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ALISHER NAVOIY AND THE UZBEK GHAZAL TRADITION OF
THE 20TH CENTURY
Haydarova Gulhayo Ahmadaliyevna
PhD in Philological Sciences
Kokand State University
Email: h.gulhayoxon90@gmail.com
https://doi.org/10.5281/zenodo.15580913
Abstract:
This article explores the influence of the ghazal tradition of
Alisher Navoi on the works of 20th-century Uzbek ghazal poets such as Asqarali
Hamroali og‘li Charxiy, Sobir Abdulla, and Habibiy. It analyzes the continuity of
classical poetic traditions in the ghazals of these poets, as well as the unique
stylistic features characteristic of each individual writer. The study also provides
an overview of the principles of divan (collected poetry) compilation in classical
literature and the specific approaches to divan creation in the 20th century.
Keywords
: ghazal tradition, literary heritage, creative individuality,
master-apprentice, radif (refrain), literary influence, imagery, poetic device,
personification.
In classical literature, Alisher Navoi outlined the principles for compiling a
divan based on his observations of previously created divans in the preface to
his
Gʻaroyib us-sig‘ar
collection. According to him, a divan should begin with a
preface, include hamd (praise of God) and na’t (praise of the Prophet), start with
ghazals, conclude with 32 letters instead of 28, and initially feature ghazals on
themes of hamd or na’t. Furthermore, it should contain couplets related to
enlightenment and moral advice, and the idea presented in the opening couplet
(matla) should be developed until the concluding couplet (maqta’).
In analyzing the ghazals of Sobir Abdulla, Charxiy, and Habibiy through the
lens of traditionalism, it is important to note certain unique aspects of 20th-
century Uzbek ghazal poetry. These distinctive features are especially evident in
the divans compiled by the poets themselves during their lifetimes.
Firstly, each divan begins with a preface. In this regard, it is notable that
Habibiy’s divan opens with a prose preface, while Sobir Abdulla’s divan includes
a 31-line poetic preface primarily focused on praising the era and explaining the
reasons behind compiling the divan. In Charxiy’s divan, a 42-line preface states
that the poet compiled his divan at the age of seventy and mentions the names of
Furqat and Muqimiy. Interestingly, none of the three poets’ divans include
traditional hamd or na’t ghazals.
Secondly, while in the divans compiled prior to the 20th century the ghazals
were arranged according to the order of letters in the Arabic alphabet, the
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Devon collections by Sobir Abdulla (1965) and Charxiy (1972) were published
based on the sequence of letters in the Cyrillic alphabet (a, b, v, g, etc.). However,
unlike his contemporaries, Habibiy’s Devon, compiled in 1960 and reprinted
three times (in 1960, 1975, and 1980), retained the classical tradition and
arranged its poems according to the order of letters in the Arabic script.
Thirdly, by the 20th century, the practice of assigning titles to ghazals had
emerged. It is true that in Alisher Navoi’s divans we find general section titles
such as “The beginning of the afflictions of the letter Alif from the Gʻaroyib” or
“The manifestation of beauties of the letter Jim from the Navodir,” yet these are
not individual titles for each ghazal. Rather, they serve to distinguish a group of
approximately 115 to 130 ghazals associated with a particular letter. Each of
Navoi’s ghazals is instead identified by a number.
In contrast, the ghazals of Habibiy, Sobir Abdulla, and Charxiy were given
specific titles based on the following approaches:
– according to the radif (refrain) of the ghazal;
– derived from the content or theme of the ghazal itself;
– assigned during the editorial and publishing process by editors.
These titles were typically formulated using a word, phrase, or compound
expression. For example, the titles of Charxiy’s ghazals include such phrases as
“Qo‘qon loyi,” “Yodlar zamon, Muqimiy,” “Vafo sevarim,” and others, often drawn
from the opening elements of the rhyme or radif. A similar pattern can be seen in
Habibiy’s ghazals, where titles such as “Sharob,” “Suhbat,” “O‘t,” and “Bahs”
reflect the radif, while others like “San’ating,” “Ozod,” and “Keldi yor” are taken
from the rhyming scheme.
Sobir Abdulla adopted a distinctive approach to titling ghazals. He selected
entirely new couplets or lines—often his own aphorisms—that matched the
theme or essence of the poem to serve as its title. This practice is unique, not
seen in either 15th-century or 20th-century ghazal traditions. These titles were
typed according to the order of Cyrillic alphabet letters in use at the time and
reflected the sequence of ghazals in the divan.
Some of the poet’s titles also provide information about the historical
context in which the ghazal was written.
From the title of this ghazal, it becomes evident that it was written during
the poet’s youth while he was in the Osh region. In our opinion, all the titles in
the divan appear to have been assigned later, during the process of organizing
the collection. This is suggested by the fact that the divan was published in 1965,
yet in the title, the poet acknowledges that he composed the ghazal during his
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youth. The ghazal was written in 1940, corresponding to the poet’s most
productive period, at the age of 35.
Some of the titles in Sobir Abdulla’s divan also serve the function of
clarifying certain ambiguities within the ghazals. For instance, in a ghazal
beginning with the matla mentioning a playful river in a specific region, the
name of the district (rayon) remains undisclosed until the end of the poem. To
resolve this uncertainty for readers and clarify the setting, a separate couplet
indicating the name "Kosonsoy" is used as the title.
It would not be an exaggeration to state that Asqarali Hamroali og‘li Charxiy
dedicated his entire creative effort to promoting the classical aruz meter, which
was struggling to survive under the literary constraints of his time. In the
preface to his Devon, he explicitly states: “I feel a stronger inclination towards
classical literature… especially satire.” Although the poet himself acknowledges
his affinity for satire, the majority of his ghazals are not satirical in nature.
In Habibiy’s ghazals titled “O‘qing” (Read), “Moʻtabar” (Respectable), and
“Bilim” (Knowledge), which range from 7 to 11 couplets each, the poet aims to
awaken ignorant individuals from their slumber and calls upon them to pursue
education and value time. He emphasizes the power of science, its ability to
conquer the world, even to subjugate the universe, and warns against wasting
life. Although these three ghazals were written in different years — 1935, 1942,
and 1967 respectively — they all share the central message that acquiring
knowledge is a timeless and urgent duty. For example, in the ghazal “Bilim”, the
lyrical speaker asserts that the world is entering an era of renewal and that the
most advanced countries are experiencing transformation, innovation, and
progress. Hence, the poet compares knowledge to “a great treasure,” “a mighty
river in motion,” “an arrow and bow,” and “the sun of the world.” He laments
those who reject knowledge, portraying them as devoid of joy and desire for
learning, describing their perception of knowledge as akin to the mythical bird
Anqā (the unattainable).
The poet’s struggle against ignorance is reflected in several other poems as
well. In the ghazal titled “Xilma-xil odam” (Various People), he evaluates
humanity — the descendants of Adam — not by their physical attributes, but by
their intellectual and cognitive abilities. He categorizes people based on their
levels of thought and insight, stating that some claim to know while in fact
knowing nothing. In the final lines of the ghazal, the poet emphasizes that an
ignorant person, despite appearing human, cannot be considered truly human.
He laments that the world is full of such individuals. In the closing couplet
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(maqta’), the poet turns to himself, saying: “Open your eyes, O Habibiy! If you
remain ignorant, your condition will be dire. Do not be indifferent or neglectful
of the events occurring around you.”
In conclusion, it may be said that the 20th-century Uzbek ghazal poets such
as Habibiy, Charxiy, and Sobir Abdulla, while depicting contemporary realities,
remained committed to the continuation of classical literary traditions.
Influenced by the ideological context of their time, they engaged with
contemporary themes, yet managed to maintain a high level of intellectual
discourse that continues to resonate with today’s readers. Trusting that future
readers would grasp the deeper meanings within their ghazals, these poets
skillfully embedded their protests, conclusions, and creative responses to
contemporary events within the lines of verse. Moreover, all three poets,
drawing inspiration from Alisher Navoi’s mastery of poetic imagery, succeeded
in continuing the literary tradition while reflecting contemporary reality in a
distinctive and original manner.
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