Artistic Interpretation of the Futuvvat Idea in Alisher Navoi’s
Works
Nurboy Jabborov
Tashkent State University of Uzbek Language and Literature named after Alisher Navoi, Tashkent, Uzbekistan
Keywords. Sufism, Futuvvat (Brave, bold, Nobility), Muruvvat (generosity), braveness, charity, purity, loyalty, lyric
poem, epic poem, artistic interpretation.
Abstract: This article analyses the concept of "futuvvat" (bravery, nobility) and its significance in Alisher Navoi's
works. The artistic interpretation of futuvvat is examined in Navoi's collection of lyrical poems and in his
epics, which form part of "Khamsa". Navoi’s views on futuvvat are also explored in "Nasayim ul-Muhabbat".
In the story of Akhiy from "Sabai Sayyor", futuvvat is distinctly revealed through the themes of generosity,
purity, and loyalty as per Husain Vaiz Koshifi's "Futuvvatnomai Sultani". It's argued that Navoi not only
explores futuvvat in his works but also embodies these principles in his life. Different scholarly views on this
topic are considered.
1 INTRODUCTION
Futuvvat (brave nobility) is a foundational concept of
Sufism. Given that Sufism has evolved into an ideal
doctrine of human perfection, the significant
influence of futuvvat on this development becomes
evident. Literature mirrors significant societal events,
and futuvvat is no exception. It can be suggested that
while literature deepens the integration of futuvvat's
principles into people's consciousness, futuvvat
breathes life into fiction, supplying new images and
unique interpretations.
In the works of Alisher Navoi, a distinguished
poet and thinker of the Turkic peoples, the idea of
futuvvat is interpreted through a harmonious blend of
profound content and beautiful artistic form. The
study of this subject through Navoi's works is also
valuable as it leads to the scientific conclusion that
mysticism and literature, human perfection, and
aesthetic thinking are interdependent.
2 LITERATURE AND
OBSERVATIONS
Without replicating the work of other Eastern
thinkers, Alisher Navoi offered an original
1
interpretation of his views on futuvvat as one of the
primary directions of Sufism in his lyrical and epic
works. Navoi's conceptual views on this subject were
significantly more advanced than those of his
predecessors and have greatly influenced the work of
subsequent poets and writers.
Firstly, regarding the essence of the term futuvvat.
According to Husayn Voiz Koshifi's perspective,
"Futuvvat, as a term representing human attributes,
signifies gaining fame amongst the public due to
exemplary morals and good qualities. Because of this
honour, such a person continually serves as a classic
model among his colleagues and peers with his
morality. In a more specific definition, futuvvat
consists of the light of human nature set against the
darkness of greed and ignorance, breaking through
this darkness" (Koshifi, Husayn Voiz. 2011).
Alisher Navoi emphasised the role of futuvvat in
human perfection in his epic works "Hayrat ul-Abror"
and "Layli and Majnun" from "Khamsa". In "Sabai
Sayyor", the fourth epic in "Khamsa", he devised a
special narrative about the poetic expression of the
idea of futuvvat. In “Nasoyim ul-Muhabbat”, he
considers the role of futuvvat in the perfection of
many mystics. He brings forth citations from their
views on the essence of futuvvat. All of this indicates
that this concept has always been at the centre of the
great thinker’s attention.
298
Jabborov, N.
Artistic Interpretation of the Futuvvat Idea in Alisher Navoi’s Works.
DOI: 10.5220/0012486300003792
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 298-305
ISBN: 978-989-758-687-3
Proceedings Copyright © 2024 by SCITEPRESS – Science and Technology Publications, Lda.

It should be noted that in Navoi's works, the term
futuvvat is almost always interpreted in association
with muruvvat (generosity). This implies that
generosity forms the foundation of futuvvat
(nobility). Husayn Voiz's perspective also supports
this view: "Futuvvat has three ranked positions:
firstly, generosity, meaning the capacity to share what
one has without greed. Secondly, purity, implying a
heart free from arrogance, malice, revenge, and anger.
Lastly, loyalty, meaning being continually in the
service of others" (Koshifi, Husayn Voiz. 2011). The
fact that all these three ranks relate to generosity
(muruvvat) substantiates that the great poet's
interpretation is grounded on a firm foundation.
Although the degree to which the idea of futuvvat
is reflected in the works of Alisher Navoi hasn't been
particularly researched, certain attitudes towards this
issue have been expressed. For instance, Yaqubjon
Iskhakov, in his research work "Teaching of
Naqshbandiya and Uzbek Literature", stated that
“although the great poet did not create a dedicated
narrative and persona under the name of a young man,
he sufficiently expressed his views on this matter
through the realistic portrayal of young men such as
Farhad, Mas'ud, Sa'd, Farrukh, Iskandar, Shapur, and
Muqbil" (8,49). In this research, the scholar
conducted an in-depth and reasoned study of the
literary aspects of Naqshbandiya. However, the
scholar sometimes voiced contradictory and
controversial opinions. For example, he suggests that
Hazrat Navoi "had created a special story about
Akhiylik (the first story of Sab'ai Sayyor), which
represents the concept of futuvvat in Minor Asia.
Further on, he contemplates why the great poet "...did
not create a dedicated narrative and persona under the
name of Javonmard (Youthfulness)" (Ishakov Yo.
2002.).
The scholar connects bravery with the movements
of the sarbadors (warriors against the Mongols) and
draws the following conclusion: "Alisher Navoi's
caution has serious grounds. It is known that the
ideology of bravery was the principal idea behind the
sarbadors’ movement. Navoi was aware of the intense
relationship between the Sarbadors (like the
Hurufiys) and the Timurids. Therefore, it is logical
for Navoi to tread carefully in a delicate matter like
remaining loyal to his ancestors".
It's important to note that this view is contentious.
Firstly, it's inaccurate to associate futuvvat directly
with the sarbadors. Futuvvat, as the foundational
element of Sufism, existed for several centuries even
before the Sarbadors. Hence, regardless of the
relationship between the sarbadors and the Timurids,
this situation would not have impeded the creation of
a work about futuvvat. Otherwise, Husayn Voiz
Koshifiy, a contemporary of Navoi who lived in the
same land, would not have been able to author a
specific work on futuvvat (Jabbarov, Nurboy. 2021).
Additionally, in the commentary section of
Abdurazzoq Samarkandi's work "Matlai sa'dayn va
majmai bahrain", the following information is
provided about the sarbadors: "Sarbadors are those
who fought against the oppressive actions and orders
of the Mongols in Khorasan in the first half of the
15th century.
Without repeating the work of other Eastern
thinkers, Alisher Navoi presented his original
interpretation of futuvvat as one of the main
directions of Sufism in his lyrical and lyrical epic
works. Navoi's conceptual views on this were much
more advanced than those of his predecessors and
greatly influenced the works of later poets and
writers.
Firstly, concerning the essence of the term
futuvvat. According to Husayn Voiz Koshifi’s
opinion: "Futuvvat as a human characteristic, means
to be renowned among the public for good qualities
and exemplary morals. Due to this honour, such a
person will always be a model among his peers and
classes with his morals. In terms of the specific
definition, futuvvat comprises the light of human
nature set against the darkness of greed and
ignorance, breaking through these barriers" (Koshifi,
Husayn Voiz. 2011).
Alisher Navoi elucidated the role of futuwvat in
human perfection in his epic works "Hayrat ul-
Abror", and “Layli and Majnun" from "Khamsa". In
"Sabai Sayyor", the fourth epic in "Khamsa", he
constructed a special story about the poetic
expression of the idea of futuvvat. In “Nasoyim ul-
Muhabbat”, he contemplated the role of futuvvat in
the perfection of most mystics. He incorporated
quotations from their views on the essence of
futuvvat. All this implies that this concept has
consistently been at the centre of the great thinker’s
attention.
It should be highlighted that in Navoi's works, the
term futuvvat is almost always interpreted in
conjunction with muruvvat (generosity). It suggests
that generosity lays the foundation of futuvvat
(nobility). Husayn Voiz's perspective also
substantiates this viewpoint: "Futuvvat has three rank
positions: the first is generosity, meaning he who is
not greedy and can share what he has with others. The
second is purity, which refers to keeping the heart free
from arrogance, malice, revenge, and anger. The third
is loyalty, which means always being at the service of
people" (Koshifi, Husayn Voiz. 2011). The fact that
Artistic Interpretation of the Futuvvat Idea in Alisher Navoi’s Works
299

all these three ranks are associated with generosity
(muruvvat) confirms that the great poet's
interpretation is grounded in a solid foundation.
Although the extent of reflection of the idea of
futuvvat in the works of Alisher Navoi was not
extensively researched, certain attitudes towards this
issue were expressed. For instance, Yaqubjon
Iskhakov, in his research work "Teaching of
Naqshbandiya and Uzbek Literature", stated that
“even though the great poet did not create a special
story and image under the name of a young man, he
was able to sufficiently express his views on this issue
through the depiction of real young men like Farhad,
Mas'ud, Sa'd, Farrukh, Iskandar, Shapur, and Muqbil"
(8,49). In this research, the scientist conducted a
comprehensive and logical study of the literary
aspects of Naqshbandiya. However, occasionally, the
scholar articulated contradictory and contentious
opinions. For example, just above, the scholar
mentions that Hazrat Navoi "created a special story
about Akhiylik (the first story of Sab'ai Sayyor"),
which represents the appearance of futuvvat in Minor
Asia. Later, he infers that for some reason, during his
observations, the great poet "...did not create a special
story and image under the name of Javonmard
(Youthfulness), but why" (Ishakov Yo. 2002.).
The scholar connects bravery with the movements
of sarbadors (warriors against the Mongols) and
arrives at the following conclusion: "In this regard,
there is a serious reason behind Alisher Navoi's
caution. It is known that the ideology of bravery was
the central idea of the sarbadors’ movement. Navoi
was aware of the grave relationship between the
Sarbadors (like the Hurufiys) and the Timurids.
Therefore, it is natural for Navoi to exercise caution
in such a delicate matter, like his ancestors, in
remaining loyal to this family". It's worth noting that
this opinion is contentious. Firstly, it is incorrect to
associate futuvvat with sarbadors. Futuvvat, as the
fundamental link of Sufism, has a history that spans
several centuries before the Sarbadors. Therefore,
regardless of the relationship between the sarbadors
and the Timurids, this situation could not have
prevented the creation of a work about futuvvat.
Otherwise, Husayn Voiz Koshifiy, a contemporary of
Navoi, who lived in the same land as him, would not
have been able to write a special work about futuvvat
(Jabbarov, Nurboy. 2021). Moreover, in the
commentary section of Abdurazzoq Samarkandi's
work "Matlai sa'dayn va majmai bahrain" the
following information is provided about sarbadors:
"Sarbadors are fighters against the occupational
actions and orders of the Mongols in Khorasan in the
first half of the 15th century.
The reason why they were referred to as
Sarbadors is that their motto was that they were
prepared to sacrifice their heads to free the people
from the tyranny of Mongolian officials. In 1339, the
Sarbadors established the Sarbadors state with its
centre in Sabzavor. The last ruler of this country, Ali
Muayyad, voluntarily surrendered the government to
Amir Temur in 1381. The information provided about
the sarbadors in "Matlaa" (the first couplet) indicates
that some of their representatives still existed in the
Timurid period" (Samarkandi, 2008). This quote is
offered as a conclusion: "The information provided
about the sarbadors in matlaa implies that some of
their representatives still existed during the Timurids’
era", and the commentary stating "serious
relationship between the sarbadors and the Timurids"
casts doubt on this view.
Alisher Navoi highlighted the role of futuvvat in
human perfection in the epics "Hayrat ul-Abror" and
"Layli and Majnun" from "Khamsa". In "Sabai
Sayyor", which is the fourth epic in "Khamsa", he
crafted a special story about the poetic expression of
the idea of futuvvat. In “Nasoyim ul-Muhabbat”,
many mystic scholars contemplate the role of
futuvvat in the development of mysticism. He quotes
their views on the nature of futuvvat. All of this
indicates that this idea has consistently been at the
core of the great thinker’s attention.
Furthermore, if "the ideology of youthfulness
formed the central idea of the sarbadors’ movement",
is there any historical evidence for this? What
scholar’s work on futuvvat has reached us, which
supports the sarbadors’ movement? Naturally, the
answer to such questions remains open even now.
The great thinker poetically expressed the concept
of futuvvat in the story of Akhiy in his work "Saba'i
Sayyor", the fourth epic of "Khamsa". Analysing this
story in terms of the three positions of futuvvat, which
Hossein Voiz Koshifi highlighted, in our view, allows
us to uncover the essence of the problem in a
relatively deeper way.
Generosity, i.e. to share with others what you
have, is the first rank of futuvvat’s position. In the
first story of the alien in “Saba’i Sayyor”, although
the story begins with the image of Jasrat, the shah of
the Indian Kingdom, and the image of his son
Farrukh, who is "a master of all available knowledge,
a hundred times more perfect than his predecessors”,
the character who initiates the plot is Akhiy. This
image forms the basis of the idea of futuvvat, which
sets the groundwork for Hazrat Navoi’s story. The
great poet describes Akhiy as the most perfect man in
Hallab in terms of the science and practice of
hospitality.
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Akhiy's humane character and lifestyle are
artistically depicted with such adjectives as stranger,
oppressed, poor, luckless, deprived, that is, whom he
sympathised with and how he treated the wounded
hearts with the balm of human feeling. According to
Hazrat Navoi's interpretation, futuvvat is not a
character that developed later in the course of
experience in Akhiy, but it is inherent to him by
nature. That is, generosity (muruvvat), which is one
of the basic conditions of futuvvat, exists in his
original nature. While listening to the story of
Farrukh, who was saddened by May's conversation,
Akhiy feels pain in his body and heart. Because the
mistress about whom the guest was talking was
faithful to her harem’s honour, that is, she is his
honest, loyal better half. Nevertheless, when he sees
that this quality of loyalty is peculiar to Farrukh's
loving behaviour, he arrives at such an unexpected
decision.
As a result, he tries his best to divorce his beloved,
to convince her to agree to this, and to get her married
to Akhiy. Here arises a question? Consider the level
of futuvvat – brave nobility worthy of its name in
Akhiy – that along the path of love and compassion,
a faithful stranger takes pity on the plight of each
lover and even gives up his own beloved. What made
him take this step? We think that it is necessary to
look for the answer to this question from the roots of
Sufism, from the sources which form the basis for
Hazrat Navoi's worldview.
The fact that the great poet's philosophical views
are based on the teachings of the Holy Qur'an does
not require any proof. It is said in the 14th verse of
Surah Al-Imran: "People were adorned with lustful
love consisting of women, children, files of gold and
silver, beautiful horses, cattle, and crops." They are
the material wealth of worldly life. And, in the
presence of God, there is a promise of good return.
Sheikh Muhammad Sadiq Muhammad Yusuf
interpreted this verse as follows: "In this verse, it is
said that the love of these things has been
embellished... As long as these incentives exist in
human nature, as God created man with this nature,
these things should serve to protect human life and
make it beautiful and enjoyable. That is why the
religion of Islam does not prohibit these things, but
regulates them. Islam educates people and calls them
not to perish in the river of lust. Man should not
become a slave of these lusts. Perhaps, he must be
their master and should take control of them" (Sheikh
Muhammad Sadiq Muhammad Yusuf. Tafsir Hilal.
2008).
In the poems of the great poet, the symbol of "the
world" is often depicted through the image of
"woman". It is known that "dunya", which is an
Arabic word, belongs to the feminine gender. In the
verse above, while talking about the lusts that adorn
people, first of all, "women" are mentioned. Hazrat
Navoi interprets the divorce of the bride of the world
as an important condition of husbandry. As soon as
she appears in the image of a beautified bride, she
says that she is, in fact, a "wicked trickster" - an old
woman who used a cunning trick in her life, and urges
him not to be tongue-tied in front of her. The word
"dunya" (world), which has the root "dun", also
means "bottom", "down". That is, in the eyes of the
great thinker, the world is an obstacle on the way to
the perfection of a person, a vice that brings him to
the bottom, down. This level of harmony in terms of
both the lexical meaning, the gender, the original
essence, and the artistic interpretation is the result of
high effect, maturity and eloquence. Such a balance,
firstly, shows how deeply and harmoniously Hazrat
Navoi's philosophical and poetic thinking is, and
secondly, it is the result of the ideas in the great poet's
works nourished by the reliable sources - the Holy
Qur'an and Hadiths.
If assessed based on this worldview, the "woman"
in Akhiy's story becomes a symbol of the world. In
his image, Akhiy is not divorcing his beloved, but the
world. In turn, Farrukh is also an embodiment of
futuvvat. Farrukh, who feels joyful in his tryst with
his beloved, becomes saddened when he sees tears in
her eyes and inquires about the cause. As soon as he
uncovers the truth, he reaches a decision.
Consequently, Farrukh, although this detail is not
mentioned in the story, divorces his wife and says,
"Do become my sister in both worlds," thereby they
become siblings. He reciprocates futuvvat with
futuvvat (nobility with nobility). In Dehkhudo's
"Dictionary" on Sufism, the concept of the word
“world” is explained as "mean, miserly woman"
(Dekhudo, Aliakbar.). Sufologist Sayyid Sajjadiy
observes: "Another trick of the world is that it appears
to be your friend." This illusion continues until you
fall in love with it. Suddenly, its hostility towards you
will become apparent. It is akin to a cunning woman
who lures a man into her room by showcasing her
attractiveness, where she ultimately kills him"
(Sajjadi, Sayyid. 1992).
These interpretations confirm that there is a
profound mystical-philosophical meaning behind the
divorces of Akhiy and Farrukh. Had they been of
worldly desire, they would not have been able to
divorce the world in the guise of a woman.
Husayn Voiz Koshifi proposed that the second
rank of futuvvat is purity, i.e., to keep the soul free
from arrogance, malice, revenge, and anger. This
Artistic Interpretation of the Futuvvat Idea in Alisher Navoi’s Works
301

attribute is amply exemplified in the characters of the
story.
For them, prayer and piety have become vital acts.
As such, they are protected by a shield of purity. Shah
Jasrat takes pride in bequeathing all his possessions,
the crown of the throne, Indian treasure, and
Khirojinb of Khito to his son. Yet, the pure-hearted
Farrukh harbours disdain for worldly material wealth.
The eminent poet emphasises that Farrukh's heart is
inherently inclined towards purity. The condition of
this pure-hearted individual is reflected in the
following poem when he arrives in Jerusalem seeking
love.
In this case, it is unsurprising that Navoi
emphasises the adjective “pure”. Because Farrukh’s
soul is devoid of arrogance, malice, revenge, and
anger. He possesses no anger; his pure heart brims
with love. His tearful prostration on the soil of Kudus
reflects his innermost feelings, like the flame of a
candle. He arrives there with a formidable contingent.
His decision to dismiss everyone, remain solitary,
discard his royal attire, and don a black-striped dress
stems from his pure intent. Farrukh’s sustenance is
love, his strength is also love, he is afflicted with love,
he is a symbol of pure love.
His heart is so pure that when Akhiy, another hero
of the story, asks for assistance, he does not decline,
regardless of the difficulty of the situation. On the
contrary, he insists that Akhiy depart from him, so
that his own sorrow does not affect Akhiy, so that the
sparks of his heartache do not ignite Akhiy's soul.
Naturally, Akhiy, who is described as kind-hearted
and generous, does not alter his decision and
accompanies him.
Regardless of how much this contradicts his inner
desires, his decision to renounce his beloved and
marry her to a pure-hearted suitor affirms the purity
of Akhiy’s heart from the love for the world. Due to
his pure heart, Farrukh, who ascends to his father's
throne in Hind's estate, establishes conditions
mirroring those he had observed in Akhiy's palace in
Hallab. He treats him kindly, like a sincere brother.
It can be said that in the story, Akhiy represents a
pir (spiritual teacher). He strictly adheres to all rules
of futuvvat. He never mentions his acts of generosity
towards Farrukh. Through this deed, he imparts a
lesson to Farrukh. Farrukh, having ascended to the
rank of the Shah of India's state, follows the path of
generosity shown by Akhiy. Akhiy’s sense of
futuvvat is so strong that he manages to find patience
and perseverance even when his crops are destroyed,
his trade is damaged, he loses everything, or when he
is imprisoned, he still discovers means to escape. He
remains faithful to his beliefs even when he comes to
the Indian estate, dons the black robe inherited from
Farrukh, and lives there as a stranger. Farrukh,
accustomed to visiting ruins and hearing news from
the poor, finds him in the ruins and assists him in
realising his goal.
It should be noted that the third rank of futuvvat
is loyalty, i.e., being consistently in service to people,
which is inherent to the story's protagonists. The
primary characters of the story, Farrukh, Akhiy, and
his wife, all exemplify unequaled loyalty.
Specifically, Akhiy perceives the wealth of the world
as a trust from the Almighty. What he earns, he uses
for the benefit of the people. He possesses all the
qualities of a perfect individual. Notably, loyalty is
the defining feature of his character. According to the
principle of futuvvat, when he resolved to leave his
wife, he spoke words to his beloved wife that held the
same weight as ancient oaths of loyalty to God, and
he accepted his fate as it was.
For the sake of the Almighty, Akhiy does not
hesitate to go against his desires. Under any
circumstances, he is grateful to Allah, both in his
heart and in his speech. When he is joyful and grateful
at the moment of a tryst, he also feels glad and
grateful in times of sorrow.
He experiences the same emotions during
separation. Loyalty to the love of God Almighty,
loyalty to a friend, dedication to serving the people -
in general, both his internal and external image and
character are founded on the principle of loyalty.
We gradually learn in the story that if Akhiy
appears as a patron of the poor and needy in his
adulthood, Farrukh demonstrates a strong desire for
knowledge and enlightenment from childhood, and he
is in love with the spiritual wealth of the world, not
with a crown. Even when he was a prince who could
attain anything he desired, when he was accompanied
by a large army on campaigns, and when he fell ill
because he couldn't find his dream beloved, Farrukh
remained true to his promise as a pure-hearted,
sincere, and loyal friend. He is not a slave to desires,
he is a person filled with loyalty both inside and out.
According to the rules of futuvvat, as soon as Akhiy
discovers that his beloved wife has been wedded to
his friend, he acknowledges that this beauty does not
belong to him, but to his friend. Without betraying his
friend, from that moment, he regards her not as his
beloved, but as his sister. He looks after her for
Akhiy, and as soon as he finds her, he arranges her
marriage to his friend.
In most cases, desire is what ensnares a person. A
person who follows desire's guidance, and when he
acquires worldly wealth, he begins to consider
himself superior to others. He loses touch with the
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ground. He sinks into the quagmire of pride and
arrogance. Farrukh, by nature, belongs to a different
class of individuals. For him, the material wealth of
the world holds no value. Therefore, even when he
reaches the position of a ruler, he remains loyal to his
friend Akhiy, who is in a state of humiliation and
silenced. He supports him. In the story, the loyalty,
considered the third rank of futuvvat, is vital for both
friends, perfectly demonstrated in their every action,
through their words and deeds.
The woman - her name is not mentioned in the
story - is a symbol of both the world and loyalty.
Despite her husband Akhiy consenting to her
marriage to Farrukh, this beautiful woman shows that
she is loyal to her lover. She reveals the truth to
Farrukh, who asks the reason for her sorrow. Through
this image, Alisher Navoi perfectly and poetically
conveys that even the world, inherently fickle, can
demonstrate loyalty to loyal individuals. He
conceptually and artistically suggests that the only
way to master the world is not to love it, but to live
according to the rules of futuvvat.
The main characters of the story, Akhiy and
Farrukh, are always ready to serve people. Miskinu
has a habit of bringing joy to impoverished strangers,
showing them mercy. In particular, it is said that
Akhiy, who possessed incalculable wealth, captivated
everyone with his generosity. He spent all his wealth
to treat Farrukh, whose body was bent with sorrow
and heartache. Farrukh, who learned futuvvat from
Akhiy, created the same conditions for his beloved in
Hallab, caring for her as his own sister. He got used
to making strangers happy by regularly walking
around the city.
The story notes that before the heir, Prince
Farrukh, came to the Hind state, his father Shah Jasrat
had passed away. Farrukh, having become a brave,
bold man under Akhiy's tutelage, ascends as the ruler
of the country and governs in accordance with the
principles of futuvvat. Hazrat Navoi subtly
emphasises what qualities a shah should possess. That
is, through the depiction of Farrukh's image, Navoi
paints his dream of an ideal shah - a perfect individual
who embodies all three ranks of futuvvat: generosity,
purity, and loyalty. This technique in Akhiy's story
proves that a truly great artist can convey profound
truths subtly within a work of art. After all, the artistic
expression of the writer’s concept is more significant
than a plain statement in the context of high art. A real
thinker-poet can express profound meaning even with
a minor gesture. To grasp this, it is necessary to
interpret the layers of meaning reflected beneath the
iceberg of the text.
The analysed features confirm that the idea of
futuvvat is deeply and artistically interpreted in the
story. In general, in the epic "Sabai Sayyor", the story
of Akhiy has unique artistic and aesthetic value as it
expresses the essence of Alisher Navoi's creative
concept and worldview as a great thinker.
As stated above, the great poet equates futuvvat
(nobility) and muruvvat (generosity) as twins. By
doing this, he firstly implies that one of these two
concepts necessitates the other, and secondly, he
emphasises that the basis of all good deeds depends
on these two humane qualities. Another critical aspect
is that futuvvat evolves out of muruvvat. Husayn Voiz
also highlights this feature: "If asked what muruvvat
is, the response is: muruvvat is a part of futuvvat, just
like futuvvat is a part of mysticism" (Koshifi, Husayn
Voiz. 2011).
The heroes of Navoi's works manage to ascend to
the level of perfection by making these two qualities
their life habits and conduct.
The following words were spoken to persuade
Majnun to marry Navfal's daughter. His father says:
"If you seek my consent - accept it, accept whatever
fate dictates", that is, if you wish to gain your father's
approval and act according to the requirements of
Sharia, then accept my proposal. According to Hazrat
Navoi's interpretation, Majnun accepts this proposal,
even if it goes against his will, because Majnun
embodies futuvvat (nobility) and muruvvat
(generosity). It is impossible for individuals of this
calibre to adopt manners alien to these categories.
After all, a bearer of futuvvat does not show
generosity, kindness, and charity solely to people
close to their heart. Futuvvat is about showing
kindness to everyone, being able to help even enemies
without choosing persons if the situation calls for it.
Even if it goes against his desire, for God's sake, he
should serve his parents, friends, and the interests of
people well.
The goal of Sufism and its integral part, futuvvat,
is for an individual to achieve perfection and get as
close to the Almighty God's truth as possible. As
Shaykh Fariduddin Attar stated, Futuvvat has 72
requirements, as well as three ranks, two qualities,
twelve pillars (rukn) and 71 conditions and terms as
mentioned in Husain Woiz’s work, all of which serve
this purpose.
This verse encapsulates the qualities of Usman
(r.a.), a righteous successor of the Rashiduns’
caliphate and bearer of the elements of "futuvvat" and
muruvvat – goodness, kindness, and the blessing of
nobility.
Writing about Abu Abdullah Sijzi in "Nasayim
ul-Muhabbat", Navoi delves deeper into the essence
Artistic Interpretation of the Futuvvat Idea in Alisher Navoi’s Works
303

of this futuvvat (nobility): "Then they asked, 'What is
nobility?' I replied, 'To please the people.' This carries
them to great lengths to see their leaders and to treat
folks mercifully. What peace, what a fate it is. The
epitome of futuvvat is that it can't separate a person
from his people or from God" (6,155). Imagine the
elevated level of maturity and perfection a person
must have reached to achieve such a state. It is not an
easy task to forgive others and consider oneself guilty
in any communication relation, and not to be
distracted by anything other than by God's
permission. The people of futuvvat, in particular,
Alisher Navoi were able to achieve this lofty status of
perfection and interpreted this concept at a high
artistic level in his works.
Husayn Woiz maintains that the state of proximity
to God is the sixth of the internal pillars of futuvvat
(nobility). In his view, the brave should "...strive for
the status of achieving union (vuslat) with all their
body and soul, that is, to clean the house of the soul
from dust and waste with the broom of persistence.
So that the heart should become a throne upon which
the sultan of love sits... As long as the heart does not
rid itself of worldly attachments - troubles and
worries, it will not transform into a dwelling for the
love of a friend" (Koshifi, Husayn Voiz. 2011).
Navoi writes about Abu Turab Nakhabiy in
"Nasayim ul-Muhabbat" and describes that "he had a
conversation with Abu Hotam Attar Basriy and
Hotam Asam Balkhi about taking the risk to abandon
the material world for the divine world in futuvvat
(nobility)" (Alisher Navoi. Nasayim ul-muhabbat.
2011). While mentioning Abu Hafs Haddad's virtues,
he defines an important characteristic of futuvvat:
"Futuvvat (Nobility) is doing goodness and justice,
but not demanding them" (Alisher Navoi. Nasayim
ul-muhabbat. 2011). To achieve this, a person needs
to completely annihilate his selfish desires, to dispel
the feeling of "I"-ness, and to think about caring only
for the people and country, doing so only with God’s
consent. The great poet wishes to convey: “If he hurts
me a hundred times, I won't cry even once, If he hurts
people, I will cry a hundred times”. It should be
specially noted that Alisher Navoi not only artistically
interpreted the concept of futuvvat (nobility) in his
works but also fully adhered to its rules in life. In this
regard, the great thinker was not only a propagator of
futuvvat, but also a valiant champion of futuvvat. In
other words, Navoi wrote only of the emotions that he
had experienced in his body and felt in his soul.
Because he was able to bask in the divine flame of
God, the warm words of the great poet could melt a
stone like lava. It completely captivates the hearts of
readers, stirring a strong impulse for goodness. Now
let's move on to the analysis of historical data on how
the great mystic scholar followed the idea of futuvvat
in his life.
According to Khondamir, who writes in his work
"Makorim ul-Akhlaq", "...the boundless good deeds
of the lauded Amir (i.e., Navoi - N.J.) were not
performed to gain renown in this world or to attain a
great divine reward in the eternal world. This world
and the material things within it were not worth a
straw in the eyes of His Highness. But despite his
limitless nobility and generosity, he never mentioned
even a grain of his goodness to anyone" (Ghiyasiddin
Khondamir. Makarim ul-akhlaq 2018). This is a
singular proof. As per this historical source, in 908
Hijri (1500 AD), Sultan Husayn Boyqaro issued a
supreme decree to the governor of the Mozandaran
region, Muhammad Valibek, to collect a tax of one
hundred thousand dinars from the inhabitants of Herat
city and from surrounding villages for necessary
expenditures. The governor (hokim) collected fifty
thousand (50,000) dinars from the large landowners
and the rich. The rest of the tax he planned to collect
from the people of Herat. However, he could not
execute this plan without consulting Amir Navoi.
When he expounded this scheme, Navoi voiced that
he did not see the unnecessary taxation of the people
as honourable for the state, and he himself paid off
this amount from his personal property. This deed of
kindness by the Great Navoi is just the same as the
status described by Salman Farsi (r.a.) in futuvvat
(nobility): "... showing generosity to everyone and not
demanding anything in return" (Koshifi, Husayn
Voiz. 2011).
Alisher Navoi devoted all his wealth to the benefit
of the nation, funding the construction of over 60
buildings, approximately 20 pools, 16 bridges, 9
bathhouses, 20 mosques and numerous madrasas, as
well as houses for strangers (these facilities were
itemised in “Makorimu-l-akhloq” - N.J). This
perspective is also corroborated by the fact that he
bequeathed all his property as a waqf (endowment) to
his people at the end of his life.
3 CONCLUSION
In the works of Alisher Navoi, futuvvat is interpreted
as a necessary condition for human perfection. The
collection of the Great poet's lyric poems, "Khazayin
ul-maani", includes a comprehensive work on the
attributes of futuvvat (nobility). These attributes are
expressed clearly and succinctly, harmoniously
blending profound content with beautiful artistry.
However, the treatises of "Nasoyim ul-Muhabbat",
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dedicated to the nuances and state of Sufism, speak
about the role of futuvvat in the perfection of many
people, particularly, the mystic scholars. The epic
poems included in "Khamsa", such as "Hayrat ul-
Abror", "Layli and Majnun", "Saba'i Sayyor",
comment on the idea of futuvvat relatively
expansively and thoroughly. In the story of Akhiy
within the epic "Saba'i Sayyor", the idea of futuvvat
is specifically interpreted. This story recounts the
three distinguished ranks of futuvvat elucidated in the
work "Futuvvatnomai Sultani" by Husain Voiz
Koshifi: firstly, generosity, meaning not harbouring
resentment towards anyone for what they possess;
secondly, purity, entailing keeping the heart free from
arrogance, vengeance, and hatred; and thirdly,
loyalty, which involves consistently serving people.
These ranks are characterised by their exquisite poetic
descriptions. In all these works, irrespective of their
genre, Navoi's views are underscored, grounded in
the essence of the verses of the Holy Qur'an and
hadiths. Navoi's conceptual perspectives on this issue
surpass those of his predecessors and have
significantly influenced the works of later poets and
writers.
In conclusion, it can be stated that Alisher Navoi
not only offers a unique artistic interpretation of the
idea of futuvvat in his lyric poems and epics, but also
embodies these principles throughout his life. In other
words, while being a propagator of the concept of
futuvvat, he is also a notable brave (fati). This
substantiates that Alisher Navoi fully embraced the
universal ideas in his life that were distinctly
interpreted in his works. This study proves that
Navoi, as a distinguished poet, left a rich legacy and
as a remarkable individual, he continues to serve as a
role model for people of all epochs and societies.
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