
Today, when our national and spiritual values have been restored and the study of the masterpieces of our ancient manuscript heritage is given serious importance at the level of public policy, we have a deeper understanding of our ancient cultural heritage and national history, rooted in the distant past. One of the master of words who made a great contribution to the development of world culture and science with his work was Fahruddin Ali Safi bin Husein Waiz Kashifi (d. 939/1539). His work is notable for covering various areas of secular and religious sciences. The works of Fakhruddin Ali Safi reflect the ideas of raising a person with high qualities through the scientific heritage of our ancestors, the advancement of young people to healthy thinking and pure morality through the foundations of our culture and religion. This article provides information on two recently discovered new works of prose and one poem (gazelle) by Mavlian Fakhruddin Ali Safi Hirawi. On the basis of the recently discovered this gazelle by Ali Safi, the rubai and poems in "Rashakhat", the researcher came to the firm conclusion that this artist could have had "Devon" (Collection of Gazelles). In his article, the researcher also examines in detail the manuscripts of Ali Safi's works in the Tashkent manuscript collections. The section of the article "New finds in the work of Ali Safi" is unique in that it examines two more new manuscripts of previously unknown works of Ali Safi and a gazelle. According to the author of the article, one of these manuscripts is the work of Ali Safi "Sharh-i Masnavi", the only manuscript of which is kept in the main fund of the Academy of Sciences of Uzbekistan. According to the author of the article, one of these manuscripts is the work of Ali Safi "Sharh-i Masnavi", the only manuscript of which is kept in the main fund of the Academy of Sciences of Uzbekistan. The second manuscript is "Tukhfa-i muluk", the only manuscript of which is kept in the main collection of the Academy of Sciences of the Republic of Uzbekistan. It is noteworthy that both of these manuscripts, written in Persian, are now being studied separately and in detail by the researcher. The second manuscript is "Tukhfa-i muluk", the only manuscript of which is kept in the main collection of the Academy of Sciences of the Republic of Uzbekistan. It is noteworthy that both of these manuscripts, written in Persian, are now being studied separately and in detail by the researcher. According to article FA RU No. 1023 inv. On the margins of pages 140a-140b "Majmu'a-i bayoz", which is kept under number According to the researcher, this gazelle was taken from Devon Ali Safi. So, our researcher is faced with an important task - to find the "Devon" of the poet.
The two great epics in Turkish literature, Alisher Navoi and Muhammad Fuzuli’s «Layli and Majnun» are compared. As a result, of our comparisons, opinions and conclusions about the weight, genre, composition, individuality of the protagonist and events of both epics are expressed. The similarities and differences between the two artists’ approaches to the topic will be analyzed.The article discusses the emergence of the legend of Layli and Majnun in the form of epics in Turkish and Persian literature, which was passed from language to language among the Arab peoples. The idea that the Majnun is a historical figure ora fabricated character is supported by the views of scholars.
This article gives new information about the life and scientific activities of qadi Ixtiyar that lived at the end of the reign of the Timurds in Herat. Cadi Ixtiyar worked as a cadi and a chief of cadies. While working as a qadi, he wrote a guide ‘Mukhtar al-ixtiyar’ for qadies. In addition, the author of this article gives also the information about this work.
In Ottoman-Turkish literature, the number of poets who wrote the epic “Leyli and Majnun” exceeds 20. Among them, the epic “Leyli and Ma- jnun” by Laurendeli Hamdi, created in 1542, occupies a special place. The epic was written not only in response to the epics of Persian authors, but in the chapter “The reason for writing the epic” Hamdi also mentions the name of the Uzbek writer Alisher Navoi. This epic of Hamdi was studied in literary criticism with the epics of Persian predecessors: Nizami, De- hlavi and Jami, but was not specifically compared with the epic of Alisher Navoi “Leyli va Majnun”. In the features of the story of both poems, the description of the characters and the development of events, similarities are found. However, there are noticeable differences in compositional con- struction, genre content and in the metrics used in the epics. The epic of Alisher Navoi consists of 38 chapters and 3623 verses, while the masnavi of Laurendeli Hamdi is much larger: it consists of 5441 verses. Hamdi not only wrote his epic in masnavi, but also included genres such as ghazal and qasida in it. Alisher Navoi, who created the first Hamsa in Turkish, com - pletely preserved all the traditions of the Hamsa.
During the study of the epic Hamdi, it became known that it has similar features with the epic of Alisher Navoi “Farhad and Shirin”.
Landey is the most popular type of verbal lyric poetry of Afghan (Pashtun) people. This type of poem is so widespread among the people that it is impossible to imagine Pashtuns folklore without it. This two-dimensional rhythmic poem is known for its incredible shortness of expression, although it is well-known for its ability to express certain ideas and experiences in bright, magnificent artistic lines. The term “landey” is derived from pashtu (pashto, pakhta) word " ﺪﻨﻟ " ("land") with the meaning "short, small poetry". Landeys are anonymous and have their own poetry composition, composed of two unconformable compositions, but also preserved their originality in describing a wide range of topics, events, and lifestyle. Landey, as an example of collective work of the public, is often created by the fact, without any training, but at the same time comes from the bottom the heart, describes the beauty of the human’s heart, spreads rapidly among the public and is considered national value of Pashtun people. No other type of genre of folklore is popular and extensively used by ordinary people like landey. It is difficult to determine the total number of landeys spread among the Pashtuns. A great part of them has been written down and published by today. However, according to researchers, there are tens of thousands of such poetic miniatures in the memory of the people. More than 7,000 landeys in the "Pashto Songs", which have a relatively large collection of Landeys, have been collected. They are often the result of the art of expressive art (expromt) during singing. Sometimes it is formed during the confrontation between the two interlocutors or groups, when two loved persons talk about their emotions or when their perceptions are expressed in the song.
This book contains samples of the work of Mukimiy (1850-1903), the son of Muhammad Aminkhodzhi Mirzakhodzhi, a major representative of the Kokan literary environment of the second half of the 19th century - early 20th century, in various lyrical genres. The poet's lyrical poems included in this collection are distinguished by the fact that the deep philosophical content is interpreted in a combination of beautiful artistry and folk melody. The collection also includes humorous works of the poet and the famous Journey. We believe that this poetic bouquet will appeal to lovers of poetry.