Principles of Creating Scientific-Critical Texts of Mutrib's Works

S. M. Madirimova

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

Keywords: Manuscript, scientific-critical text, principle, tazkira, poem, bayaz, ghazal, divan, Mutrib Khanakharob.

Abstract: Information about the life and work of the poet of Khorezm literary environment, Muhammad Hasan Mutrib

Haji Tabib (1853-1923), was studied based on scientific and comparative analysis. Mutrib’s divan

manuscripts, kept in the fund of the Institute of Oriental Studies of the Academy of Sciences of Uzbekistan

under inventory numbers 903/IV, 906/VII, 2679/II, Laffasi’s tazkira manuscript number 12561, and Matnazar

Pirnazarov’s "Mutrib Khonakharobi (Collection of Pamphlet)", along with information about the creative

heritage of Bolta Davlatov in the newspaper "Khorazm reality" (Issue of July 20, 1991), "Guliston Journal"

(Issue 7 of 1974), Polvonnazir Bobojonov (Laffasiy. Tazkirayi Shuaro. 1992.), and other publications, have

been published. The rich literary heritage of the poet, which has reached through manuscript and lithographic

sources, press publications, anthologies, and chrestomaties, requires a comparative study and scientific

classification of his life and work. As a result of the comparative analysis, it was noted that the preparation of

excellent editions of the Mutrib Divan is one of the urgent tasks of textual studies. In this article, the principles

of creating a scientific-critical text of the manuscripts of Mutrib’s library are developed. These principles

were studied based on the principles relied upon by scientists such as Ye.E. Bertels, M. Osmonov, D.S.

Likhachev, P. Shamsiyev, I. Sultonov, H. Sulaymonov.

1 INTRODUCTION

In Khorezm, especially in Khiva, in the XIX-early

XX centuries, during the reign of Muhammad

Rahimkhan II Feruz, many poets created and

arranged their divans. The poet and historian Bayani

writes that the khan himself led the development of

the Devonian tradition in the Khorezm literary

environment (Bertels Ye.E. Firdavsiy. 1960,).

Creating scientific and critical texts of classic works

is the basis for the emergence of relatively perfect

texts of lyrical and historical works. In this regard,

works by Ye.E. Bertels (1, 9), M. Osmonov (Sultonov

I. 1947), D.S. Likhachev (Shamsiev P. 1952;), I.

Sultonov (Alisher Navoiy. 1961.), H. Sulaymonov

(Rashidova M. 1991.), and preliminary works done

by textual scientists such as Shamsiev (Is’hoqov F.

1997.), S. Ganieva (Hamidova M. 1994.), L. Khalilov

(Ganikhujaev F. 1998.), M. Rashidova (Alisher

Navoiy. 2021), and F. Is’khakov (Zohidov R. 2018.)

have been examined. Specialists identified changes in

the text of each studied work and developed specific

principles for creating a scientific and critical text.

Corresponding author

It is known that the science of textology works on the

basis of specific sources, based on specific historical

facts. The study of manuscript sources, their scientific

use, and the approach based on the established system

have a special place in the composition of scientific

and critical texts. Based on the essence of the subject,

it is necessary to conduct research using certain

principles, scientific classification, and descriptions.

The principles of scientific and critical text in the

current researches are being implemented based on

the advanced experiences of our master textual

scientists. However, the principles adopted so far

have not been developed as a rigid and unchanging

template. In fact, the principles that emerged based on

the experiences of our textual scholars, such as P.

Shamsiev, S. Ganieva, and I. Sultonov, are serving as

relatively general principles for subsequent

researchers.

The word “principle” means a method or approach.

The role of scientific and critical text is important in

restoring a relatively perfect version of manuscript

sources. In turn, the structure of a scientific-critical

Madirimova, S.

Principles of Creating Scientiﬁc-Critical Texts of Mutrib’s Works.

DOI: 10.5220/0012487200003792

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 349-353

ISBN: 978-989-758-687-3

349

text, based on scientific principles and a certain

system, allows the goal to be clearly realized.

2 RESULTS AND DISCUSSION

Based on the theoretical studies of textual studies, it

can be said that the following three principles in

creating a scientific-critical text lay the groundwork

for the development of relatively complete versions

of the manuscript source:

The principle of generality

The principle of separation.

A private principle.

In the process of conducting scientific research on a

manuscript source, the researcher can use the

scientific results, in particular, the principles obtained

in previous studies from the point of view of textual

studies and source studies. This principle first has a

private appearance, and then becomes a general

principle for everybody. Such principles can be the

basis for creating a scientific and critical text of all

manuscripts. The principles developed by Ye.E.

Bertels (Bertels Ye.E. Firdavsiy. 1960,), D.S.

Likhachev (Shamsiev P. 1952;), and P. Shamsiev are

still used in the creation of scientific and critical texts

of manuscript sources. In 1994, Mavjuda Hamidova

also pays special attention to these principles in her

doctoral work on the topic "Scientific-critical text and

textual research of Alisher Navoi’s 'Saddi Iskandariy'

epic" and uses them in her research. In particular, the

scientist develops her thirteen principles based on the

nature of the topic when compiling the scientific-

critical text of the epic "Saddi Iskandari". In 1998,

Fatkhulla Ganikhujayev’s study titled "Ogahi’s book

'Taviz ul-ashiqin' and its scientific and critical text"

(Umarova S.) also served as the basis for these

principles. Additionally, these general principles led

to the creation of the scientific-critical text of Alisher

Navaiy’s "Muhokamatul-lugatayin" by Yu.

Tursunov’s book.

The second group of principles, the principle of

uniqueness, is a unique phenomenon. As a result of

repeated copying of a work over the years and

centuries, a process of distancing from the author’s

version occurs based on great differences. In order to

restore the version of the work close to the author’s

version, a comparative textual study of all sources is

required. R.Zohidov, Doctor of Philology, studied

25 (15 manuscripts and 10 lithographs) sources of

manuscripts and lithographs copied in different

periods for the scientific-critical text of the work

“Sabot ul-ojizin” by Sofi Allahyor, develops four

principles that are common to all: classification,

comparison, sorting. This, in turn, creates the

“Conditional chronological ratio of manuscripts”.

It is natural to ask how the private principle, which

is the third group of principles, can arise. This process

is carried out on the basis of the textology of each

studied work, based on the various versions of the

same work copied during the author’s time. For

example, it should be noted that such a phenomenon

occurred in the studies of the above-mentioned

scientists, such as Mavjuda Hamidova, Fatkhulla

Ganikhujaev, and Yusuf Tursunov. Apart from the

principles of P. Shamsiev, they developed the most

convenient and easy options for creating a scientific-

critical text with their own new principles. At the

same time, studying the works of the creator Mutrib

Khonakharob, who made a worthy contribution to the

development of our classical literature, and creating a

scientific and critical text of his legacy is one of the

urgent tasks of today.

At first, the poet’s works were published in current

editions from 1950. Up to now, there are not so many

works on the poet’s work. In 2001, M. Pirnazarov

published the pamphlet “Mutrib Khonakharobi

(Collection of Pamphlet)” as one of the notable works

promoting the poet’s work. About one hundred

poems of the poet were translated into current

spelling and published in this edition. However, when

comparing the poems in this edition with their

manuscript versions, it is obvious that the edition has

serious textual defects. For example, words are

omitted in the text, words are read incorrectly, and

stanzas are omitted.

Professor N. Jabborov, in his article entitled

“Studying the history of the text - the criterion of

scientific truth,” emphasized that if each work does

not have textual studies at the beginning, literary

studies lose their importance in most cases. If the

literary source is compared to a whole building,

textual studies are its foundation. Literary studies

must be built on this foundation. "Otherwise, it will

become a deposit like a building without a

foundation," is proof of this. Therefore, it is a fact that

the first textological study of each work and the

creation of its relatively complete variants are among

the urgent problems of textual studies.

In order to create a scientific-critical text of Mutrib

Khonakharob’s works, taking into account the

experiences accumulated so far in Uzbek textual

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studies, specific principles were developed based on

the following:

In order to compile a scientific and critical text of the

Divan, the principle of marking Devonian

manuscripts with the first three letters of the Latin

alphabet - A, V, D, etc. (Firstly, this principle was

noted in the researches of P. Shamsiyev).

Conditional signs of sources:

Manuscript - 2679/II, copied by Mulla Abdulkarim

divan - A.

Manuscript - 903/IV, copied by Mulla Karimbergan

divan - V.

Manuscript - 906/VII, copied by Mulla Boltaniyoz,

copied by Qurbanniyoz Mulaqqabi bin Harrot - D.x`

2. The principle of coordinating the titles of the

poet’s poems:

The titles of the poems were copied in the position of

"Qasida Mutrib" instead of "2 qasida Mutrib

Khonakharob". The number on the qasida and the

poet’s nickname "Khonakharob" have been omitted.

Or it can be found in other places in the forms "126-

Ghazali Mutrib" and "Musaddas".

In some places of the poems copied into the main text

or in the margins, the title is not given. For example,

in the primary source, after the 134th place, the title

"Mutrib Khanakharob with the 135th ghazal" should

be added to the 11-verse ghazal beginning with the

line "Bu kecha aqlimni toroj ayladi bir gul'uzor...".

This arrangement is preserved in the supporting

sources, i.e., the title is inserted.

When introducing ghazals, mukhammas, and

murabbas that are not found in the primary source,

titles should be added. For example, the manuscript

collection number 1134 includes 5 poems of the poet.

These features are not found in primary source A and

secondary sources B, D. These mukhammas should

be numbered and titled as "17-Mukhammas Mutrib

Khonakharob".

3. The principle of revising the alphabetical

arrangement of the Divan poems.

In some places, there is an error in the alphabetical

arrangement of ghazals:

Among the ghazals written on the letter گ (gof), the

ghazal on the letter ک (kof) is copied, just like the

arrangement of the above letters. For example, after

the 7-verse ghazal beginning with the verse “Bir nafas

ushshoq xaylidin mani yod etmading...", there are 6

ghazals such as “Shukrkim, bu kecha ul sarvi xiromon

kelajak...” and then again “Ochg‘il yuzing, ey dilbar,

ul sarvi ravong‘a o‘xshading...” is a ghazal starting

with the verse. In the meantime, there are two 7-

stanza ghazals ending with the letter ﻝ (lom), such as

“Bir dam muruvvat yo‘qmudur o‘lturdi hijron, ey

go‘zal...” ghazal, followed by a ghazal beginning with

the verse “Mani avval gul husninga zor etmakni

mashq etding...”. Primary source A (pages 146a-

156b).

4. The principle of placing conditional marks in the

restoration of poems in manuscript collections and

bayazes for the main source.

In this case, it is advisable to keep the original serial

number of the manuscript collection and bayaz.

Because a lot of numbers of sources can arise

confusions. They are:

Manuscript collections - 1152, 1134, 1127, 1129.

Bayazes manuscripts - 6816, 6927, 6928, 6932, 6951,

6952, 6969, 6939, 6971, 6976, 6990, 7023, 7039,

7122, 2024, 2025, 2028, 2036, 5894/4/III, 5894,

5894/IV, 5894/V, 5884/V, 1125, 1126, 1128, 1172,

1176, 1177, 1179, 1182, 1184, 1185, 1186, 1190,

1191, 1192, 1195, 1196.

Lithographic sources - 12561, 14420, 9543.

5. The principle of including poems taken from

manuscript collections and bayazs into a scientific-

critical text;

When including the ghazals that are not found in the

primary source in the scientific and critical text, they

should be numbered based on the sequence of letters

in the current alphabet, following the last number of

letters copied in the order of the Arabic alphabet. For

example, the number of ghazals written in the letter ﺍ

(alif) in primary source A is 39.

A poem in the murabba genre is not found in

primary source A and auxiliary sources V, D. The

number of newly found murabba is 1: 1a.

The base source has a total of 16 variables. The

number of newly discovered mukhammas is 6. These

are: 17a, 18b, 19d, 20e, 21f, 22g.

The total number of poems is 60.

2 musaddas (72 verses) and 6 masnavis (124 verses)

copied to the “Khorazm News” newspaper were not

included among the above-mentioned poems. The

reason is that the original text of these poems is

damaged beyond reading.

Principles of Creating Scientiﬁc-Critical Texts of Mutrib’s Works

351

In the poet’s poems, the accusative “-ni” and the

accusative “-ning” are actively used. However, there

are also places where the scribe who copied the

poems inappropriately used “-ni” instead of “-ning”.

For example, the ninth line of ghazal 350: "Damo-

dam muddaiyni so‘zi birla jahli qatlimg‘a." In the

manuscript number 1152 (p. 583b), the accusative

case “-ning” is given. This ghazal is missing from

secondary source D.

Thirteenth verse of ghazal 357: "Xiromon

qomatingg‘a tushsa Mutribni ko‘zi, ey sho‘x..." A (p.

189a), V (p. 250b), 1152 (p. 656a) is preserved in the

manuscript collection “-ning”. This ghazal is missing

from secondary source D.

Compared to the suffix “-ni” in “Mudaiyni”,

“Mutribni”, etc., the accusative conjunction “-ning”

is considered a compatible combination, and this case

allows for a more complete understanding of the

content.

The following comments of L. Khalilov are evidence

of these considerations: “It is a mistake to use one of

these agreements instead of the other due to the fact

that the grammatical features of the words in the place

and destination are different in the sentence” (8, 39).

7. The principle of writing words related to Arabic,

Persian, and Turkish languages based on the spelling

rules of the old Uzbek script.

In the text of Mutrib’s poems, the words related to

Arabic, Persian, and Turkish languages are not fully

followed by the spelling rules of the old Uzbek script.

These are mainly found in “Kof” instead of the letter

“Gof”, “zo” instead of the letter “zod” in the word

“Zoyi' (zoie'), “vov” in the word “Konglum” in other

places copied into “i” and so on. The fact that the

words are not copied in the same way caused the loss

of the characteristic of the poet’s language. Such

differences need not be reflected in a scientific-

critical text. Textologist P. Shamsiev’s opinion about

this is appropriate: “There is no need to record the

obvious mistakes of the scribe” (Bertels Ye.E.

Firdavsiy. 1960,). Therefore, when creating the

scientific and critical text of the poet's poems, it is

necessary to follow the spelling rules of the old Uzbek

script for words related to Arabic, Persian, and

Turkish languages and maintain the uniformity of the

vowels reflected in the words in the same system.

8. The principle of using signs to eliminate

differences in the texts of poems.

There are more than a thousand textual differences in

the text of Mutrib’s poems. These textual differences

are mainly seen in the omission of stanzas, words,

conjunctions, additions, and incorrect copying. When

choosing these, that is, variants of words and phrases

close to each other in content, the poet's style, logical

consistency, and weight serve as the main criteria.

This is confirmed by the following comments of the

Russian textologist D.S. Likhachev: “The text of the

monuments should be studied not only according to

their external signs but also according to the change

of their content and ideological direction” (3, 51).

Below, we found it necessary to give the differences

in the text of the poet’s poems based on signs. These

signs are important in constructing the scientific-

critical text of the poet’s works.

The omission of words and additions in the

composition of poems is no less than other

differences. These words and additions were also

restored from the text of manuscript bayazes and

collections copied during the poet’s lifetime. Such

differences are caused by the fact that the text of the

book was not copied under the control of the author.

At the same time, the level of education of the

secretary also depends on it. Below, when noting the

missing words and suffixes, a “-“ sign is given for the

scientific-critical text. For example, in the main

auxiliary sources, B (p. 205b) and D (p. 239b), to the

manuscript collection “Majmuat ush-shuaroi payravi

Feruzshahi” numbered 1152 (p. 37a), a 7-stanza

ghazal beginning with the verse “Mushabbak aylagan

jismimni paykoningga sallamno” is copied. The

possessive suffix “-im” in the word “Isyanim” in the

fourth verse of this ghazal is omitted from the primary

source A (pp. 86b-87a).

In the text of Mutrib's poems, the addition of one

word to the composition of another word, the addition

of words, and incorrect copying are also noticeable.

These mistakes create inaccuracies in the form of the

poem. Although this situation in the main source A is

less common than in the main auxiliary sources V, D,

it is important to choose the most suitable variants of

words for a scientific and critical text.

The “+” sign is placed in the changed and added

places of the words and additions in the verse, and the

verses of the verse reflecting the differences in the

sources are given in the form of a and b, and the

sequence number of the copied ghazal is below the

text, should be shown. For example, the word "qtlim"

(killing) in the fifth verse of the 7-verse ghazal with

the radiative “Fido” is copied in the form of "aqlim"

(climate) in the base source A (page 87a). B (p. 205b),

D (p. 239b) are correctly copied in the main auxiliary

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sources and in the manuscript collection “Majmuat

ush-shuaroi payravi Feruzshahi” numbered 1152 (p.

45a).

The word “iqlim” is derived from the Arabic

language and means region, continent. The word

“Qatlim” means to kill, to slaughter.

The word “killing” in this verse corresponds to the

essence of the verse. The essence becomes clear in the

next verse (Qil tarahhum novakingg‘a qatrayi jonim

fido): as a result of the witch's eye shooting, the lover

agrees to "execution" and sacrifices a drop of blood

for his eyelash.

3 CONCLUSION

It is desirable to implement the scientific-critical text

of Mutrib’s works on the basis of 8 principles. These

are the following:

- The principle of designating the manuscripts of the

devan with the first three letters of the Latin alphabet

- A, V, D in order to compile the scientific and critical

text of the devan.

- Review the titles marked in red before the first verse

of the poet’s poems; the principle of restoring

completely lost places and giving newly found poems

a title appropriate to the genre.

- The principle of revising the position of the poems

transferred to the couch in alphabetical order.

- The principle of putting special conditional marks in

restoring the poems in the manuscript collections and

bayozes for the base source.

- The principle of adding poems that are not found in

the manuscripts of the poet’s divan to the divan based

on the arrangement of the Arabic alphabet and

consecutive numbers, taken from manuscript

collections and bayazes.

- The principle of combining words with sound

changes and grammatical errors in the text.

- The principle of writing words related to Arabic,

Persian, Turkish languages based on the spelling rules

of the old Uzbek script.

- The principle of using allusions to eliminate

differences in the texts of poems.

Saktas in the main source A, main auxiliary sources

B, D and sets 1122, 1134, 1127, 1129, 6816, 6927,

6928, 6932, 6951, 6952, 6969, 6939, 6971, 6976,

6990, 7023, 7039, 70242, 2 2025, 2028, 2036, 5894/II,

5894/III, 5894/IV, 5894/V, 1125, 1126, 1128, 1172,

1176, 1177, 1179, 1182, 1184, 1185, 1186, 11910,

1191, 1196 manuscript manuscripts and 12561,

14420, 9543 poems copied to lithographic sources

were determined, and comparative-textual research

was carried out.

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