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THE ANALYSIS OF MUAMMAS IN OGAHIY’S POETRY SOLVED THROUGH THE
METHOD OF INTIQOD
Iroda Rakhimova
2nd-year student of Uzbek language studies
Faculty of Philology and Arts,
Urgench State University named after Abu Rayhan Beruni
Abstract:
This article analyzes Muhammadrizo Ogahiy’s poetic riddles (muammas) solved by
applying the method of intiqod, one of the rules used in classical poetics to decipher hidden
words. Special attention is given to the role of the intiqod method in classical Eastern poetry and
its artistic functions. The study highlights how Ogahiy skillfully employs this technique,
reflecting both his poetic talent and aesthetic sensitivity.
Keywords:
muamma, solution (hall), noun subject (ism moddasi), intiqod, composition (ta’lif),
synonymy (tarodif).
Introduction
In the rich history of Uzbek literature, there exist a number of poetic genres that demand
exceptional intellect, artistic mastery, creativity, and deep thinking from the poet. Among these,
the
muamma
(poetic riddle) genre holds a special place. Reaching a high level of artistic
refinement in the 15th century, by the 19th century, this genre had evolved both in form and
content. In this development, the contribution of Muhammadrizo Ogahiy deserves particular
attention. His works in the muamma genre not only display his talent and capacity as a poet, but
also his refined literary and aesthetic taste.
The muamma is a genre in Eastern literature — especially classical Uzbek poetry — where a
specific name is hidden within a poetic verse and must be uncovered. The hidden concept in the
riddle must logically correspond to the theme of the verse and relate to a specific idea, event, or
historical figure. Indication and suggestion (ishora) play an essential role, and the word being
alluded to is known as
ism moddasi
(the subject noun). Solving the muamma is referred to as
hall
, meaning “to solve the problem” [1:103].
Many scholars classify muamma-solving techniques into three main groups:
1. A‘moli tas’hiliy
– simplification methods;
2. A‘moli tahsiliy
– generative (constructive) methods;
3. A‘moli takmiliy
– perfective (refining) methods. These classifications are also found in
Alisher Navoi’s treatise
“Risolai Mufradot”
[2], which categorizes muamma-solving methods in
accordance with traditional poetic sciences.
Among these, the method of
intiqod
belongs to the a‘moli tas’hiliy group. This method involves
selecting specific letters based on clues in the verse. For example, if the clue in the verse refers to
something “above” (head, face, crown, first, etc.), the first letter of the hidden word is extracted.
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If it refers to the “end” (foot, hem, final, last, etc.), the last letter is taken. References to “middle”,
“heart”, “center”, or “core” indicate the middle letter. Similarly, references to “corner”, “edge”,
“side”, “coast”, or “lip” suggest that the letters from both ends of the word are to be taken.
Combining these letters ultimately reveals the concealed word [1:105–106].
In Ogahiy’s muammas, the intiqod rule is applied effectively and appropriately,
demonstrating the poet’s intellectual ingenuity. Through comprehensive analysis of these poetic
riddles, one can further appreciate Ogahiy’s artistic genius and literary depth.
Object of Study and Methodology
The object of the present research is the muamma-style poems found in Muhammadrizo
Ogahiy’s “Ta’viz ul-oshiqin” (The Amulet of Lovers) collection. Specifically, the muammas
dedicated to the names “Muhammad,” “Husayn,” “Gʻoyib,” “Hasan,” “Taqiy,” “Layli,” and
“Adam” have been analyzed. In the study, classical muamma-solving methods such as intiqod
(letter extraction by clue), tarodif (substitution by synonym), ta’lif (composition through
combining letters), and isqot (omission or extraction) were employed. Additionally, general
research methodologies such as observation, induction, and analysis were applied.
Analysis and Results
Among the 80 muammas contained in Ogahiy’s “Ta’viz ul-oshiqin”, the majority rely on the
intiqod technique.
Muamma for the name “Muhammad”:
Oy-kundin olubon toju qamar
Oxir etti boshi belga zevar [3:468].
Solution:
Here, the
ism moddasi
(the subject word to be deciphered) includes the words
“oy”
(moon),
“kun”
(sun), and
“oxir”
(end). According to the
tarodif
rule, “oy” corresponds to
“qamar”
(moon in Arabic), and “kun” to
“shams”
(sun). The
intiqod
rule directs that from
these words, specific letters should be selected: “mīm” from “qamar” (first letter), another
“mīm” from “shams” (middle letter), and the word “oxir” hints at the Arabic word “ḥad” (end).
Combining the selected letters through the
ta’lif
rule produces the name “Muhammad”.
Muamma for the name “Husayn”, “Husn”:
Sanga qilsa adovat sarkash, gar bu jon ichra
Boshi tig’ing damedin borg’ay aning bir zamon ichra [4:30].
Solution:
The
ism moddasi
here includes the words
“sarkash”
(rebel) and
“dam”
(breath).
According to
intiqod
, the initial letter “sīn” of “sarkash” is metaphorically ‘cut’ by the sword,
and “dam” is replaced by its Arabic equivalent “ḥīn” (moment) via
tarodif
. Using the
ta’lif
rule
to merge “sīn” with letters from “ḥīn” forms the name “Husayn”.
Muamma for the name “Gʻoyib”:
Raqibingdin elga yetar ko‘p gazand,
Qil ul g‘ul sarkash boshin ibga band [4:34].
Solution:
The words
“g‘ul”
and
“ib”
act as
ism moddalari
. According to the
intiqod
rule, the
first letter “ghayn” of “g‘ul” (tyrant) is to be attached (band qil) to “ib” using the
ta’lif
rule.
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Merging the two yields the name “Gʻoyib”.
Muamma for the name “Hasan”:
Xo‘b o‘lur, ey hosidi gardunfaroz,
Aylasang poyi hasad farqi niyoz [3:468].
Solution:
The words
“hasad”
(envy) and
“niyoz”
(devotion) are keys here. The
intiqod
rule
applied to the word “hasad,” especially the “po” (foot, i.e., the final letter), suggests removing
the final letter. The missing letter “nūn” is then extracted from the start of “niyoz.” Using
ta’lif
,
we combine the root with the new letter to form “Hasan”. This example showcases a
combination of
intiqod
and
ta’lif
, with the word “poyi” (foot) serving as a vital clue for
intiqod
.
Muamma for the name “Taqiy”:
Ey yigit, pandima quloq solgʻil,
Muttaqiyn ko‘ngullarin olgʻil [4:37].
Solution:
The
ism moddasi
here is the word
“muttaqiyn”
(the pious). According to the clues in
the phrase “ko‘ngullarin olgʻil” (win the hearts), and based on the
intiqod
method, the middle
letters of the word are to be extracted—specifically, the letters “tā”, “qāf”, and “yā”. Through the
ta’lif
(letter combination) rule, these letters form the name “Taqiy”.
Muamma for the name “Layli”:
Bildi chun ko‘p chekkanimni intizor,
Tun oxirida yuzin ko‘rguzdi yor [5:110].
Solution:
The keywords are
“tun”
(night) and
“yor”
(beloved). According to the
tarodif
rule,
“tun” corresponds to the Arabic word
“layl”
. Then, by applying the
intiqod
rule, the word “yor”
is used metaphorically to point to its “face”, i.e., the initial letter “yā”. Combining “layl” with
“yā” using the
ta’lif
method results in the name “Layli”.
Muamma for the name “Odam” (Adam):
Kishi topgʻay murodini kelib har ishni qilsa o‘ng,
Fanovu faqr yo‘lida balovu dardu g‘amdin so‘ng [5:110].
Solution:
The ism moddalari (keys) here are the words “balo” (calamity), “dard” (pain), and
“g‘am” (sorrow). The clue
“so‘ng”
(afterwards) suggests, via the
intiqod
rule, that we extract
the final letters of these words: “o” from “balo”, “d” from “dard”, and “m” from “g‘am”. When
these letters are combined using the
ta’lif
method, they form the name “Odam” (Adam).
Conclusion and Recommendations
In conclusion, Muhammadrizo Ogahiy should be recognized not only as a great poet, historian,
and translator, but also as a master of the muamma genre.
Creating poetry within the muamma genre — a product of sharp intellect and refined poetic
thought—is not granted to all. This genre demands mastery, wisdom, dedication, and artistic
depth from its author. As an art form, the muamma serves as an adornment to the intellect: it
stimulates reasoning, expands thought, cultivates aesthetic taste, and encourages deep
contemplation. Moreover, by prompting the reader to discover the hidden idea embedded in the
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verse, it fosters an appreciation for subtle beauty and literary elegance, providing immense
intellectual and emotional satisfaction [4:3–4]. Reading Ogahiy’s muammas leads to a true
appreciation of the beauty of both heart and mind. In this regard, Ogahiy, in the words of
Abdulla Oripov, is a great poet and scholar who elevated Uzbek literature to a new level after the
great Alisher Navoi.
List of references:
1. Sirojiddinov Sh. Matnshunoslik saboqlari (Lessons in Textology). – Tashkent: Navoiy
University, 2019. – 128 p.
2. Alisher Navoi. Mufradot. In: Complete Works (20 Vols.). – Tashkent: Fan, 2003. Vol. 20. –
pp. 369–420.
3. Ogahiy. Ta’viz ul-oshiqin: Divan. – Tashkent: Adabiyot, 2023. – 688 p.
4. Matyoqubova M. Zehn ziynati (Adornment of Intellect). – Urgench: Khorezm, 1998. – 45 p.
5. Matyoqubova M. Ajab ohangu navolar (Wondrous Tones and Melodies). – Urgench: Ogahiy,
2023. – 156 p.
6. Shodmonov N. Muammo janri va uni yechish amallari (The Muamma Genre and Its Solving
Techniques). – Qarshi, 2012. – 27 p.
7. Orzibekov R. Lirikada kichik janrlar (Minor Genres in Lyric Poetry). – Tashkent, 1976. – 168
p.
8. Rahmonov V. She’r san’atlari (Poetic Arts). – Tashkent: Sharq, 2020. – 240 p.
9. Yusupova D. Aruz vazni qoidalari va mumtoz poetika asoslari (Rules of Aruz Meter and
Principles of Classical Poetics). – Tashkent: Ta’lim-Media, 2019. – 184 p.
10. Hojiakhmedov A. Mumtoz badiiyat lug‘ati (Glossary of Classical Aesthetics). – Tashkent:
Yangi Asr Avlodi, 2008. – 193 p.
