On the Literary Traditions of Navoi in the Works of Khorezm

Poetesses

N. F. Atajanova

1,2

Urgench State University. Urgench, Uzbekistan.

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

Keywords. Mukhammas, Ghazal, Poetic Art, Divan, Matla, Maqta.

Abstract. This article accentuates the influence of Alisher Navoi's work on Khorezm poets, notably Ullibibi Otayeva,

Gavhar Ibodullayeva, and Shaira Shams. Ibodullayeva's mukhammas in response to Navoi's ghazal, "Sen

Mening," exhibits harmonisation of form and content, while Shams brings Navoi's complex thoughts in "Dost"

to modern readers. Otayeva refines Navoi's concept in "Nasoyim ul-muhabbat," seen in Ibodullayeva's

"Boldim" and Shams's "Aylasa" ghazals. The poets' works echo the traditions of Uzbek literature and Navoi's

pervasive influence. Their artistic expression reveals shared imagery, as noted in Otayeva's analysis of

Navoi’s ghazals and rubai in her work, "The Last Wish."

1 INTRODUCTION

Every nation's literature possesses unique

characteristics throughout its developmental history

and stages. A significant portion of our contemporary

Uzbek writers have extensively studied our nation's

literary past, incorporating the invaluable experience

of our classical literature representatives into their

creative research.

Talented artists have consistently distinguished

themselves through their unique approaches and

individual styles. However, a lofty talent cannot

flourish if it deviates from the main course of grand

art. When a writer endeavours to articulate his

thoughts within the literary field, he cannot fulfil this

task without acknowledging the priceless traditions of

the past. Khorezm poets, for instance, approach

classical traditions with positive intent. They adeptly

weave the creativity of Uzbek classical literature

representatives, notably the sultan of the word

kingdom - Alisher Navoi, into their poems, gaining

profound spiritual nourishment from this.

It is known that if a writer of takhmis adds three lines

of his own ghazal to other ghazal verses penned by

himself or another poet, it results in a mukhammas,

Corresponding author

thereby creating a takhmis. Naturally, this process

demands high-level thought and considerable artistic

skill from the poet. Because the lines added to each

stanza must align with the subject, the rhyme

structure, as well as the author's style of the takhmis,

the poetic style, and the artistic expression of the

original ghazal's author, the ghazal's stanzas should

be ideologically similar and artistically harmonious.

2 METHODS

The history of Uzbek literature reveals that writing

verses connected to the ghazals of master poets has

been key to mastering poetry. It is unsurprising that

in contemporary Uzbek poetry, creators writing epics

find this a useful experiment in crafting original

ghazals. In citing below the mukhammas of Navoi’s

ghazal by Khorezm poetess G. Ibodullayeva, we

deemed it fitting to include literary critic A.

Haitmetov’s observation: “Nowhere is devotion to

writing mukhammas more evident than in Khorezm.”

In this mukhammas stanza, the poetess's artistic flair

is evident in her ability to summarise the opening

verses and logically link them to Navoi’s ghazal.

Given the complexity of this process, G. Ibodullayeva

232

Atajanova, N.

On the Literary Traditions of Navoi in the Works of Khorezm Poetesses.

DOI: 10.5220/0012483400003792

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 232-235

ISBN: 978-989-758-687-3

utilised the subtle art of “internal rhyme” to enhance

the verses' impact, replacing “mazkur” with

“mansur”, “manzur”, “masrur” as an internal rhyme.

In this mukhammas, G. Ibodullayeva's verses aim to

summarise, elucidate, and artistically justify the

experiences in Navoi’s ghazal. It is more challenging

to comprehend the "bir-ikki so‘z mazkur qil" (say a

word or two) in Navoi’s verses – a heart-warming

expression of the lyrical hero. However, G.

Ibodullayeva's verses render these more concrete.

The image in the second and third lines is juxtaposed

with the lyrical hero's psyche when meeting with a

lover (i.e., visol). According to the poet’s

interpretation, drinking rose water (gulob) and seeing

her smile will gladden his heart. In conclusion, we can

envisage the joy that delights the heart of the lyrical

hero. It's noteworthy that the mukhammas lines

resonate with Navoi’s spirit, crafting a beautiful

creative example by harmonising form and content.

3 RESULTS AND DISCUSSION

Indeed, mukhammas is a quintain, a five-line poetic

form with a unique rhyme scheme in our classical

literature. The lines of the first stanza rhyme with one

another (a+a+a+a+a), and subsequent stanzas rhyme

in a similar manner, with the final line of each stanza

echoing the end rhyme of the first stanza

(b+b+b+b+a). The poems of poetess Shams satisfy

these requirements of mukhammas rhyme.

Shaira Shams treats friendship as a critical social and

ethical attitude in this mukhammas. As she expresses

her views about those who cannot distinguish friend

from foe, or good from evil, she resonates with the

proverb, "A foolish friend is worse than a cunning

enemy." Indeed, some people view friendship as a

mere title, focusing not on the person but on the

position and wealth they possess, whereas true

friendship relies on emotional and spiritual closeness

alone.

Although Navoi’s ghazal perfectly portrays the

scenery, Shaira Shams endeavours to enrich it.

Between the stanzas, there is an interconnectedness,

an internal logical harmony. Indeed, expanding upon

the thoughts and ideas in the ghazal is the mark of a

great writer, and in this sense, the poetess sought to

broaden the image of the spiritual state in her verses.

Shaira Shams has striven to simplify, explain and

interpret Navoi’s complex thoughts and ideas for

today's readers. By crafting mukhammas, the poetess

drew inspiration from her distinguished predecessors,

learning and honing her artistic skills. She also

aspired to offer readers insights into Navoi’s genius

and assist them in understanding the great thinker.

After all, more than five centuries separate Navoi's

era from our own, which is evident in the evolution of

literary language and thought.

Shaira Shams' verses are replete with rhythm and

rhyme, in harmony with the theme and idea of

Navoi’s ghazal. Ahmed Tabibi offered a beautiful

depiction of this unity among artists.

Mukhammas, according to him, is a superior poem,

universally appreciated. When the words of two poets

merge, they form the eye of meaning. Poems with

meaning are as delightful as sweets. Mukhammas is a

sweet poem, its words rich and savoury.

Many perspectives on this have been put forth in

Eastern poetry. Atullah Husayni in his work “Badoye'

us-sanoye” specifically discussed the art of tazmin.

He suggested that a verse or two taken from another

artist through tazmin “must be very popular”,

recognisable as another's work [Atullah

Husayniy(1981)]. According to Husayni, such

borrowed verses aren't considered plagiarism. As he

noted, even Navoi borrowed verses with good

intentions, enabling Uzbek readers to enjoy them.

In studying the works of Khorezm poets, we observe

that their poems do more than imitate the ghazals of

master artists. They subtly refine the ideas presented

in our great poets' works, imbuing their poems with

deeper meaning. For instance, in Navoi’s work

“Nasayim ul-Muhabbat”, there's an opinion that ill-

gotten wealth impedes spiritual and human

development. U. Otayeva enhanced this viewpoint in

her poem with exquisite artistic flair and poetic

language.

It is widely acknowledged that the depiction of any

artistic image serves to illuminate truths related to

human life. In this context, the image conveyed

through the art of talmeh - Solomon’s seal - is

interpreted in historical sources as an invaluable

symbol of dominion over demons, animals, wind and

water. Losing Solomon’s seal would presumably lead

to the dominance of demons on earth, and

consequently, a surge in human vices such as deceit,

hypocrisy, adultery, and hostility. U Otayeva's phrase

“as if Solomon’s seal had been lost” alludes to this.

The poetess underscores that the world of anyone

On the Literary Traditions of Navoi in the Works of Khorezm Poetesses

233

who "consumes dubious sustenance" will upend; that

some have feasted on this food unknowingly,

reluctantly, or with indifference, and yet some remain

untouched by it. She suggests that for these

individuals, the sun may never rise. The author

concludes her poem by stating, “There are people

who have never tasted it.” This line resonates with the

wisdom that "this world is built by good people."

Indeed, despite the presence of miscreants causing

people to live with narrow minds, shallow hearts, and

impoverished souls, astonishingly, there are also

those who have achieved spiritual maturity, consume

halal food, and, in the words of our elders, they “hold

the world”.

Ullibibi Otayeva artistically analysed Alisher Navoi’s

ghazals and rubai in her work “The Last Wish”,

emphasising her inspiration from the literary legacy

of the wordsmith.

In the works of our classical literary figures, there is

no instance of full and consistent adherence to the

tradition of the formal divan established during

Navoi's era. In contemporary Uzbek poetry, we

witness the revival of this fading tradition in Shaira

Shams's divan “Samandar”. This work was conceived

in the divan tradition, with the radif of ghazals

arranged in a strict order depending on their ending

letters. This methodical approach clearly supports our

perspective. Furthermore, in line with divan-creating

tradition, the work begins with a prologue.

It's well known that there are specific traditions

regarding the portrayal of love, which is a dominant

theme in Eastern literature. In the history of classic

literature, every mature artist has contributed to the

evolution of these traditions to some degree.

Specifically, in Alisher Navoi's work, exploration of

this theme reached its zenith. Uzbek artists have been

significantly influenced by Navoi’s poetry. Love is

also the primary theme of Shaira Shams' poetry. It is

no overstatement to say that Shaira Shams honed and

polished her artistic potential at the Alisher Navoi art

school, as she learned from Navoi's traditions and was

influenced by his creativity. These influences are

evident in her mukhammas based on Navoi’s ghazals,

her references to Navoi’s characters in her poems, and

in her interpretation of the master's various ideas and

expressions.

Shaira Shams not only follows Navoi’s work but also

enhances his ideas with her unique insights and

views. For Navoi, the most terrible feeling in the

world is heartbreak; for Shaira Shams, it is the

breaking of her pen, which symbolises her departure

from the creative world. Following Navai, quoting his

work, and commenting on his ideas is considered a

mark of maturity and perfection for not only all

Uzbek classical poets who follow Navoi, but also for

Shaira Shams, a writer in modern Uzbek poetry.

In Shaira Shams' ghazals, all human emotions and

experiences surge with her impassioned rhythm and

fervour. This is testament to an artist's heart brimming

with emotion and sentiment, where every aspect of

love reflected in poetry, both pain and joy, resonates

in this sensitive heart and seeps into the layers of

verse.

Indeed, the creator, feeling divine and human love in

her heart, used her unique magic and skill to transpose

it all into poetry.

Gavhar Ibodullayeva skilfully describes the life

experiences chosen for the ghazal “Buldim”. The

ghazal opens with the author's lament, “How many

days it has been difficult", and in the subsequent

stanzas (II, III, IV, V, VI) she details her separation

from her love, her suffering, and pain. She reflects on

how she “seems to be a gibbet for herself” in her grief,

and ends with verses in the seventh stanza that

encapsulate the essence of the whole poem.

The final stanza of the ghazal evokes A. Navoi's

verses: “So‘zni ko‘ngilda pishirmaguncha tilga

keltirma, Va har nekim ko‘ngilda bor – tilga surma”,

which means “Don't say a word until it’s fully formed

in your heart, And don't say everything that you have

in your heart”. Indeed, not all thoughts and words in

a person’s heart can be voiced. The unspoken words

lying in the depths of our hearts are our secrets known

only to us. Secrets are like breaths, unrecallable once

exhaled. In this verse by A. Navoi, the primary

meaning is to think before speaking, and secondly, it

underlines the difficulty of expressing one's heart in

words. The first two lines of G. Ibodullayeva’s ghazal

align with this second meaning. The secrets of the

heart, unexpressed, are committed to paper, and

paradoxically, they gain a voice, revealing the poem's

melancholic essence. The ghazal concludes with a

stanza that offers profound insight into a situation that

might otherwise escape a cursory glance.

4 CONCLUSION

It is widely acknowledged that one of the defining

characteristics of the art of speech is the nationalism

and simplicity of its artistic form. Although Khorezm

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234

poets operate under the influence of Navoi's literary

traditions, this principle is mirrored in their poems.

These traits are apparent in the artistic expression of

the poets' work, including their thoughts and ideas,

methods of image creation, rhythm, and rhyme. After

all, as noted by literary critic Ibrahim Haqqul:

“Oriental poetry is traditional poetry. It clearly

adheres to inviolable rules, requirements, and

conditions. Tradition fosters talent. Taste has a

significant influence on the unveiling and

development of an artist’s potential” [Haqqul I.

(1997)]. Indeed, there is no doubt that Navoi's

traditions have had a significant impact on the work

of Khorezm poets and have nurtured their talent. In

general, in the works of Khorezm poets, one can

appreciate the beautiful expression of their

admiration for the great thinker Alisher Navoi and

their respectful gaze towards invaluable traditions of

the past, as well as a novel approach to these

traditions. Therefore, it is difficult to envisage any

creator's success in the world of fiction and the

uniqueness of their literary works without the rich

spiritual heritage, forged by masters over thousands

of years, as well as the influence of traditional

creativity.

After all, every artist achieves innovation as a result

of their thorough study and development of the

traditions of fictional literature, thereby contributing

to the experience of the art of words. Among them,

Khorazm poets, in particular Ullibibi Otayeva,

Gavhar Ibodullayeva, and Shams, have enhanced

their artistic skills through their profound study and

mastery of the traditional features of classical poetry,

following in the footsteps of their mentors.

REFERENCES

Ahmed Tabibi. Majmuayi mukhammasat ush-shuaroyi

Feruzshahi. UzFASHI, 1134.

Atullah Husayniy(1981) "Badoye us-sanoye", Tashkent,.

Haqqul I. (1997) Fate and thinking. Tashkent,.

Hayitmetov A. (1997) "Horizons of our literary heritage",

Tashkent, "Teacher",.

Ibodullayeva G. (2012) The secret that lives in my heart.

Tashkent: "Akademnashr",.

Otayeva U. (1998)Thankfulness. Tashkent: Yozvchi,.

Shaira Shams. (2019) Samandar. Urganch: Publishing

House "Kuvanchbek - Mashhura" LLC..

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