Creative Originality of Alisher Navoi

I. A. Ismoilov

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

Keywords:

Alisher Navoi, Iskander and the Pauper, Story, Genesis, Transformation, Artistic Interpretation, Creative

Originality.

Abstract: This paper examines the literary tradition of writing about Iskander, drawing from both Western and Eastern

sources. Within the Eastern tradition of khamsanavislik (khamsa writing), every poet, including Alisher

Navoi, endeavoured to introduce originality into their dastan (epic) about Iskander. Navoi incorporated new

and historical literary materials into his work, introducing the narrative "Iskandar va gado" (Iskander and the

Pauper) into the khamsanavislik tradition. This story, integral to understanding the dastan "Saddi Iskandari"

(Iskander's Wall), has undergone complex transformations. The paper explores the genesis, sources, and

evolution of the story, its reception in the East, and Navoi's contribution to its development.

1 INTRODUCTION

If the essence of Alisher Navoi’s work is analysed

based solely on his own input, it becomes challenging

to consider the conclusions as reliable. This is

because the literature of the Navoi era was rooted in

tradition, assimilating the achievements of previous

literature, and utilising them as a foundation for new

experiences. This characteristic of the era's literature

makes it challenging to ascertain the novelty,

individuality, and contribution of a specific creative

individual within the existing tradition. In this

situation, genetic analysis, which allows for the

observation of the genesis and transformation of a

particular artistic phenomenon, serves as the most

effective way to determine an author’s originality.

This approach reveals how the matter arrived at the

creative individual and what the individual added to

it. Essentially, what a specific artist “added” to the

existing tradition should be the primary focus in the

research process, revealing their true potential and

strength. Without this genetic approach in the

research process, it is possible to wrongly attribute a

traditional phenomenon, originally from a different

tradition or writer, to another creative individual,

potentially leading to one-sided conclusions.

Therefore, we believe genetic analysis is the best way

to determine Alisher Navoi’s creative originality

within the Timurid period's tradition-based literature,

Corresponding author

as well as the innovations he introduced as a creative

force.

Navoi’s layered work can provide a rich source for

genetic analysis. The thinker’s works, especially

those concerning historical subjects, are remarkable

for their ancient origins and gradual refinement. A

prime example of these ideas can be seen in Alisher

Navoi’s dastan “Iskander’s Wall”. In particular, the

first story of this dastan, “Iskander and the Pauper”,

proves that every subject, motive, story and image

described by Navoi has deep historical roots. By

identifying and comparing the basis of Navoi’s

images, highlighting their common and differing

aspects, we can better understand the essence of this

brilliant artist's work and determine his creative

originality.

2 MAIN PART

Creative individuality, as the driving force of the

literary process and a vital feature of artistic creativity,

is reflected in all levels of classic work. For instance,

Navoi described many traditional stories in the dastan

“Iskander’s Wall”, yet pursued a unique path in

harmonising them with the artistic texture of the work

and his creative concept. Navoi’s artistic skill was

similarly revealed in the correlation of form and

content. The form side was manifested in the stories'

288

Ismoilov, I.

Creative Originality of Alisher Navoi.

DOI: 10.5220/0012486100003792

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 288-293

ISBN: 978-989-758-687-3

relation with epic architecture, while the content side

emerged through the renewal of traditional ideas and

interpretations.

The content-related aspect of Navoi’s creative

individuality is mirrored in the depiction of traditional

stories. While Navoi’s mastery in story-writing was

explored in a few works, it was mostly studied against

various formal and stylistic elements' backdrop. This

is the first significant point in analysing Navoi's

stories. A second important aspect in researching

Navoi's story-writing prowess is the reflection of his

creative individuality in the content of these stories.

Most stories described by Navoi are traditional, thus,

whether the writer readily accepted them or

introduced innovations into the content is a complex

issue in analysis. A.N. Veselovsky suggests that "the

task of historical poetics, in my opinion, is to show

the role and limits of traditions in the process of

personal creativity" [Veselovsky, A.N. (1989)]. Thus,

the primary goal of analysis should be to identify the

creative initiative manifested within tradition.

Evaluating traditional literary material without

clarifying this leads to misinterpretations. An

objective understanding of the author’s creative

personality and worldview is formed only if the

specific author’s unique "touches" or "additions" to

the traditional literary text are determined.

Assessments based on these considerations alone can

provide genuine knowledge about the creative

individual.

Specifically, the true essence of the story “Iskander

and the Pauper” and the main artistic and

philosophical interpretations reflected therein have

been discussed [Tajibaeva Ozoda Takhirovna.

(2020)]. However, how accurate is it to assess Navoi

and substantiate his mastery relying solely on the text

of this story, and on these remarkable ideas and

interpretations? How much of the traditional story's

interpretation, details and content belong to Navoi?

Unquestionably, works devoted to researching

Navoi’s story-writing prowess and creative

originality must answer these questions. Genetic and

comparative analysis is the most reliable way to

ascertain a specific creative individual's "share" of the

traditional text and find answers to the above

questions. Herein, we attempt to determine Navoi’s

creative initiative in the first and conceptually

significant story, “Iskander and the Pauper” of the

dastan “Iskander’s Wall". Based on this research, we

also aim to reveal Navoi’s creative originality and his

mastery of story-writing.

The story “Iskander and the Pauper” is essential in

understanding the dastan; through it, Navoi’s literary

goal, ideals, and the spiritual image of the main

character can be distinctly seen. This story is the

symbolic key to the “Iskander’s Wall” dastan. The

story initially splits into two significant parts, each

composed of two internal parts. The turning points of

events' development, the emergence of a new image,

motives, and the results of genetic and comparative

observation served as the basis for such a division.

The Roman and Arabic numerals shown in the table

indicate parts of the story that can be separately

distinguished. We believe that these parts and the

addition of details and motives within them created

Navoi's version of the story “Iskander and the Pauper",

and each part of the story has its own origin story.

3 RESULTS AND DISCUSSION

The first part (I) of the story “Iskander and the

Pauper”, as described by Navoi, is grounded on a

historical event, which was chronicled by the Roman

historian Quintus Rufus (died 1st century AD) in his

work [Rufus, Quintus Curtius. (1993)]. This event

unfolds in Sidon after Alexander defeated Darius in

their initial battle. Parallels can be drawn between the

historical event documented by Rufus and the story

as portrayed by Navoi.

As can be discerned from the table, the synopsis of

the first part of the story “Iskander and the Pauper”,

described by Navoi, evolved in connection with the

historical event recorded by Rufus. Both episodes

share the same setting, historical place, and time.

They are united by the figure of Alexander; however,

in the process of transforming historical reality into

literature, new interpretations were created under the

influence of various factors such as religion and

worldview. Despite the preservation of the

connection between the original reality and the

artistic transformation concerning the plot

composition and the concept of “contentment”, the

purpose, interpretation, and conclusions of the event

underwent significant changes.

The portion of Navoi’s story preceding Iskandar's

offer of the throne to the pauper is based on historical

reality, due to the maintained parallelism between the

historical event and the narrative. However, the

continuation and ending of the story do not align with

the historical reality recorded by Rufus. This

comparison allows us to assert the following

regarding the prototypes: Iskander in the story is

Alexander; the "Maghreb land" that Navoi describes

as the incident's location is the ancient city of Sidon;

the king mentioned in the story as having died in

battle is Stratio. In the story, Iskander wishes to

honour the deceased king by placing a prince from his

Creative Originality of Alisher Navoi

289

lineage on the throne, so his country isn't usurped by

foreigners – paralleling Alexander's desire to restore

justice to Sidon by appointing a prince from the

Sidonians. In the story, the populace mentions a

representative of the kings' dynasty living in the

cemetery – when the Sidonians learned of

Alexander’s wish, they told him about Abdalonim, a

representative of this land's ancient dynasty, who was

impoverished due to his honesty. This is the historical

prototype of the pauper, whose name was not

specified in Navoi’s story, which is Abdalonim.

At this point in Navoi’s story, a partial change in

detail expression is evident. This doesn't exclude the

potential existence of other, as yet unknown to us,

sources in the chain of connections between Rufus

and Navoi. Nevertheless, traces of the main logic are

clearly preserved in both texts' expression: while in

Navoi, the pauper astonishes Iskander by expounding

the sages' wisdom, in Rufus, the poor man commands

Alexander's admiration with his patience and lack of

need. In both episodes, the king concedes to the poor

man’s contentment and offers him a kingdom. It is

necessary at this point to elucidate how the bone motif,

absent in the original historical reality but playing a

significant role in Navoi’s story, was added to the

narrative.

So, in whose works does the detailed bone motif

appear in Eastern literature before Navoi? Did the

story of “Iskander and the Pauper” exist in the same

form in Eastern literature before Navoi? Studies have

shown that the story's composition, as described by

Navoi, had already formed in Eastern literature before

Navoi and it also contained the bone motif. The story

of “Iskander and the Pauper” appears in this form in

the works of Jami [5], Turtushi [6], and Fatik [7] prior

to Navoi, but there were bone details in them, not

exactly two bones. In Ghazali’s work “Nasihat al-

Muluk”, the bone motif is substituted by two skulls

[8]. This motif and the story assumed a wandering

character until Navoi. Undoubtedly, the story's

foundation was not created by Ghazali, Turtushi, or

Fatik, but was passed onto them from earlier sources.

The concurrent meeting of Jami and Navoi in one

story can be explained by taworud [9].

In Rufus' account, the story concludes with the

announcement that Alexander offered Abdalonim the

leadership of the country and augmented his

territories. Abdalonim assumes the throne and the

story concludes there. In Navoi’s narrative, the plot

carries on, and the subsequent development of events

is markedly different; the second part of the story

stems from other historical sources.

Genesis of the second part. The second (II) part of the

story, as depicted by Navoi, is split into two internal

parts: 1. The episode of the Pauper asking Alexander

for four wishes (eternal life, ageless youth, limitless

wealth, and joy without sorrow). 2. The episode of

Iskandar acknowledging the Pauper's superior dignity,

feeling remorse, and justifying himself by stating he

is also subject to fate, culminating in the pauper

declining the kingdom. Research has demonstrated

that these parts of the story, as depicted by Navoi, are

based on Alexander’s historical meeting and

conversations with Brahmins – the gymnosophists in

India.

One of the ancient historians, Megasthenes (350 –

290 BC), writing about the lifestyle, morals, and

views of the Brahmins [Ancient India as Described

by Megasthenes and Arrian. (1877)], recounts an

incident between Alexander and Mandanis:

Alexander invited Mandanis to his presence,

promising gifts should he come, or punishment

should he refuse. Mandanis did not go because he

didn't desire any gifts from someone incapable of

satisfying his own lust. He replies that if he remains

alive, the fruits of the Indian lands suffice for him, if

he is killed, he will be freed from his burdensome

companion, his old body, and attain a new life.

Alexander admires these thoughts of the Indian sage

and refrains from punishing him. Arrian also

transcribed this dialogue similarly [Arrian, Flavius.

(1962)]. However, neither Megasthenes nor Arrian

recorded Alexander’s ten questions to the Brahmins.

The question-and-answer episode is found in

Plutarch’s work from historical sources [Plutarch.

Selected works. Iskandar Makdunli. (2006)]. This

episode was later adapted in Talmudic literature

[Steinsaltz, Adin Even-Israel. (2019)], including the

Syriac version of Pseudo-Callisthenes. The

adaptation in Pseudo-Callisthenes occurs mainly at

the end of the episode when, after the philosophers

have answered the ten questions, Alexander says to

them, “ask what you will, and I will give you” as an

expression of gratitude. The Brahmins ask for

immortality [Arrian, Flavius. (1962)]. The portion of

the conversation beyond this point is not found in

historical sources. In Megasthenes, Arrian, Plutarch,

and the Talmud, the story concludes with Alexander

either surprised by the Brahmin’s thoughts or their

response, and set free with gifts. We do not see in

them precisely the ending recorded in Pseudo-

Callisthenes. In Pseudo-Callisthenes, at the story's

end, there is an attempt to explicitly express the

motives of human weakness, death and eternity, when

a king who purports to be great is defeated by a

common man. This situation corroborates our

hypothesis that the version of the conversation

between Alexander and the Brahmins recorded in

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

290

Pseudo-Callisthenes was a transformation of the

second part of the story “Iskander and the Pauper”.

This episode holds significant importance for later

Iskandarnamas and has undergone numerous changes

in various sources in the East. The episode

“Alexander and the Brahmins” was a transformation

from the Pseudo-Callisthenes tradition to Eastern

literature and was detailed in Firdawsi’s

Iskandarnama for the first time. In Firdawsi’s version,

the wishes to be asked from Iskandar were altered,

and their number reached two (immortality and youth

without old age); later, both wishes were preserved in

Navoi’s version.

The episode chronicled in the Syriac version shares

several fundamental parallels with the versed story by

Navoi:

1) the king encounters the sage(s);

2) a question-and-answer exchange occurs between

the king and the sage(s);

3) the sage astonishes the king with his intelligence;

4) the king makes an offer to him or asks him what he

desires;

5) the wise man makes a wish he cannot fulfil;

6) the king states that he cannot grant it;

7) the sage reproaches the king for this;

8) the king justifies his position and reign through fate.

These eight bases are reiterated in the episode in

Pseudo-Callisthenes and in the story described by

Navoi, substantiating their genetic linkage. This

situation also indicates that this episode in Pseudo-

Callisthenes can be directly or indirectly transformed

(by Firdawsi) into Iskandar tales in the East, including

'Iskander’s Wall'. The first four of the above eight

general principles are related to the first part of the

story "Iskander and the Pauper", and the remaining

four are related to the second part of the story.

"Conversation between Alexander and the Brahmins",

in our view, formed the foundation for the second part

of the story "Iskander and the Pauper".

Specifically, considering the subsequent four bases.

(5) In Pseudo-Callisthenes, the Brahmins ask

Alexander solely for immortality (eternity), but in

Navoi’s dastan, the pauper tells Iskandar that he

covets four things: eternal life, ageless youth,

limitless wealth, and joy without sorrow. The wish for

"eternal life" in Pseudo-Callisthenes is preserved

exactly in Navoi, with only three new desires added

to it.

At this juncture, it is natural to question the origin of

these "new three wishes" added to the story described

by Navoi. We postulate that during the meeting

between Alexander and the Brahmins, the solitary

wish expressed by the Brahmins, which later became

four wishes, underwent a distinct transformation

process. For instance, in Firdawsi’s dastan, the

number of this "desire" reached two (immortality and

ageless youth). The four wishes of the pauper in

Navoi’s story are also mentioned in Mukhtar al-

Hikam as Aristotle’s philosophical teachings:

demand endless wealth, eternal life, unfailing

dominance and immutable eternity. In the story

"Iskander and the Pauper" detailed by Fatik, the

number of wishes reached five: eternal life, youth

without old age, wealth without poverty, happiness

without anything unpleasant, and health without

illness. It's noteworthy that in "Mukhtar ul-Hikam",

one of the four goals of Aristotle’s wisdom,

"unfailing dominance", was replaced by "joy without

sorrow" in Navoi’s version. The detail "joy without

sorrow", and in general, the four wishes in Navoi, are

found in the same form solely in Turtushi and Jami.

We believe that the single desire of the Brahmins,

Aristotle’s Four Wisdoms, was later morphed into

Eastern wisdom literature and was reworked in the

process, then incorporated into "Iskander and the

Pauper" type narratives.

In Pseudo-Callisthenes, upon hearing the Brahmins’

desire, Alexander replies, "I do not rule over

immortality, for I am one of the mortals," thereby

acknowledging that there are things beyond his

control.

Phrases such as “zabun aylabon”, “hayrat”, “uyotdin”

and “bosh nigun aylabon” in this verse are an

expression of Iskander’s acknowledgement of his

weakness and the reality that he is an ordinary

(mortal) individual, similar to a pauper.

In Pseudo-Callisthenes, when Alexander tells the

Brahmins that he cannot grant their wishes, the

Brahmins ask, "Why engage in these wars and battles,

since you will die? Where would you take it when you

took over the world? Since you are mortal, will it still

remain with others?" They reproach him. In Navoi’s

version, the same reprimands as in Pseudo-

Callisthenes are not presented, but the logic of events

is to demonstrate that the ruler, who highly esteems

himself, is a common man, even inferior to the pauper

in terms of effort. In general, both works ask for

"impossible" things to demonstrate the powerlessness

of the ruler who claims to be omnipotent, thereby

reminding him that he is an ordinary individual.

The justification of the reproached king is the same in

both works. In Pseudo-Callisthenes, Alexander tells

the Brahmins that he, too, is subject to fate, that the

Creator has assigned him such a task, and that not

everyone can be the same, and in the end, everyone

will end up with nothing. In Navoi’s version, Iskandar

explains that his actions are determined by fate, and

Creative Originality of Alisher Navoi

291

he admits that the pauper is superior to Iskandar in

terms of his dignity, which he says is also due to fate.

And by stating that he has given me the kingdom, he

highlights the fact that God created people in different

ways, and this is the order of the world.

4 CONCLUSION

The theme of this story has become so significant in

history that it is even plausible to discuss the

transformation of content – views, interpretations.

That is, in the story of "Iskander and the Pauper", the

impact of conceptions about infinity, the futility of

human interests, and the lack of need (contentment),

which are repeatedly associated with Alexander in

ancient sources, can be sensed. These motives later

became the cause for the popularisation of stories and

episodes of the type "Iskander and the Pauper" in

Eastern Iskandarnamas. This point can be explained

on the basis of Arrian’s work, which is the most

reliable historical source for the history of the subject.

Arrian writes that when Alexander returned from his

Indian journey to Persepolis, he wished to see the

confluence of the Persian Sea with the other seas via

the Euphrates and the Tigris. Some have written that

Alexander had other plans, and these plans began to

worry the Romans. Arrian concurs with the Indian

sophists as well as the Romans: "Alexander found

them in the open air in a meadow, where they usually

spent their time." When they saw the king and his

army, they began to stamp their feet. When Alexander

asked through interpreters what this meant, they

responded: "King Alexander, everyone owns as much

land as there is under his feet. You are the same

person as everyone else, only unhappy and proud; you

have travelled to many places due to not being able to

leave the house and not giving peace to others. Soon

you will die and have only enough land to be buried"

[Arrian, Flavius. (1962)]. A similar situation occurred

with Diogenes on the Isthmus: "Diogenes was lying

in the sun, Alexander and his men came to him, and

Alexander asked, 'Do you need anything?' Diogenes

answered that only one thing is needed: "Alexander

and his companions should not go aside and block the

sun". Arrian also recorded the incident between

Alexander and Dandami, the leader of the Indian

sophists.

Observe that at the heart of all three cases involving

Alexander is the futility of the world’s concerns and

the issue of contentment. Three characters in three

episodes: the sophist, Diogenes, and Dandami are

united by one thing – contentment (lack of need). In

their eyes, Alexander is a person who cares for the

world, who is eager for fame and fortune with vain

deeds. It can be said that the same imagination and

logic in ancient history were transferred to Eastern

Iskandarnamas and underwent various artistic

transformations. The image, detail, and composition

have been changed in them, but the essence has

remained. In particular, the prototypes of the image

of the Pauper in Navoi’s story can be called Indian

sophists, Diogenes or Dandami. For the Indian

sophists' saying that a person will eventually have

only enough land for a grave, the great lack of need

in Diogenes and his plea not to block the sunlight

means that everything in the world is worthless, and

Dandami's words that you are the mere mortal as

everyone else, you must not rise above the aspirations

of human existence. All this is encapsulated in the

image of the poor man in the story described by Navoi.

In these desires, harmony is embodied in the content:

the great satisfaction arising from the realisation of

the futility of worldly worries, the lack of need, and

the desire to be worthy only of the Creator. Details

were exchanged only according to Navoi’s version.

Not wanting "anything" from the mere mortal of the

Brahmans is preserved in different expressions in

Diogenes, Dandami, and Navoi’s hero. On the

contrary, both the Brahmans and the hero of Navoi

are only heroes who ask God and strive for Him, and

the same aspect summarises them.

The story "Iskander and the Pauper" described by

Navoi is important in understanding this Dastan and

the worldview of the author. Through this story, it is

possible to comprehend Navoi’s views on issues such

as the relationship between the king and the pauper,

dignity, and poverty. The story described by Navoi is

divided into two large parts, which in turn are divided

into two smaller parts. In our opinion, the addition of

these parts and details created the version of the story

"Iskander and the Pauper" described by Navoi, and

each of these parts has its own genesis. According to

the genesis of most of these stories and parts, they

trace back to the works created in ancient times, in

connection with Alexander the Great. However,

Eastern creators played a more significant role in their

formation as a single story, in the composition

described by Navoi, and in the promotion of the ideas

of Islamic teachings.

The plot of this story is almost repeated in the works

of different creative personalities, but their expression,

interpretation, and details are distinctive. It is these

"characteristics" that should be considered as the

basis for the manifestation of the aim, outlook, and

mastery of each creative person, and the originality of

a certain creative person should be measured based on

this criterion. Then the categories of tradition and

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

292

originality will find their true value. Navoi’s

contribution to the genesis and improvement of the

story "Iskander and the Pauper", the innovation in

details when discussing Navoi’s originality within the

existing tradition of this story, the strength of artistic

logic, the mystical interpretation of the story: the

conflict between the king and the pauper, the image

of the struggle of dignity and poverty should be in

focus. Only if Navoi’s creative originality is

evaluated on this basis, it will be possible to arrive at

objective and solid conclusions.

REFERENCES

Veselovsky, A.N. (1989) Historical poetics. – Moscow:

Higher School,. – p. 300.

Navoi, Alisher. (2006). Saddi Iskandariy / Iskander’s Wall.

– Tashkent: NMIU named after Gafur Gulam,– p. 72 –

75.

Rufus, Quintus Curtius. (1993). History of Alexander the

Great. With the application of the works of Diodor,

Justin, Plutarch about Alexander / Executive Editor A.

A. Vigasin. – Moscow: MSU Press, – p. 47 – 48.

Justin, Mark Yunian. (2005). Epitome of Pompeius

Trogus’ Historiae Philippicae / Translated from Latin

by A. A. Dekonsky, M. I. Rijskiy; Ed. M. E. Grabar-

Passek; Comments by K. V. Verzhbitsky, Μ. M.

Kholod; Introductory article by K. Zelyin. – St.

Petersburg: Publishing house of St. Petersburg

University,– p. 99 – 109.

Jami, Abdurrahman. (1988). Artifacts. In seven volumes.

Volume 5. Laili and Majnun. The wisdom of

Alexander. Published by A. Afsahzod. – Dushanbe:

Adib, – p. 351 – 354.

Bertels, E.E. (1965). Selected works. Volume 4. Navoi and

Jami. – Moscow: Nauka, – p. 307.

Fâtik, Mübeşşir ibn. (2013) Muhtaru’l-hikem and

mehasinu’l-kelim. Translated by O.Guman. – Istanbul:

Presidency of Manuscripts Institution, (2013). – p. 456

– 458.

Ghazali, Muhammad. Nasihat-al-muluk / Exhortation to

kings. – Tehran: Assembly, 1317(h.). – p. 37 – 39.

Rajabova, B. (2019). Common literary events. – Tashkent:

Muharrir publishing house,– p. 116 –120.

Ancient India as Described by Megasthenes and Arrian.

(1877). A Translation of the Fragments of the Indika of

Megasthenes Collected by Dr. Schwanbeck, and of the

First Part of the Indika of Arrian, by J. W. McCrindle,

M.A. – London: TRUBNER & Co,– p. 97 – 105.

Arrian, Flavius. (1962) Alexander’s March. Translation

from Greek by M.E. Sergeenko. – Moscow –

Leningrad: Publishing House of the Academy of

Sciences of the USSR,. – p. 213.

Plutarch. Selected works. Iskandar Makdunli. (2006)The

translators are Zahir A’lam and Urfon Otajon. –

Tashkent: “New Age Generation”,. – p. 80 – 81.

Steinsaltz, Adin Even-Israel. (2019) Koren Talmud Bavli.

The Noé Edition. Volume 9: Tractate Tamid (32a). –

Jerusalem: Koren,. – p. 453 – 454.

The History of Alexander the Great, being the Syriac

Version of the Pseudo-Callisthenes. Edited from five

manuscripts, with an English translation and notes by

Ernest A. Walllis Budge. – Cambridge: At the

University press, (1889). – p. 92 – 94.

Firdawsi, A. Shahnameh: Contains the IX volumes.

Volume VII. Development of K. Aini, Z. Ahrori, B.

Sirus. Editorial board: M. Osimi, K. Aini, Z. Ahrori, A.

Maniyazov et al.: – Dushanbe: Adib, (1989). – p. 95 –

101.

Tajibaeva Ozoda Takhirovna. (2020) A0bout the

translation and interpretation of the “Iskandarnama”.

Journal of critical reviews, Vol 7, Issue 7.

Creative Originality of Alisher Navoi

293