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FIGURATIVE FEATURES OF THE IMAGE OF MIRRIKH IN ALISHER NAVOI'S
"KHAMSA"
Mamadaliyeva Zuhra Umaraliyevna,
Candidate of Philological Sciences, Associate Professor
Jizzakh State Pedagogical University
named after A. Qodiriy
Abstract:
This article talks about the use of images of the planets in the "Khamsa" epics of the
great Uzbek poet and thinker Alisher Navoi. The style of expression of these characters used in
the prologues of the epics, the symbolic meanings they mean will be briefly looked at. Among
these images, there are various variants of Mars, a relatively active image, including Mirrix,
Bahram. The use of the image in Navai's epics, including "Hayrat ul-Abror", "Farhad and Shirin",
"Layli and Majnun", "Sabai Sayyor" and "Saddi Iskandariy", this page is about the skill of the
author and the gradual interpretation of the image. is spoken. Certain conclusions are drawn
using the necessary scientific literature.
Key words:
Alisher Navoi, "Khamsa", planets, symbolic images, Mirrih, Bahram, Mars, Aris,
the patron of battle, love conflicts.
The image of the seven planets, associated with the pen of the great poet and thinker Alisher
Navoi, the sultan of the realm of ghazal, appears as a significant motif in the Mi'rājnāmas
traditionally presented in the introduction to each epic of his Khamsa [6:84-97]. In all of these
works, the Mi'raj event is depicted against the backdrop of seven planets.
Why exactly seven planets? Because this number is the most renowned among magical numbers
and is particularly revered in the East. Providing information about the origin of this number and
its connection with planets, S. Hasanov explains it in relation to the religious beliefs of the
Sumerians who inhabited southern Babylon [13:151-161]. In literature, it is quite common to
interpret the Sumerians as ancestors of Central Asian peoples [6]. In the Epic of Gilgamesh,
considered an example of this people's creativity, the harmony of seven is regarded as one of the
important images, serving as a sacred number.
In Babylonian civilization, which assimilated and developed Sumerian culture, astronomy
occupied a central place. The seven planets around the Earth (according to the understanding of
that time) were perceived as seven deities influencing the world and human life. The seven-day
week was formed based on this concept. Seven deities were designated as the guardians of each
day.
Under the influence of Islam's monotheistic idea of Tawhid, the significance of the harmony of
seven in understanding the balance of the universe decreased in the Muslim East. The celestial
bodies, assimilated through Babylonian religious beliefs and culture, were no longer considered
gods, but simply planets surrounding the Earth. However, this harmony had already penetrated
people's consciousness so deeply that it did not completely disappear from their thinking and
practices. As a result, beliefs about the seven planets influencing the seven days of the week, the
seven climates, and human consciousness, their patronage, and whether they were auspicious or
inauspicious, were preserved in the astrology of the Muslim East. Although they were no longer
regarded as gods or angels, they survived in popular imagination. As described in the Mi'raj
accounts, they even kissed the stirrup of the Islamic prophet and were proud of his arrival
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[7;8;9;10].
The planets are featured in the same order in each of the Mi'raj accounts in Navoi's Khamsa.
These accounts, like most Eastern Mi'raj narratives, begin with the Moon, the ruler of the first
heaven, and end with Saturn, the ruler of the seventh heaven. In this regard, Navoi perfected the
tradition initiated by Nizami. He not only perfected it but also enriched it with originality, deep
thinking, and creative innovations. Navoi scholar S. Azizov correctly noted that Navoi relied on
the knowledge he gained at the school of Ulugbek: "Alisher Navoi's astronomical worldview was
perfected in Samarkand, and with this knowledge, he returned to Herat, which had its own
astronomical environment." [2:13] This principle is also followed in the Mirajnama of Sabai
Sayyar. This arrangement is based on the Greek order, which is used in Beruni's works, the
structure of Kutadgu Bilig, and also forms the basis of Ulugbek's school.[1;5:35-42;2:128] Only
in the stories of Sabai Sayyar does this rule lose its significance, indicating the indirect influence
of Babylonian culture on the Bahromnomas in Khamsa.
As we observe Navoi's work, we see the development of these images over several millennia,
intertwined with Islamic views, while simultaneously discovering new facets through the poet's
brilliant talent. Here's one point of contention. Literary scholar H.Eshonkulov, reflecting on the
images of planets in his monograph "Samovot ishq mazhari," states, "The seven planets and
twelve zodiac signs, which we have examined in the spiritual and creative heritage of Alisher
Navoi and other creators, are celestial symbols widely used in classical poetry. They serve,
firstly, in their literal sense (as celestial bodies), and secondly, as active metaphors for expressing
complex mental processes related to love and romance" [12:60].
In the examples we have considered, not only love and romance but also many other aspects of
meaning are manifested. Among these planets, Mars is classified as follows:
Mirrikh (Bahrom, in Turkish Korud, in Rome Mars) - one of the seven planets in medieval
astronomy; the planet Mars. This image, which appeared in Babylonian mythology under the
name Nergal, is interpreted as Ares in Greek mythology, Mars in Roman mythology,
Verethragna in the Avesta, and Bahram in the Islamic world. He was envisioned as the patron of
war and battles, an angry and powerful male figure.
In Roman mythology, Mars was initially considered the guardian deity of the community, and its
functions were diverse. March, the first month of the Roman calendar, marked the beginning of
fieldwork and was dedicated to Mars. Farmers worshipped Mars, praying for abundant harvests,
good health, and long life. The planet Mars is associated with war, disasters, and calamities.
[3:345] This planetary image is envisioned to first engage in a romantic relationship with Venus,
then entering into a marital union.
The planets are featured in the Mirajnama (ascension narrative) of each poem in Navoi's Khamsa.
These Mirajnamas, like most Eastern ascension narratives, begin with the Moon, the ruler of the
first heaven, and end with Saturn, the master of the seventh heaven. In this regard, Navoi
perfected the tradition initiated by Nizami. He not only perfected it but also enriched it with
originality, profound thinking, and creative innovations. Navoi scholar S. Azizov correctly noted
that Navoi relied on the knowledge he gained at the school of Ulugbek Mirzo: "Alisher Navoi's
astronomical worldview was perfected in Samarkand, and with this knowledge, he returned to
Herat, which had its own astronomical environment to a certain extent." [2:13] This is also
observed in the Mirajnama of "Sabai Sayyar" (Seven Travelers). This follows the Greek
hierarchical order, and the works of Beruni, the order in "Kutadgu Bilig," and the school of
Ulugbek are all based on this system of order. [1:42; 5:35-42; 2:128] Only in the stories of
"Sabai Sayyar" does this rule lose its significance, which indicates the indirect influence of
Babylonian culture on the Bahramnamahs in Khamsa. The reason for this is discussed in detail in
the relevant section of our study.
As we examine Navoi's works, we observe that the development of these images over several
millennia is intertwined with Islamic views, while simultaneously, new facets are discovered
through the poet's genius. Here's a point of contention: Literary scholar H. Eshonkulov, in his
monograph "Samovot ishq mazhari," reflects on the images of planets, stating, "The seven
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planets and twelve zodiac signs, which we have observed in the spiritual and creative heritage of
Alisher Navoi and other creators, are celestial symbols widely used in classical poetry. They
serve, firstly, in their literal sense (as celestial bodies), and secondly, as active metaphors for
expressing complex psychological processes related to love and romance" [12:60].
In the examples we have examined, not only love and romance but also many other aspects of
meaning are manifested. Particularly, Mirrix (Bahrom), influenced by general perceptions, is
portrayed in Navoi's works as nahsi akbar (a major planet bringing misfortune). In ascension
narratives, he is depicted as the patron of the fifth heaven and Wednesday.
In "Hayrat ul-Abror," the image of Bahrom appears six times, four times as a celestial div and
twice as Shah Bahrom. Notably, in the supplication, it is said that Bahrom sharpened his blade
for his own execution and began to regret his state at every moment. Thus, when Allah's wrath
came, Bahrom, out of fear, deemed it appropriate to end his own life. In the fifth praise, that is,
in the ascension narrative, a completely different scene is depicted from what we saw earlier. In
His mercy, Bahrom became single-faced. The sword of honor served as a mirror to his face. In
the 19th chapter of "Hayrat ul-Abror," Navoi describes Bahrom as a bloodshed and killer. These
portrayals alone represent a three-dimensional view of a single image.
In "Farhod and Shirin," the word Bahrom is used 38 times, three of which refer to the celestial
Bahrom. Notably, in the epic's ascension narrative, it is described that Bahrom's nature has
changed. When the Prophet rode his steed towards Bahrom, the planet once called nahsi asgar (a
major planet bringing misfortune) transformed into a planet bringing great fortune - a lucky star.
In Layli and Majnun, the image of Bahrom is referenced five times: in the mi'raj narrative, in
praise of Husayn Boyqaro, and in the lovers' final meeting. In the mi'raj narrative, Bahrom's
respect for the Messenger of Allah is depicted in a single verse. In Sab'ai Sayyar, Bahrom's
image is mentioned 130 times, mostly referring to the epic's main character. In the epic's mi'raj
section, it is described that when the planet Bahrom saw the Messenger of Allah, he immediately
sheathed his sword upon beholding his grandeur.
In Saddi Iskandariy, Bahrom's image is referenced in 46 places, used in three contexts: the
historical Sassanid Bahrams, the epic hero Bahrom Gur, and the celestial Bahrom.
Navoiy refers to the planet Mars as the lord of the fifth heaven and by the name Bahrom. In a
prayer, he says that Bahrom, realizing the Day of Judgment was near, deemed it proper to die of
fear and repented at every moment. Upon seeing the Prophet, the blade on his face turned into a
mirror of honor, he hid his sword, and kissed his horse's stirrup. Navoiy describes how, due to
the blessing of the Prophet's footsteps, Bahrom's attribute of great misfortune changed,
transformed into great fortune, and he abandoned the act of bloodshed. These portrayals
represent Navoiy's perspective and interpretation of the image's thousand-year-old figurative
characteristics.
In conclusion, Navoiy creatively reworked the images of the seven planets, including Mars,
which were actively used as figurative images in Persian and Turkic literature before his time.
He depicted these images in "Khamsa" itself, illuminating several facets of meaning. His
innovation within the framework of tradition and his original figurative thinking were most
vividly manifested in these instances.
List of references:
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I.Muminov. - Tashkent: 1973.
2 Azizov S. Secrets of Astronomy in the Works of Alisher Navoi. - Tashkent: O'zbekiston, 2018.
3. Alisher Navoi. Encyclopedic Dictionary. Two volumes. First volume. - Tashkent: SHARQ,
2016.
4. Alisher Navoi. Nawadir ul-nihoya. Complete Works. 20 volumes. Compiler:
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