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”.
The article is devoted to the analysis of the views of the great Uzbek poet and thinker
Alisher Navoi on the literature of the reign of Mirzo Ulughbek, encyclopedic scholar, the Temurids’ ruler. The author studied the ideas and interpretations on this theme in the works of Navoi on the basis of the following classification: 1) the praising of Mirzo Ulughbek in the works of the great poet; 2) The literary environment that emerged during the period of Mirzo Ulughbek and the attitude to its representatives’ work; 3) the development of literary and aesthetic thinking during the time of this ruler.
In the concluding section of Alisher Navoi's epic poem "Farhod and Shirin" and in "Majolis un-nafois" (“Tender meetings”) Mirzo Ulughbek is described and praised as a unique hafiz who memorized and learned the Holy Qur'an with seven recitations, a great astronomer who wrote "Ziji jadidi Koragoniy", as well as he was referred to as a poet with a great taste. In the example of Abdullatif Mirzo it was illustrated that Mirzo Ulughbek's natural inclination towards poetry was passed on to his children too.
In addition, the author of the article used information from Abdurazzoq Samarkandi's "Matla'i sadayn va majmai bahrain" and Davlatshah Samarkandi's "Tazkirat ush-shuaro" to prove his views. It has been scientifically proven that the information in these sources is valuable in terms of supplementing the views of Alisher Navoi provided in the "Majolis un-nafois" and enriching it with new facts and evidences. In turn, the views in the monographs of V.V Bartold "Ulughbek and his time", Ergash Rustamov’s "Uzbek poetry of the first half of the XV century" were analyzed too.
The article examines the socio-educational and artistic-aesthetic factors of the creative perfection of the great poet and thinker Alisher Navoi, firstly, the fact that he thoroughly studied the Koran and the Sunnah, followed these two powerful sources without deviations, and secondly, that he read the works great Islamic thinkers, experts in Sufism and continuously developing their ideas, gave highly artistic interpretations in his works, thirdly, that he perfectly knew the history of the Turkish people to whom he belonged, and that he was able to mobilize all his creative and scientific potential to protect and elevation of the honor and glory of the nation.
It discusses how Alisher Navoi followed the principles of faith and Sharia, tafsirs and hadiths read by the great thinker, the works of Sufism scholars. His artistic interpretation of religious-enlightenment and philosophical-mystical ideas at a high level is confirmed by the analysis of his work. The essence of the parts of "Hamsa" is being investigated, such as "hamd" (praise of Allah), "munajat" (request to Allah) and "nat" (praise of the prophet). Analytical views are put forward on the complementarity of Islamism and nationalism, the support of the concept of the great poet's work on Islamic enlightenment, which did not prevent his works from expressing the national spirit. As a result of the analysis, theoretical generalizations are made.
The article examines the socio-educational and artistic-aesthetic factors of the creative perfection of the great poet and thinker Alisher Navoi, firstly, the fact that he thoroughly studied the Koran and the Sunnah, followed these two powerful sources without deviations, and secondly, that he read the works great Islamic thinkers, experts in Sufism and continuously developing their ideas, gave highly artistic interpretations in his works, thirdly, that he perfectly knew the history of the Turkish people to whom he belonged, and that he was able to mobilize all his creative and scientific potential to protect and elevation of the honor and glory of the nation.
It discusses how Alisher Navoi followed the principles of faith and Sharia, tafsirs and hadiths read by the great thinker, the works of Sufism scholars. His artistic interpretation of religious-enlightenment and philosophical-mystical ideas at a high level is confirmed by the analysis of his work. The essence of the parts of "Hamsa" is being investigated, such as "hamd" (praise of Allah), "munajat" (request to Allah) and "nat" (praise of the prophet). Analytical views are put forward on the
complementarity of Islamism and nationalism, the support of the concept of the great poet's work on Islamic enlightenment, which did not prevent his works from expressing the national spirit. As a result of the analysis, theoretical generalizations are made.
One of the important scientific problems of navigation studies is the study of the justification of how views are reflected regarding the creative concept and on what artistic and aesthetic criteria they are justified in the “Khamsa” of the great poet and thinker Alisher Navoi. The study of this scientific problem, firstly, is the basis for determining the origins of the worldview of the great poet, and secondly, it allows a deeper study of the literary and aesthetic views of the great thinker, to make theoretical generalizations. Naturally, our brief observations on this subject do not pretend to fully cover the analysis of the problem. We will try to highlight some important aspects of this issue.
The great Azerbaijani poet Sheikh Nizami Ganjavi started a unique poetic phenomenon in world literature - khamsalik. Although it was written in Persian, it is known that the great poet's "Panj Ganj" reflects the Turkish thought and the Turkish spirit. The great Uzbek thinker Hazrat Alisher Navoi brought the poetic tradition started by Nizami Ganjavi to a high stage of development with his "Khamsa". According to Professor Almaz Ulviy, the author of remarkable scientific studies on Azerbaijani-Uzbek literary relations, Alisher Navoi did not limit himself to the consistent continuation of Nizami's traditions, but also raised the level of development of Turkish literature. After all, the respect for his great predecessor, the recognition of his unique services in the development of poetic thinking is clearly felt in every epic of Hazrat Alisher Navoi's "Khamsa". This is also confirmed by the fact that separate chapters of "Khamsa" epics are dedicated to him.
The article deals with the issue of poetic renewal of the traditions of Alisher Navoi in the poetry of the representative of modern Uzbek poetry Abdulla Oripov. The concept of creativity of two poets, their coverage of the development of the national language, tradition and innovation in the ghazal genre, following in rhythm, common features and differences in the artistic interpretation of the content of hadiths are analyzed. As a result of the analysis, scientific and theoretical conclusions were made.
The history of literature is directly connected with the history of the peoples of the world, and its fate runs parallel to the perfection and decline of mankind. Accordingly, the gallery of themes of world literature is also diverse, and among them the theme of war or a royal romance stands out. The core of this topic is the life and activity of famous commanders, kings or fighters, some of which caused the appearance of legends or series of works in world literature. One of these heroes, who gained literary fame throughout the world, was Iskandar (the person who was called Iskandar in the East, and Alexander the Great in the West). It is difficult to come across such a figure who had an equal impact on Eastern and Western lit-erature. His name had become a legend in languages, and his activity had inspired creative people. In particular, the Iskandar theme spread widely in the East and promoted the creation of many iskandarnomas (novels about Iskandar). The purpose of this article is to compare and analyze such dastans (epics) created in the khamsanavislik (khamsa writing) tradition as “Iskandarnoma” by Nizami Ganjavi and “Saddi Iskandariy” by Alisher Navoi. The creative originality of both writers is revealed on the example of the image of the “Episode of Iskandar’s campaign in China”. The research of the author was supported by reliable sources, and he used such methods as comparative-historical, cultural-historical and genetic analysis to achieve his goal.
This article contains the history of the development of the science of epizootology and the literature review of rabies
In the textual studies of the peoples of the world, attention to the study of national literary heritage based on primary sources is growing stronger than ever. The study of manuscript sources makes it possible to restore the texts of the works of a poet or writer in accordance with the original (at least close to it), regardless of the period in which they lived. Without restoring a reliable text, the poet's work cannot be analyzed in terms of theoretical problems of literary studies. In world textology, research is being conducted on such scientific problems as comparative analysis of manuscript sources, creating a scientific biography of the creator, and studying the history of the text of an artistic work. Among them, a great deal of experience, knowledge and material has been collected within the framework of studying the sources of Eastern manuscripts spread throughout the world's libraries, including the works of Alisher Navoi and Babur, great figures of Turkish literature. Extensive research is the basis for the creation of the theoretical foundations of textual studies. Uzbek textology has progressed on the basis of existing scientific experiences and has achieved certain results in the study of classic literary sources. Researching the literary heritage of authors who have left a bright mark in the history of national literature, studying manuscript and lithographic sources based on the latest scientific achievements is one of the primary tasks of source studies and textual studies. After all, "...studying and promoting Uzbek classic and modern literature at the international level, analyzing this multifaceted topic in integral connection with the most important processes taking place in the world's literary space today, creating the necessary scientific - drawing practical conclusions is of great importance..." 1 . Accordingly, it becomes clear that it is urgent to carry out a scientific monographic study of the sources of the lyric divan of Khorezm literary environment representative Mutrib Khonakharob (1853-1923), study the textual history of the poet's works, and develop the principles of preparing a scientific and critical text. The study of Mutrib's work began during the poet's lifetime. Tabibiy recognizes the achievements of the poet in poetry and music in the collections "Majmuat ush-shuaroyi payravi Feruzshahi" and "Majmuat mukhammasot ush-shuaroyi Feruzshahi". "Biographies of poets and writers of Khiva" by Hasanmurad Laffasi, "Poets and singers of Khorezm" by Bobojon Tarroh, "Tazkirayi Qayyumiy" by Polatjon Qayyumiy also provide valuable information about the poet's work. O. Sharafiddinov, M. Yunusov, N.M. Mallayev, Yu. Yusupov, M. Pirnazarov, A. Abdugafurov published articles. These articles cover the biography of the poet, the ideological scope and artistry of his works, thematic and genre features of his literary heritage. But in most of them, the poet's works were interpreted under the influence of communist ideology. M. Pirnazarov studied manuscript and lithographic sources of Mutrib's lyrical heritage, subject scope, genre features, and artistic skills. Although this research provided valuable information for its time, problems such as creating a scientific biography of the poet, researching the author's works in the field of theoretical problems of textual studies, and creating a scientific-critical text are still waiting to be solved. In studying the poet's literary heritage, the book "Mutrib Khonaharobi (Ref. Collection)" is noteworthy. However, besides the fact that the text of these poems is not complete, there are also errors in the reading of words. In this tutorial, the manuscripts numbered 906/VII, 903/IV, 2679/II of the Department of Muhammad Hasan Mutrib kept in the main and H. Sulayman funds of the Academy of Sciences of the Republic of Uzbekistan, as well as Turkish manuscripts in bayoz, complex and tazkira poems, information about the poems in manuscript bayoz kept in Khiva Ichonqala Muhammad Rahimkhan Feruz II Museum.
In this monograph, the qualities of the great poet and thinker Alisher Navoi as a person and statesman, creative activity are highlighted based on new interpretations. Specific scientific views related to the mystical and literary-aesthetic world of our great-grandfathers have been put forward. Scientific-theoretical opinions are expressed in the Great Five - "Khamsa" regarding the artistic concept of the creator, the poetic interpretation of the image of the mother. The influence of Alisher Navoi's art on the improvement of the nation's literary and aesthetic thinking has been studied.
The monograph is intended for literary and narcissistic scholars, young researchers and general readers.
The article analyzes the use and artistic interpretation of the terms «mani» («meaning») and «ahli maoniy» («people of enlightenment») in the work of Alisher Navoi. In the works of the great thinker, the interpretation of these concepts was studied on the basis of the following classification: 1) the expression of ideas that reveal the essence of the terms «meaning»; 2) a high level of educated people and their views, which could be a criterion for the life of society and the artistic and aesthetic thinking of the nation; 3) a description of predecessors and contemporaries belonging to people of enlightenment; 4) the question of the relationship between people of education and people of appearance. These concepts are valuable in terms of allowing a deeper understanding of the inner essence, mystical and aesthetic content of Alisher Navoi’s works. Examining the great thinker’s lyrical poems and «Khamsa» epics in the context of «mani» and «ahli maoni» terms is of particular importance in discovering new aspects of their meaning. In the article, Navoi’s works are analyzed based on the same concepts for the first time. This article is a scientific problem was investigated on the example of Alisher Navoi’s sofa «Badoy-ul-Bidoy», the kulliyat «Khazoyin-ul-Maoniy», dastans «Khamsa», the nameskir (ontology) «Majolis-un-nafois», the works of «Lison-ut-tayr”, “Muhokamat-ul-lughatain”, “Mahbub-ul-kulub”, “Hamsat-ul-mutahayyirin”, “Nasoyim-ul-muhabbat”, “Holoti Sayyid Hasan Ardasher”. If necessary, the views of Alisher Navoi are compared with those of his great predecessor Nizami Ganjavi. The works of Davlatshah Samarkandi “Tazkirat-ush-shuaro”, Dehhudo “Lugatnoma”, Giyosiddin Khandamir “Makorim-ul-ahlok” were used to substantiate scientific views in the analysis process. As a result of the study, it was found that the term «meaning» in the work of Alisher Navoi contradicts «appearance (appearance, appearance)» and expresses the inner essence, not the external content, and the concept of «enlightenment» means the science of knowledge, which is the basis of artistic expression. It is concluded that the combination «ahli maoniy» (people of enlightenment) represents a broader essence, which is interpreted under the meaning of people of truth and enlightenment, meaning «Haq», that is, Allah in a figurative sense and is a concept associated with the concept of the great poet’s work.
The article analyzes the details of the deaths of the heroes of the epics "Farhod and Shirin" and "Layli and Majnun" in Alisher Navoi's "Khamsa". In the epics, heroesFarhod and Shirin, the cause of death of Layli and Majnun are explained. It has also been proven that many students' misconceptions that "these heroes killed themselves" are wrong, and that the suicide of these heroes is completely contrary to Navoi's moral and religious views. The fact that the deaths of these heroes took place quite naturally, by themselves, without revealing any cause, is shown by the examples taken from the epics. It is said that even in the most desperate moments of one's life, one should not commit suicide, but accept one's destiny and pray to the Creator in accordance with the etiquette of prayer.
Relevance and necessity of the dissertation topic. In the textual studies of the peoples of the world, attention to the study of national literary heritage based on primary sources is growing stronger than ever. The study of manuscript sources, regardless of the era in which they lived, allows to restore the texts of the works of a poet or writer according to the original (at least close to it). Without restoring a reliable text, the poet's work cannot be analyzed in terms of theoretical problems of literary studies. In world textology, research is being conducted on scientific problems such as comparative analysis of manuscript sources, creating a scientific biography of the creator, studying the history of the text of an artistic work. Among them, a great deal of experience, knowledge and material was collected in the framework of studying the sources of Eastern manuscripts scattered throughout the world's libraries, including the works of Alisher Navoi and Babur, great figures of Turkish literature. Extensive research is the basis for the creation of the theoretical foundations of textual studies. Uzbek textology is progressing on the basis of existing scientific experiences and has achieved and is achieving certain results in the study of classic literary sources. Researching the literary heritage of creators who left a bright mark in the history of national literature based on the original, studying manuscript and lithographic sources based on the latest scientific achievements is one of the priority tasks of source studies and textual studies. Because "... it is of great importance to study and promote Uzbek classic and modern literature at the international level, to analyze this multifaceted topic in integral connection with the most important processes taking place in the world literary space today, and to draw the necessary scientific and practical conclusions" 1 . Accordingly, it becomes clear that it is urgent to carry out a scientific-monographic study of the sources of the lyric book of Khorezm's representative Mutrib Khonakharob (1853-1923), to study the textual history of the poet's works, and to develop the principles of preparing a scientific-critical text. Decree of the President of the Republic of Uzbekistan No. PQ-4797 of May 13, 2016 "On the establishment of the Tashkent State University of Uzbek Language and Literature named after Alisher Navoi", No. PQ-2995 of May 24, 2017 "System of preservation, research and promotion of ancient written sources" the decision of the President of the Republic of Uzbekistan dated February 17, 2017 No. PQ-2789 "On measures to further improve the activities of the Academy of Sciences, the organization, management and financing of scientific research" and other related to this activity This thesis research serves to a certain extent in the implementation of the tasks defined in the regulatory and legal documents.
The United States of America (USA) is a relatively young country from the point of view of history. Rare manuscripts created several hundred years ago in Asian and European countries are relatively rare in this country. That's why every old, rare work is preserved here like the pupil of an eye, and they are used effectively as an authoritative source. There are not many ancient manuscripts of Alisher Navoi's era in the United States, but there is a lot of attention in this country to the existing manuscripts of Navoi's works. Alisher Navoi's manuscripts of two valuable books are preserved in the New York Metropolitan Museum of Art. One of them is a copy of the book "Navodir-ush Shabab" copied by the calligrapher Kasim Ali Shirozi in 1580, and the other is a manuscript of the book "Navodir-un nihoya" copied by the famous calligrapher Ali Mashhadi during the lifetime of Alisher Navoi.
This article discusses the reflection of Miraj night in poetry. In the description of the Miraj night, examples from the works of Alisher Navoi, Furqat and Abdulla Oripov are analyzed and the common and different aspects of the theme in the poems of these three authors are studied. The description of the Night of Miraj occupies a special place in the works dedicated to our Prophet Muhammad (blessings to him and his relatives), the fact that this night has risen to the level of a unique image in the literature of the Muslim East, as well as comments on the difference between the nights of Isra and Miraj. It is proved with the help of examples from artistic works that these images are expressed with high pathos in our classic poets and in A.Oripov in a calm and subdued state. The sequence of events on the night of Miraj is considered as an example of the poetic works of all three artists, and scientific conclusions are drawn based on them.