Navoiyan Spirit in the Poetic Heritage of Gafur Ghulam
Tozagul Matyokubova
Tashkent State University of Uzbek Language and Literature named after Alisher Navoi, Tashkent, Uzbekistan
Keywords: Tradition, Artistic Skill, Originality, Lyrical Hero, Commonality, Image, Ghazal, Verse, Feeling, Experience.
Abstract: This article examines the influence of Alisher Navoi's work on G. Ghulam's poetry. It analyzes the attitude of
the talented Uzbek poet Gafur Ghulam towards Navoi, the role of an important source in the poet's literary
heritage in perfecting and adding originality to his work. By studying the shared aspects of the poet's poetry
with Navoi, the unique aspects of G. Ghulam's work are discussed. Additionally, the article draws certain
conclusions about G. Ghulam's attitude towards the literary tradition, the poetic richness of his work, and the
artistic-philosophical uniqueness of his works. G. Ghulam's poems are deeply philosophical, inclined towards
romantic elation, and showcase humanitarianism directly connected with Alisher Navoi's creative heritage.
He also creatively assimilated Navoi's poetic style in the artistic analysis of reality, profound philosophical
exploration of themes and ideas, and figurative representation. Of course, we do not have the opportunity to
discuss all the creative influence within the framework of one study. Therefore, in this article, the author
focuses on some aspects of the literary commonality between the works of Alisher Navoi and Gafur Ghulam
and presents certain generalizations.
1 INTRODUCTION
The works of mature representatives of Eastern
classical literature, in particular, Alisher Navoi, have
served as a creative school for the development of
many of our poets over the centuries. Studying the
creative experiences of the great thinker and
continuing his traditions in a new direction made it
possible for our creators to influence the literature of
the time and develop their own style. These thoughts
directly apply to Gafur Ghulam, a mature
representative of Uzbek literature of the 20th century.
The work of his predecessors played an important
role in Gafur Ghulam's rise to the level of a famous
poet, a skilled prose writer, an accomplished
translator, and an academician. He diligently studied
the works of Alisher Navoi along with examples of
Eastern literature and drew spiritual nourishment
from them.
Gafur Ghulam had the opportunity to become
acquainted with examples of Eastern literature as a
schoolboy. The poet states in his "autobiography" that
he graduated from Bedil to "Maslak" in the
neighborhood school. Speaking about the year 1912,
when his father died, he said, "I was 9 years old, and
*
Corresponding author
my younger sister Bahri was 6 months old. At this
age, I was already literate, capable of easily reading
Navoi, Hafiz, Saadi, and I had beautiful handwriting.
It was difficult to expect such quick understanding
from the old schools we attended" [Gafur Gulam.
(1983)] - he admits.
The creative influence of the genius poet and thinker
Alisher Navoi on the legacy of Academician Gafur
Ghulam is extremely versatile. Even when
considering this literary influence from the point of
view of lyrical tradition and innovation, it enriches
our understanding of the level of creative enjoyment
of the classical literary heritage and the ideological
and artistic rise of Gafur Ghulam's work. It also helps
to comprehend the personality of the poet, identify the
poetic sources of his work, and understand the
universal and individual aspects of his works.
2 METHODOLOGY
Navoiist A. Hayitmetov, speaking about Gafur
Ghulam's attitude towards Eastern literature,
emphasizes the following points: "Ghafur Ghulam
considers Uzbek literature, especially its classical
354
Matyokubova, T.
Navoiyan Spirit in the Poetic Heritage of Gafur Ghulam.
DOI: 10.5220/0012487700003792
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 354-360
ISBN: 978-989-758-687-3
Proceedings Copyright © 2024 by SCITEPRESS – Science and Technology Publications, Lda.

part, to be a part of the larger Eastern literature. He
was in favor of studying the history of Uzbek
literature in this way" [Hayitmetov A. (1997)].
Alisher Navoi is undoubtedly one of the many
Eastern poets who influenced Ghafur Ghulam's
poetry. In the poetic heritage of the poet, the places
related to the interpretations of Navoi's image sing
feelings of respect and reverence for the great poet
with pride. In addition to his great contributions to
literature, artistic creativity, and the art of words,
human characteristics such as his unique personality,
pride, courage, and exceptional talent have been
honored for centuries, becoming a source of pride for
the nation.
For example, in Gafur Ghulam's poem "Alisher"
[10.142], lines like "Buyuk Alisherning asriy nidosi"
("The great Alisher's cry of the century"), "To‘fon,
quyunlarda yakkayu yolg‘iz, Monolit, granit
haykalday mag‘rur" ("The flood, alone in the
whirlpools, Monolith, proud like a granite statue"),
"Oltin baldoqdagi nifrit ko‘z kabi, Asaring biz uchun
bo‘ldi qorachug‘" ("Nephrite blind on a golden
canopy, Your work became for us a karachug"),
"Alisher Mushtariy yulduzi kabi, O‘zbek osmonida
bolqigan chog‘i" ("like the star of Alisher Mushtari
when it shines in the Uzbek sky") embody Navoi's
unique image with an uplifting spirit. Navoi was
alone in the "flood" and "quyn", and his work is
admired like the apple of the eye.
It is not surprising that the greatness of Navoi's
personality and the steadfastness observed in his
selfless aspirations left a profound impact. Gafur
Ghulam, aspiring to lofty destinations, etched his
mark on the sky of Uzbek literature, aligning his goals
and aspirations with those of Navoi. This poetic
legacy represents a conscious way of life and eternity.
The article employs analytical, comparative-
typological, and complex analysis methods based on
the intended purpose.
3 DISCUSSIONS
The spirit of Alisher Navoi's works is absorbed into
the core of Gafur Ghulam's poems. The names of
heroes of the great poet, such as Farhad, Shirin, Layli,
Majnun, and Iskandar, are frequently mentioned in
the poet's verses to provide a poetic response to
contemporary issues and to illuminate the image of
the land, time, and contemporaries. Speaking about
Ferghana, Gafur Ghulam writes: "Men o‘z
Farg‘onamni maqtamoq bo‘lsam, Yigiti Farhodu qizi
Shirinday" ("If I want to praise my Ferghana, Yigiti
Farhodu's daughter is like Shirin"). In the poem
"Durdona," he describes the landscape: "Gunafsha,
lolalarning, g‘unchayu bulbullarning Ko‘klami Layli,
Majnun umriday o‘tib ketdi" ("Sunafsha, the flower
of tulips, buds, and nightingales, Laily, Majnun has
passed away like a madman"). When he praises his
contemporaries, he exaggerates: "Har birimiz
Iskandardan balanddamiz" ("Each of us is higher than
Alexander"), embodying the image of a hard-working
Uzbek: "Mehnatdadir dalaning barcha Majnun
Laylosi, Farhod yer sug‘oradi, quloq ochadi Shirin"
("All the Mad Lailas of the field are at work, Farhad
waters the land, Shirin opens his ears"), and when he
speaks about love, his warm verses conclude with:
"Oshiqu ma’shuqlarning qissasin bizdan so‘rang,
Yuzga kirguncha yana Majnunga Laylo o‘zginam"
("Ask us about the stories of lovers, I'll fall in love
with Majnun Laila again until I enter the face"). This
case shows that Gafur learned the philosophical
perception of the world and life from the works of
Ghulam Navoi and followed the great poet's views,
image, and expression style in his poetic response to
the current problems of social reality.
Navoi's creative heritage deserves attention, first of
all, for its high humanitarianism. In the poet's works,
emotional experiences such as friendship,
brotherhood, love, and loyalty are celebrated,
bringing people closer to each other. It is emphasized
that a human child's value is not determined by
nationality, religion, or race but by possessing human
qualities. The confirmation of this idea can be seen in
the example of the heroes of his epics. Navoi's heroes
represent various nationalities, including Arab,
Iranian, Armenian, Indian, and Greek, and are
admired for their genuinely human qualities and
characteristics. For instance, in the epic "Farhad and
Shirin," Shapur is from Iran, Farhad is from China,
and Shirin is from Armenia. However, the friendly
relations between Farhad and Shapur, and the themes
of love, loyalty, patience, tenacity, and struggle bring
Farhad and Shirin together [Alisher Navoiy. (1991)].
In Navoi's lyrical poems, we can see a tolerant
attitude towards representatives of different
nationalities, and feelings of infinite respect are
warmly expressed. The poet, who considered the
power of love higher than any national limitation,
writes:
The ideas of love, solidarity, humanitarianism, and
understanding the world and humanity as a whole can
be observed in Gafur Ghulam's poetry, which is
Navoiyan Spirit in the Poetic Heritage of Gafur Ghulam
355

deeply influenced by Navoi's works. In the 20th
century, no matter where he was in the world, he
attempted to respond to the degrading and life-
threatening behaviors of people, and to
wholeheartedly console the pain of the people.
Undoubtedly, G. Ghulam, as a child of his time, calls
on the peoples of the world to unite and stand in
solidarity on the path of freedom and liberty. In his
poems "I'm a Jew," "My mother to my daughter
Jamila," "Hello," "To Paul Robson," "Lebanon will
survive," "From the Pulpit of Peace," and others, he
sharply contrasts antagonistic systems, not romantic
heroes, and instead focuses on the problems of mother
earth. However, in poems of this nature, the feelings
of love and respect for the whole world are expressed
with profound intensity, and this aspect appears to
some extent under the life-giving influence of the
humanitarian pathos of Eastern poetry, particularly
Navoi's work. The following verses of the poet
confirm our opinion:
Yerdagi ne’matlardan mahrum qila olmagay-
Oq, sariq, qizil, qora, badandagi jilo rang [10.17]
(Not being able to deprive him of the blessings of the
earth
White, yellow, red, black, shiny body color)
In Navoi's works, the human mind and power of
thought are highly valued. The poet's philosophical-
aesthetic views give special attention to human
knowledge, actions, and a new way of thinking. For
example, in "Farhad and Shirin," the following verse
is quoted: “Dedi: Har ishki qilmish odamizod,
Tafakkur birla bilmish odamizod” [4.122] ("He said:
Every deed is a human being, and thinking together is
a human being"). In Ghafur Ghulam's poems, it is
emphasized that human thinking can be perfected
only if directed towards noble goals: “Sen o‘rgangan
ilm bilan qo‘shildi katta niyat, Va shunchalik
kamolotga yeta oldi tafakkur” [11.180] ("A great
intention was combined with the knowledge you have
learned, and thinking was able to reach such
perfection"). Clearly, both poets firmly believed that
true perfection can only be achieved when the
objectivity of intention is combined with knowledge.
Such advice forms a complex of unique life
knowledge, social-economic, spiritual-educational
vision-ideals, and appeals to unite our people around
good values and moral upliftment; it can be said to be
a set of priority ideas. Indeed, the history of mankind
is the history of the expansion and deepening of
human thought and imagination. The more thinking
expands, the wider and more perfect the world seems.
In Navoi's work "Mahbub ul-Qulub," a person who
persistently studies knowledge is described as a
"scholar," while someone who is unable to rise in his
"self" on this difficult path and is lost in the
wilderness of selfishness is described as a "tyrant."
The work states: "He who learns by asking what he
does not know is a scientist; The admonition that one
who does not ask is a wrongdoer" [5.86], meaning
that the one who chooses ignorance, first of all,
wrongs himself. Therefore, Hazrat Navoi determines
the spiritual perfection of each person based on their
attitude towards learning science. Ignorance traces its
roots to the inner "I" of an individual, their actions,
and lack of knowledge. In the poems of Ghafur
Ghulam, it is emphasized that the importance of
learning and knowledge is vital in the development
and growth of mankind: “Bilmaganni o‘rganib,
odamzod topdi kamol” [10.144] ("By learning what
one does not know, mankind finds perfection"). At
first glance, some form of reformation may be visible
in this passage, but the affinity to Navoi's thought is
clearly evident.
In Alisher Navoi's "Mahbub ul-Qulub," we also find
sincere wishes in honor of the one who selflessly
spread enlightenment and wisdom, devoting all their
knowledge and experience to the education of the
young generation. The poet emphasizes that no
amount of wealth can compare to the efforts made by
the teacher in the way of introducing the truth and the
truth - God.
As if continuing this idea, Gafur Ghulam equates the
respect of teachers with the status of parents, who
sacrifice themselves for the spiritual and intellectual
development of a student.
I will keep you forever).
It seems that in the above verses, there is a certain
degree of harmony and closeness in terms of theme
and relationship, and at the same time, there is a deep
resonance with our time. It is important to note that
each poet demonstrated a unique style. While Alisher
Navoi adheres to conciseness and brevity and
expresses profound content in a general way, G.
Ghulam expands the number of verses based on the
purpose of expressing his attitude to the problem. At
the same time, he successfully instills the folk
wisdom "the teacher is as great as your father" into
the essence of the lines.
Navoi's works also contain valuable insights about
various professions and their place in society. He calls
on people to love work, to treat their profession with
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affection, and asserts that it should be utilized for the
benefit of the country. Conversely, he strongly
condemns those who do not contribute to society. In
his "Mahbub ul-Qulub," there is also a discussion
about a scientist who acquires knowledge but fails to
utilize it for the betterment of mankind.
The poet equates a scientist who studied hard and
acquired knowledge but did not apply it due to greed,
with a "statesman" who did not spend on people and
useful things. The poet puts forward the opinion that
both of them lived in vain, dying with a hundred
sorrows and unfulfilled dreams.
Ghafur Ghulam's poem "To my scientist friend"
echoes Navoi's thoughts. Illo, the poet, is like a miner
who stifles a scientist who does not follow his
knowledge. Gerdaygan appeals to this person and
encourages self-examination. The enjoyment of
science calls for.
Good. Who saw the benefit of what you know?! )
Gafur Ghulam's unique image style is shown in the
poem, along with the observation of intellectual and
ideological closeness to the above comments of
Navoi. The poet uses the methods of making
instructive conclusions from history, comparison, and
reference. For example, the words of the lyrical hero
to the scientist: “Kuya yegan kitoblar saqlangan
sandiqmisan, Bir varaq mazmunidan qalblarga
oqmayin nur?” ("Are you a chest in which moth-eaten
books are kept? Let the light flow from the contents
of one page to the soul?"). It seems that in the creation
of this poem, the poet was influenced by Navoi's
work, developed the ideas reflected in the work of the
great poet, and made philosophical generalizations
typical of his time.
In romantic ghazals, the main focus is on describing
the beloved and the sincere feelings of the lover
towards his lover, the pains and sufferings caused by
separation. In such poems, the lover often lives with
the fantasy of his lover, dreams of achieving the
dream. Every detail, pictorial means, and poetic
image in the poem are focused on reflecting the
situations and experiences of the lyrical hero in
romantic colors. There are many examples of this
from Navoi's work.
It is understood that instead of love and loyalty from
a lover, a tormented and sad heart is surrounded by
the sufferings of hijran. The lyrical hero, who has
seen through the mirror of his heart, that is, felt the
condition of an unfaithful lover who has completely
distanced himself from himself, is in the torment of
endless suffering. Comparing the subtle feelings of a
lover's heart to a "mirror" can also be found in the
poetry of Gafur Ghulam: “Har nafas ko‘zgudagiday
gul yuzing qalbimda jo, Mayli aksing bo‘lsa ham
ruxsori olingdan o‘pay” [9.239] ("Every breath is like
a mirror, your flowery face lives in my heart, even if
it's your reflection, I kiss you from your heart")
[9.239].
In this place too, the lyrical hero's heart is reflected in
the beauty of the mirror. But in the tunes of hijran, not
complaining about infidelity, but feelings of thirst and
longing for success prevail. It is important that in both
cases, feelings are expressed with sincerity, like a
person in love.
In Navoi's work, there are also references to
information related to folk medicine and people's
methods of treating patients. For example, in the
poem "Pomegranate," the poet says: “Nechakim tab’i
noridur va lekin me’da norig‘a, Berur taskin, muning
naf’in topibmen voqian men ham” ("Many people are
sick, and my stomach is not full, I am relieved, I have
found the benefits of this") emphasizes
Gafur Ghulam describes the healing properties of
cherries in his poem "Olucha."
The poet, who wrote verses like "In the reader's
imagination, it seems as if the sweet taste of cherry
and the breath of cancer have moved to the poem."
Among our people, the value of mother's milk has
been considered high and honored since time
immemorial. Perhaps for this reason, Navoi's poems
also refer to "mother's milk" in the impressive
reflection of lyrical experiences:
"Halol ona sutidekdur gar o‘zbegim tutsa,"
Tobuq qilib yukinib to‘stag‘on ichinda qimiz [1.159].
(Halal is like mother's milk, even if I don't like it.
We kneel down and walk inside the barn)
Navoi's lyrical hero values Uzbek traditions, takalluf,
and feelings of respect. Although it is in a wooden
bowl, it is as delicious as mother's milk if served with
Uzbek grace, i.e., bowing. In this place, the main
emphasis is placed on Uzbek respect, not on us. For
this reason, the modesty and hospitality characteristic
of Uzbeks are glorified through "mother's milk."
In many poems of Gafur Ghulam, images related to
"mother's milk" can be found. For example, in the
poem "Mother," it is said: “Birinchi tamshangan ona
Navoiyan Spirit in the Poetic Heritage of Gafur Ghulam
357

sut qadrin, Asl o‘g‘il bo‘lib oqlash e’tibor [Gafur
Gulam. (1984)]" ("The first tamed mother's milk is
dear, the original son is worthy of attention"). The
point of attention is that although a person lives a
lifetime, he cannot justify the value of mother's milk.
However, the first sip of mother's milk can only be
justified when the boy grows up to be a real child. In
our opinion, this is the simplest, most popular, and at
the same time an extremely high definition of
honoring the most generous and great creature in the
world - mother, valuing her dignity.
A comparative study of the works of both poets shows
that they effectively used many folk expressions in
the poetic expression of the experiences of the lyrical
characters. In such places, folk phrases not only help
to artistically express the human heart and various
feelings but also strengthen the national color of the
poem. One such expression is "my eyes flew away."
In Navoi, this phrase is used in the sense of longing
to see the beauty of a lover, a sign of goodness. The
eyes of Navoi's lyrical hero are related to the desire to
see the beauty of the mountain. So, the glancing of the
eyes is a sign of seeing the face of the river, and
seeing the face is a sign of reaching its goal, and the
folk phrase helped to effectively illuminate the spirit
of hope for the goal.
Gafur Ghulam uses this expression in the style:
“Chinorlar uchida birinchi nurni, Dastavval ko‘rishga
ko‘zim uchadi” [Gafur Gulam. (1984)] ("At the top of
the plane trees, my eyes fly to see the first light"). The
poet is impressed by the exquisiteness of the carpet
woven by the Turkmen girl, connects the night to the
morning, moves the tip of the pen from line to line,
and waits for the sun with tired eyes until dawn.
Because the first golden rays of the sun signal the
beginning of a new day. The longing eyes for the light
shining on the tips of the maple trees are tired of the
darkness of the evening and embody the secrets of the
soul seeking knowledge. Therefore, the twinkling of
the eyes is connected with the longing for the light,
that is, tomorrow's flawless morning, and the desire
to be the first to meet it. Perhaps, it is not surprising
that G. Ghulam is expressing his satisfaction at the
nearness of the beginning of another fruitful and
blessed creative day, the opportunities to decorate the
notebook of his life. If we assume this, then it
becomes clear that the above lines of the poet are
directly related to the creative process, that the blink
of an eye is a sign of the blessing of his creation.
According to the traditions established in classical
literature, many parts of the mistress are often
compared to nature. In such places, poets use the art
of allegory to figuratively reflect the inequality of the
beloved. An example of this is the following verse
taken from Navoi's radifil ghazal "Ayt":“Ey nasimi
subh, ahvolim diloromimg‘a ayt, Zulfi sunbul, yuzi
gul, sarvi gulandomimg‘a ayt” [1.88] ("O nasimi
subh, tell my situation to my lover, Zulfi sunbul, tell
my face a flower, tell my cypress flower"). In the
verse, through the art of tashbeh, Yor's hair is likened
to a sunbul, her face to a flower, and her figure to a
cypress. The poet emphasizes the beauty of the lover
when describing the situation of the lyrical hero in
love. While warning the lover about the plight of the
lover, he says that it is due to his good fortune. The
poet uses the art of exclamation by telling the
situation of the lyrical hero "nasimi subh," i.e., to the
morning wind, and the art of metaphor by calling the
lover "dilorom" and "gulandom."
In Ghafur Ghulam's ghazals, the appearance of the
lover is alluded to nature, and the influence of Navoi's
traditions is evident in it: “Bu kun men, do‘stlar, dil
malhami dilbarni izlarman, Yuzi gul, qomati sarv,
sochlari anbarni izlarman” [10. 235] ("Today, friends,
I am looking for a charmer, a balm for the heart, a
flower with a face, I'm looking for a cypress figure
and a barn"). In the verse, the lover's face is compared
to a flower, her figure to a cypress tree, and her hair
to a barn. Unlike Navoi, the reference is not to the
length of the beloved's hair, but to its fragrance.
Calling friends is an exclamation, and by calling the
neighbor a charmer, the art of metaphor is used. If in
Navoi's verse, the description of the situation of the
lyrical hero takes the lead, then in Gafur Ghulam, the
image of the beloved, who is an ointment for the heart
of the lyrical hero, and who has no equal in beauty,
takes precedence.
In Navoi's poems, shabnam represents tears in many
places:
Shabnam ermas nargis ashkidur nedin qon yig‘lamas,
Ko‘z yumub ochquncha gulshan umri poyonin ko‘rub
[1.69]
(Shabnam doesn't cry, Nargis doesn't cry.
She closed her eyes and saw the end of her life.). In
the verse, it is described that it is not the dew
glistening on the narcissus leaf, but the tears of a
flower crying blood for its life, which has passed in
the blink of an eye. The poet artistically expresses his
philosophical views not only about flowers and the
gulshan but also about the infidelity of human life,
life and death. Pointing out that life is fleeting, life is
momentary, he calls people not to get attached to the
whims of the transient world.
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In Ghafur Ghulam's poems, the interpretation of dew
as tears is also observed, and unlike Navoi, in such
places, the ideological content is the leader in the
poet's work. For example, in the poem "Memory of
Hamza," the poet writes: “Gulga tong chog‘ida
shabnam yog‘adi, Gullarning bargida – ko‘zlardagi
yosh” [10.264] ("Dew falls on a flower at dawn, tears
in the eyes on the leaves of flowers"). The poet likens
the dew on the flower to the tears of the people shed
for those who died for the freedom of the people, and
the dew on the leaf to the "tears" shed from the blue.
So, the earth is blue, i.e., the entire existence is
depicted in innocent agony from the murderous deeds
of the deceased.
In Navoi's poems, the color of the paper page is
expressed in connection with the blood of bitter
"tears":
Before writing the name of the lover, the paper was
yellow, after writing the name of the husband, it
became blood with tears. In Ghafur Ghulam's verses
such as: “Millionlar qonidir har qatra siyoh” ("Each
drop of ink is the blood of millions"), “Qatra-qatra
qonim siyoh bo‘lsa ham, Shuncha hurmatlarga
tashakkurim kam” ("Even if my blood is ink, I am not
grateful for so many respects"), the color of the ink is
compared to human blood. Both poets use the images
of bloody tears and paper in an exaggerated way in
the process of artistic depiction, and achieve an
increase in poetic effectiveness.
4 CONCLUSION
Our observations show that the influence of Navoi's
literary heritage on Ghafur Ghulam's poetry is wide-
ranging, and this is first of all observed in the artistic
research of life and man, in making philosophical-
aesthetic generalizations. Many images created by
Gafur Ghulam are influenced by Navoi's creative
genius. In mastering the style of expressing artistic
thought in a simple, impressive, and philosophical
observation, Navoi's legacy, like that of most Eastern
classical poets, served as a master school for Gafur
Ghulam's work.
Alisher Navoi is far away from us in terms of the time
he lived, no matter how classic he is in terms of skill;
he is compared to the priceless lyrical treasure of our
great-grandfather poet of the legacy of academician
Gafur Ghulom, who is among the classics of 20th-
century literature. It is appropriate to study. Indeed,
the perfection of G. Ghulam's talent and potential is
not a phenomenon outside of creative enjoyment.
Consequently, the poetic sources of the poet's work
go back to the general literary heritage, including the
work of Alisher Navoi. It is important that G. Ghulam
was able to clearly show his innovative side by adding
his heart, inspiration, thinking potential,
brainstorming, and poetic skills to his soul.
In general, when talking about literary influence and
creative mastery, it is important to study the literary
sources that influenced the poet and the scientific
research of the events that led to the improvement of
his poetic skills.
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