Image of Jabroil Alayhissalam in Navoyi's Me’rojnomas

H. K. Allambergenov

1,2,*

and D. I. Shamsiyev

1,2

Nukus State Pedagogical Institute, Nukus, Uzbekistan

Tashkent State University of Uzbek Language and Literature named after Alisher Navoi, Tashkent, Uzbekistan

Keywords: Alisher Navoi, "Khamsa" Epic, "Lison Ut-Tayr" Epic, Jabroil Alayhissalam, Muhammad Paygambar,

Buraqhorse.

Abstract:

This article presents an investigative study into the depiction of Jibril in Navoi's "Khamsa," symbolising a

bridge between the terrestrial and celestial. Jibril is portrayed as an intercessor for Muhammad's (s.a.v) people

in their divine ascension. Through Navoi's artistic genius, complex religious and philosophical views on the

night of Miraj are effectively communicated, fostering a mature worldview amongst the younger generation.

Readers are urged to use classic literary and religious-philosophical dictionaries to ensure accurate

comprehension of Navoi's original ideas and their transmission to future generations. The findings of this

study highlight the depth of Navoi's creative legacy and emphasise the importance of further exploration

within Turkish literary and Navoi studies. The analysis reiterates the importance of understanding and

promoting Navoi's perspectives, firmly rooted in the latest scientific achievements.

1 INTRODUCTION

The accurate conveyance of Mir Alisher Navoi's

creative heritage and persona to readers and younger

generations is a necessity of every era. It falls to each

of us to objectively evaluate the unique creations of

this author, now a spiritual emblem of our nation,

employing the latest advancements in literary studies

to uncover their inherent richness. As noted by

Shavkat Mirziyoyev Miromonovich, the President of

the Republic of Uzbekistan, "The creative legacy of

the great poet holds special importance in elevating

our people's spirituality, educating younger

generations in the spirit of devotion to the

Motherland, and respect for our national

values."(Mirziyoyev,2019). Thus, elucidating and

transmitting the religious and philosophical motifs

embedded in Navoi's invaluable epics to the readers'

consciousness is a pressing task for modern Uzbek

Navoi studies. Interest in Alisher Navoi's work,

considered a gem of Turkic literature, remains robust

within both Uzbek and global literary studies. The

field of Navoi studies in particular has seen

significant strides in recent years, uncovering new

genres from Navoi's vast trove of unique meanings

and promoting scientifically based principles and

Corresponding author

facts. Specifically, investigating the structural

composition and imagery of the poet's epics have

been key areas of focus. 'Merojnama', a separate

literary tradition in Eastern literature, epitomises the

artistic vision of the author and reflects the prophet

Muhammad's (s.a.v) heavenly ascension on the horse

Buraq. This motif, articulated as a concise prose or

poetic piece expressing religious-philosophical

views, typically features in the introduction of epics

and occasionally in poetic divans. Such works have

been present in Eastern literature since the 7th

century, with their first appearance in Uzbek

literature attributable to Alisher Navoi. The great poet

devoted a separate chapter to the subject of Miraj in

each of his "Khamsa" epics. These included beautiful

and refined metaphors of the night of Miraj and

celestial bodies. His divans also feature poems

(g’azal) dedicated to this event. (Abdumurod Tilavov.

(2020)-3). Alisher Navoi deftly incorporates this

miraculous night into all his "Khamsa" epics and

"Lison ut-Tayr". The ideological content of the entire

work is closely intertwined with this topic, a

testament to Navoi's skilful choice of themes.

196

Allambergenov, H. and Shamsiyev, D.

Image of Jabroil Alayhissalam in Navoyi’s Me’rojnomas.

DOI: 10.5220/0012482400003792

Paper published under CC license (CC BY-NC-ND 4.0)

In Proceedings of the 1st Pamir Transboundary Conference for Sustainable Societies (PAMIR 2023), pages 196-199

ISBN: 978-989-758-687-3

2 EXPERIMENTAL PART

The artistic interpretation of the Miraj night image in

Navoi's epics, a subject we are addressing, is a distinct

aspect of the great writer's work that necessitates

further study and research. Our literary scholars,

including Uzoq Joʻraqulov, Abdumurod Tilovov,

Karomat Mullahojayeva, and Shahnoza Gafurova,

have commented on this theme in their respective

articles and theses. Uzoq Joʻraqulov, in particular,

focuses on the educational and artistic essence of the

final "Fifth Poem" dedicated to the description of the

Night of Miraj in his piece, "Hayrat ul-Abror". He

argues that the individual depicted in the world of

"Khamsa" symbolises the highest point occupied by

the phenomenon, linking the time and space scales

within it to the "three worlds" scale in the "Praise" and

"Munojot" sections of "Hayrat ul-Abrar". He

concludes with a discourse on the composition of the

seven classification parts (Salayev F(2010)).

Abdumurod Tilavov's article, "... You are the Sun...",

analyses a g’azal related to Alisher Navoi's

description of the Night of Miraj. It skillfully portrays

Hazrat Alisher Navoi's sincere love for our Prophet

and his deep understanding of Islamic history,

particularly our Prophet's history (Alisher Navoiy.

(2021)).

Fayzulla Salayev and Gulmirza Gurbaniyazov's

"Annotated Dictionary of Literary Terms" discusses

the interpretation of 'merojnoma' as a term. It states

that each of the "Khamsa" epics written by the great

poet has a separate chapter dedicated to the topic of

Miraj and there are also merajnomas in the form of

g’azals dedicated to the description of this

phenomenon in the divans of "Khazayin ul-Maoni"(

Mirsiyoyev Sh. (2019)-7).

The textbook "Navoiyshunoslik" (Book 1), authored

by Shuhrat Sirojiddinov, Dilnavoz Yusupova, and

Olimjon Davlatov, presents concise information

about Navoi's rituals within the sections devoted to

the structural composition of "Khamsa" epics

(Sirojiddinov Sh., Yusupova D. Davlatov O. (

2018).).

Nevertheless, comprehensive monographic research

has yet to be conducted on Navoi's merojnoma, its

components, image system, and uniqueness. This

represents a crucial task for Uzbek Navoi studies in

the new era.

3 RESULTS AND DISCUSSION

Mir Alisher Navoi's incomparable contribution to the

development of Turkish literature is a testament to his

genius. His vast array of works and images, spanning

a myriad of subjects, never fail to captivate the reader.

His unique artistic portrayal encompasses a broad

spectrum of individuals - from the lovers to the

craftsmen, from the king to the pauper. The poet's

works acquaint us with the distinctive images of

prophets, saints, devils, and angels, showcasing a

deep familiarity with almost all religious and

educational topics of his time. One such creation is

the image of the ambassador, a central character in

Navoi's Merojnomas. This angel, sent as a divine

messenger to God's beloved servant, Muhammad

(PBUH), is Jabroil.

Jabroil is one of the four archangels in Islam. He is

regarded as the divine intermediary who conveys

God's will to the prophets, delivers revelations, and

enforces celestial calamities on Earth. God's

revelations to all the prophets are transmitted through

Jabroil, who, by God's will, delivered the verses of

the Quran to Muhammad (PBUH). The Holy Quran

refers to Jabroil as a 'holy spirit' and a 'noble

messenger'.

In the epic chapter of "Hayrat-ul-Abror", Navoi

narrates the night-time visitation of God's messenger

to Prophet Muhammad (PBUH). Navoi characterizes

this image as a 'high walker' and a 'pure messenger of

Allah', who can be seen reaching for and holding the

reins of a soaring horse. This messenger is Jabroil,

and the horse he holds is the Buraq.

The pure messenger of God greets Muhammad

(PBUH) and delivers his divine mandate: "O treasure

of passionate secrets, God wishes to see you. For the

Prophet has received the message of life, and thus, has

been gifted a new life. Subsequently, the narrative

describes how Jabroil mounted Muhammad (PBUH)

on the horse and led him back to their original

location.

During their journey, they traversed past the celestial

bodies of the Moon, Atorud, Venus, Sun, Bahram

(Mirrih), Mushtari, Saturn, and through constellations

such as Hamal, Sarv, Javza, Saraton, Sunbula, Aqrab,

Kavs, Jady, Dalv, and Hut. After ascending to the

heavenly throne and riding the Rafraf, Jabroil and the

Prophet parted ways. Within the realm of Lomakon

(absence), the Prophet was liberated from six aspects:

East, West, North, South, lower, and upper. The four

elemental forces: earth, water, fire, and air,

abandoned him. Consequently, Muhammad (PBUH)

was able to meet God, accomplishing his goals and

concluding his journey.

Image of Jabroil Alayhissalam in Navoyi’s Me’rojnomas

197

The image of Jabroil is depicted as the 'Bearer of a

mysterious message' in the epic "Farhad and Shirin".

The narrative describes a mysterious messenger -

Jabroil, arriving after dark, with a Buraq in his hand,

that flew like lightning. The ambassador, bearing

God's truth, revealed his intentions: "Hidden from all

people, let my beloved relish my presence." Hearing

this, Prophet Muhammad (PBUH) immediately

mounted the Buraq. In one swift movement, they

transcended soil, wind, grass, and water.

After traversing all the planets and constellations,

Muhammad (PBUH), the treasure of meanings,

dismounted the horse upon reaching the Uchqur

Buraq Lomakon square. Rows of angels prostrated

before him. He was freed from the four elements, the

six aspects, and even the five senses and two aspects.

Hence, he was graced with fairness.

In the epic "Layli and Majnun", Jabroil is portrayed

as a messenger of light and a seer of the sky.

As the night descends and the sun casts envious

glances at every sparkling star in the heavens, a

radiant messenger suddenly arrives with a message.

Alongside him is a creature comprised entirely of

light - the Burok horse. The epic depicts the Burok as

a bridge between existence and non-existence for the

messenger. Just like the messenger, wherever the

Burok sets its gaze, it can transport itself there in an

instant.

Upon entering the presence of the divine angel

Jabroil, he addresses the Prophet as follows: "My

Lord, the world yearns for an audience with you. You

too can savour His divine presence. This Burok is like

a firecracker, it flies as fast as lightning. It is

composed of light from top to bottom... This Burok is

perfect for you. Time is of the essence, mount your

horse promptly" (Alisher Navoi. Laily and Majnun,

2021). Upon hearing these words, the Prophet, filled

with ecstasy, swiftly mounts the Burok and sets off

on his journey with his companion Jabroil. Together,

they soar through the skies.

In the epic "Saba'i Sayyor", Jabroil is depicted as a

"messenger who traverses the world", a divine courier

of God. As in Navoi's other epics, the messenger

conveys God's greetings to Muhammad (PBUH) in

this piece as well. The beloved's messenger informs

him of his imminent reunion with his wife and then

sets him on his way.

The chapter of "Saddi Iskandari" stands out for its

scale and the poet's ability to express his artistic

imagination within the confines of this subject,

manifesting his visions in a clear and figurative

manner. In the epic, Jabroil is ascribed with more

qualities than in other poems. He is said to revel in

skywalking, where a thousand-year journey is

condensed into a single step, and his horse's strides

are directed towards wherever his thoughts aim to

reach.

Moreover, in this epic, Jabroil is described as a "light

and nimble skywalker", "the bearer of good news

from God", "messenger" (Angel Jabroil), "heaven's

messenger", "a bird flying with the speed of

lightning", and "Jabroil". He is also characterised

using various adjectives, such as 'amin', signifying a

reliable angel.

In the chapter of the Merajnoma, Muhammad

(PBUH) is described as a friend of Jabroil: "After

passing through the heavens one by one, he arrives

before his friend, covered in dust, and delivers God's

greetings" (Allambergenov H., Shamsiyev

D. (2022)). During these events, the messenger

instructs the Prophet on the importance of bridging

the gap of separation to reach the truth swiftly. As the

Prophet, described as "Ildamqadam sayyoh", embarks

on his celestial journey, Jabroil, the herald of the

news, readies his Burok and travel equipment. Once

Muhammad reaches Baitulharam, the holy shrine in

Mecca – the Kaaba, he ascends to the heavens with

his horse. After traversing all the planets and

constellations and arriving at Arshi Azam, he entrusts

his horse to the heavenly messenger Jabroil and

continues his journey in a state of weightlessness.

Notably, the event of our Prophet handing over his

horse to Gabriel in Arshi Azam is unique and not

found in other epics.

The account of the Night of Miraj in the epic "Lison

ut-Tair" begins with the desire of God for the king -

Muhammad, whose greatness would touch the skies,

to ascend to the heavens. The narrative commences

with the image of God's message: "In the hand of the

angel was a bolt of lightning, with which not even

lightning could contend" (Alisher Navoi. Lison ut-

Tair, 2021).

Unlike other epics by Navoi, Jabroil (a.s.) is

characterised in the epic poem with the descriptors

"Guardian of Souls" and "Angel".

Throughout the unfolding events, a unique rapport

between Jabroil and Muhammad is evident. The

Messenger of God refers to him as being "nearer to

God with your soul". Given his beloved status, it is

possible for him to approach God in physical form,

and the fact that he brings Buraq's horse suggests that

he can undertake a journey. During this voyage, when

they reach Lomakon Square, they pause for a brief

respite along with the messenger. Navoi characterises

the separation of Muhammad from Jabroil and Buraq

at this location as akin to "two feathers falling from a

bird". The principal artistic task attributed to the

image of Jabroil in Navoi's rituals is to relay God's

PAMIR 2023 - The First Pamir Transboundary Conference for Sustainable Societies- | PAMIR

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message to our Prophet and guide him into the

presence of the Truth.

In every ceremony, Jabroil and the horse Buraq part

ways with Muhammad at Arshi Azam. In essence,

only Muhammad is permitted to approach Allah, who

resides beyond seventy thousand layers of veils. Even

Jabroil is not granted this access.

All of the rituals feature a dialogue between Jabroil

and Muhammad (PBUH). The representation of this

exchange primarily comprises the Messenger of

God's address to Muhammad and the imagery of his

departure.

In Navoi's rituals, the image of Jabroil, upon whom

be peace and blessings, is labelled as "The High

Walker", "Allah's Pure Messenger", "Messenger",

"Light and Nimble Bird-Walker with Pure Intent",

"Bearer of Good News from God", "Qosid" (Angel

Jabroil), "Heaven's Messenger", "Guardian of

Spirits", and "Angel". These various descriptors

demonstrate how the character is portrayed in diverse

ways.

4 CONCLUSION

On the whole, the depiction of Jabroil acts as a bridge

linking earth and sky, this world and the next, and

functions as a significant intercessor as Muhammad

(PBUH) approaches the presence of God to seek

forgiveness for the sins of his ummah. Above all,

Navoi's poems are primarily the products of the

artist's imaginative thinking and fantasy. Drawing

from his vast wellspring of inspiration, Adib succeeds

in artistically conveying the religious and

philosophical views associated with the Night of

Miraj prevalent in Eastern literature.

A discerning reader and modern narcissist should

never accept an artistic source as an incontrovertible

scientific fact. This is because Navoi's works play an

unparalleled role in nurturing the younger generation

into mature individuals. Literary traditions form an

unbreakable link between the past and the future.

When engaging with sources concerning the

definition of the Night of Miraj, readers should

consult dictionaries of classic literary works and

religious-philosophical ideas. Only then will Navoi's

original ideas, their religious-mystical content, and

aesthetic-didactic views be preserved and passed

down through the generations in their true form.

Alisher Navoi's creative legacy represents a vast sea

that still requires extensive exploration within the

field of Turkish literary studies and Navoi

scholarship. Today, more than ever, it is crucial to

study and promote the creator's religious-

philosophical, Islamic-secular, and moral-didactic

views, grounded in the latest scientific advancements.

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