Alisher Navai’s Thoughts and Dreams of a Preeminent Person

Shakir Urishov

and Ziyoda Teshboyeva

Uzbek State World Languages University, Tashkent, Uzbekistan

Tashkent State University of Uzbek Language and Literature, Tashkent, Uzbekistan

Keywords: Human Being, Man’s Existence, Layli and Majnun, Farkhad and Shuirin, Virtue, True Love, Knowledge,

Nature.

Abstract: The comprehensive aspects of Alisher Navai's creation directly expose such concepts as the perfect individual,

the author's fate, role in the world, and happiness and wellbeing. Predicated on an individual's journey to

perfection, a society emerges wherein the social environment plays a significant role in determining the spiritual

profile of the individual. Particularly, Navai's fully creative life works primarily to highlight the

interrelationships between an individual and society, and the significant tasks imposed upon deeply ingrained

ideas and views with great expectation. This article analyses and assesses the portrayal of an individual as the

highest value as philosophically depicted in Navai’s epic "Khamsa".

INTRODUCTION

We honour Alisher Navai as a thinker and poet. The

term "thinker" denotes a person possessing the

capability for profound and comprehensive

philosophical contemplation, an endeavour that

transcends the talents of an average writer. This is

why, although numerous poets and writers have

graced our world, only a handful are considered

deserving of this honourable title.

Firstly, a contemplative writer must possess profound

knowledge, a broad worldview, and substantial life

experience. Secondly, they should have a vivid

understanding of eternal concepts such as the

meaning of life, the human condition, good and evil,

love and hate, halal and haram, immortality and

mortality, sophistication and negligence, friendship

and hostility, religion and treason. They must be

capable of deeply understanding the essence of such

timeless concepts as enmity, religion, and treason and

should be able to analyse them from a philosophical

perspective. Thirdly, they must have advanced skills

to express their opinions and thoughts vividly,

concisely, and effectively using artistic devices. This

is a lofty status that not every artist can attain. In

essence, Alisher Navai's works serve as an

encyclopaedia of life. There is scarcely a life issue,

human value or feeling, virtue or vice that he has not

Corresponding author

explored! "If we delve deeply into the work and

creativity of our great humanist poet, we find

ourselves astonished at how his genius encompasses

all spheres of social life, ideology and culture."[1.4]

DISCUSSION

Indeed, nothing eluded Navai’s profound insight. For

instance, he discourses on the role of parents in a

child's life and the duty of a child towards parents:

Boshni fido ayla ato qoshiga,

Jismni qil sadqa ano boshiga.

Tun-kununga aylagali nur fosh,

Birisin oy angla, birisin quyosh [2.139].

The above-mentioned extract translates to English as:

Devote your mind to your father's needs,

Sacrifice yourself for your mother's needs.

They illuminate your day and night

Like the moon and the sun, night and day.

Content: "Offer your mind to your father and your

body to your mother. Consider one as the moon that

illuminates your night and the other as the sun that

lights your day."

Urishov, S. and Teshboyeva, Z.

Alisher Navai’s Thoughts and Dreams of a Preeminent Person.

DOI: 10.5220/0012490200003792

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 445-451

ISBN: 978-989-758-687-3

445

No one can describe the role of parents in a child’s

life more eloquently: parents are as essential to a child

as the moon and the sun are to the world! Indeed, just

as the moon gives light to the night and the sun to the

day, so the father illuminates the night of the child’s

life, and the mother fills the day with light. Without

one of them, the night will seem half light and half

dark.

Reflecting on the relationship between a teacher and

a student, the philosopher states, “If a person has

endured hardship to teach you a single letter, you

could not repay them with a hundred treasures of

wealth.”

Haq yo‘lida senga bir harf o‘qutmush ranj ila,

Aylamak bo‘lmas ado oning haqqin yuz ganj ila

[2.128].

The English translation reads:

If a person teaches you even a single letter of

goodness with effort,

A hundred treasures of kings would not be enough to

repay them.

This is the poet's philosophical conclusion about the

relationship between teacher and student. Indeed, the

status of a teacher is momentous. It cannot be

compared to anything. There's a saying that goes, "A

teacher is as great as your father." When a wise man

was asked the meaning of this saying, he replied:

"Because my father brought me down from the sky,

and the teacher elevated me again from the ground to

the sky."

Regarding youth, Navai says:

Yig’itlig’da yig’ limning mahzani,

Qarilig’ chog’ida sarf qilgin ani [2.128].

It is known that the knowledge gained in youth is as

enduring as a pattern carved in stone. Beyond that,

individuals will be consumed with the worries of life,

and will not have the opportunity to acquire

knowledge. Gradually, as people say, "memory does

not do what it promises."

In the preface of his first book "Badoe' ul-Bidaya",

Alisher Navai underscored that literature is a tool for

education. He noted that any artistic work should not

be devoid of enlightening thoughts and advice, and

wrote, "Let there be a ghazal, yet your speech will not

be verse. If the poem lacks purpose, it will be a waste

of labour and effort." After that, he emphasises that

his romantic ghazals are not devoid of educational

and philosophical verses. In this sense, the poet's

legacy is one of the powerful tools of spiritual and

moral education. Nobody in Uzbek literature has said

it as eloquently as Navai did.

To attain the perfection the poet dreams of, one must

possess mature manners, acquire all human virtues,

master all the skills of their time, not separate science

and craft, strive for perfection not only spiritually, but

also physically, and always be ready to serve their

country. To be a loyal child to one's homeland, one

must place the sense of duty and responsibility above

all else. The spectrum of virtues Navai desired and

expected from everyone is so broad that they are too

numerous to count.

In fact, were the poet's advice, opinions,

requirements, and wishes related to human education

collected and arranged systematically, a unique

program and manual would emerge, indicating paths

towards human perfection. In the great "Hamsa", we

encounter a series of perfect individuals in Navai's

vision of preeminence. Among them are historical

figures, historical-legendary figures, and artistic

images created by the poet with the highest skill.

These heroes, according to the author's purpose and

their role in the epics, are depicted on different levels.

Therefore, a comprehensive study is necessary to

apply them in a broad and deep way. Hence, in this

article, we will focus solely on the images of Farkhad

and Majnun, which played a crucial role in the poet's

work. Abdurauf Fitrat writes, “Navai primarily

expressed his thoughts and dreams about the perfect

person through these two images. 'Farhad, the main

character of the play, is considered by Navai as the

ideal human type,' He will prove with every action

that he is mature in knowledge, talent, bravery, and

strength. Secondly, he saw Socrates’ image in Farhad,

'the embodiment of his faith and property'[4.110].

Navai also creates the image of an ideal man in his

conception through this character who calls a person

to perfection, glorifying human perfection and

critiquing human shortcomings in new interpretations

of 'Hamsa'".

Among the researched works, several monographs

were published. These include studies by M.

Muhiddinov on "The Concept of Humanity in the

Works of Alisher Navai and His Predecessors"

(Tashkent, 1995) and N. Gafforova on "The Symbol

of Sufis in Alisher Navai's 'Hamsa'" (Tashkent, 1999).

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

446

Moreover, Abdurauf Fitrat's selected works over two

volumes, (Volume 2. Tashkent, 2000, pp. 110-117)

and Komilov N.'s "Sufism. The First Book"

(Tashkent, 1996, 208 p. 123), emphasize the essence

of all nations' literature and the art of speech in

general.

With the emergence of Sufism and the development

of a comprehensive set of requirements and rules

aimed at leading a person to perfection, Eastern

literature, originally inclined towards advice and

wisdom, began to reflect this process based on a

specific programme and regulation.

According to this programme, a person embarking on

the path of perfection must traverse the stages of

shari'a law, tariqat, and truth. In particular, the

practical part of tariqat encompasses the status and

situations experienced during tax regulations.

Thoughts about human perfection in Sufi literature

reflect the situation and thoughts of a Sufi devotee in

a certain position or facing a specific situation.

Artistic maturity's long-lasting, painful, and complex

path is expressed in smaller lyrical genres such as

ghazal, rubai, while the process in epics is often

shown from beginning to end [5.123]. For example,

in Alisher Navai's work "Lison ut-tayr" (Language of

Birds), the dialogue between student and teacher is

reflected in "Khayrat –ul- Abror" as a tool of advice

and in the epics "Farhad and Shirin" and "Layli and

Majnun", it is wrapped in a cloak of artistic symbols.

N. Mallaev wrote, "Layli and Majnun is one of the

saddest stories about love created in world literature"

[6.21]. This sentiment can also be extended to the

work "Farhod and Shirin". Indeed, when one

approaches these two epics of Navai from the

perspectives of secular literature and Sufism, it

becomes apparent that they are stories of tragic love:

the inability of two lovers to unite, which is

considered heartbreaking in worldly interpretation.

According to Sufi philosophy, human life in this

world is inherently sorrowful because one is

separated from the Lord, who is deemed the ultimate

wholeness from the beginning. Hence, the individual

strives their whole life to reunite with the Lord.

However, the material world, ego, and physical body

pose obstacles in this pursuit. Sufi literature precisely

reflects this process of an individual's liberation from

ego and worldly concerns.

As per the principles of the art of speech, this concept

is expressed through symbols. In recent years, there

have been attempts to interpret the epics "Farkhad and

Shirin" and "Layli and Majnun" from fresh

perspectives. However, these analyses have generally

remained confined to opinions expressed in a few

articles or have been directed towards different

objectives. Our intention is not to scrutinise these

epics in their entirety; rather, we will examine them

solely from the perspective of presenting the image of

a perfect individual. Naturally, any work of art

comprises several layers of meaning.

Epics are steeped in symbolism and hinge upon the

relationship between the creator and the servant. The

poet underscores the primacy of divine love from the

beginning to the end of his works. To understand

Farhad and Majnun's love, it is essential to elucidate

Navai's perception of love. It is known that in his

work "Mahbub ul-Qulub", he categorises love into

three parts:

"The first part pertains to the love of ordinary people;

it is commonplace and prevalent among individuals.

They say, 'So-and-so fell in love with so-and-so.'

Those who experience this kind of love suffer from it,

and therefore, they dream of true love. This love is

restricted to physical pleasure and sensual lust, and its

highest level is a marriage sanctioned by the sharia

law. The second part is the love peculiar to those who

experience special pleasures, where individuals cast a

pure eye on a pure face with pure intentions and a

pure heart, becoming restless with the delight of that

pure face. Through this pure facial expression, a

genuine lover can enjoy the beauty of true love.

The third part is the love of the siddiqs – the righteous

who live in anticipation of beholding the beauty of the

truth (God) openly and are, therefore, desirable. Their

hopes of seeing the truth (God) with their eyes have

reached a level of self-forgetfulness, and even more

so, they have ascended to the status of losing and

perishing." In order to make this understandable to

the reader, we have used the prose description of the

work, not the original text.

Navai himself was aligned with pure love, and

through this, he aspired for divine love. This is why

in the epics "Farhad and Shirin" and "Layli and

Majnun", he demonstrates the ascension of pure love,

which is "characteristic of the possessors of special

virtues", and how it transforms into true love, through

artistic symbols. From beginning to end in the epics,

Navai repeatedly emphasises that his characters

Alisher Navai’s Thoughts and Dreams of a Preeminent Person

447

experience pure love. For instance, Farhad was a

symbol of the greatness of his youth: His heart is pure,

his eyes are pure, his tongue is pure, his words are

pure [8-52-54].

Farhad's destiny has always been entrenched in

chastity on the path of pure love. The poet depicts his

purity through Mehnbonu's language as follows:

"Bonu said in her heart: this is a shame, the jewel of

this world is pure. It is clear to me that action is truth,

and purity is wisdom." In this brief passage, the words

'pure' and 'chastity' are mentioned four times.

Whenever Navai wants to draw attention to

something, he continually focuses the reader's

attention on that point throughout the work, never

hesitating to repeatedly mention words that may seem

redundant for this purpose, because he is a master of

the art of drawing the reader's attention to the

necessary points. For Farhad and Majnun, Shirin and

Layli were not goals but means to achieving the

perfection of divine love.

In Sufism, this is referred to as mazhar. A mazhar is

a person who reflects divine beauty or perfection.

True lovers often reach true love by loving a joke. For

Farhad and Majnun, Shirin and Layla were such a

joke. In that case, the roles of Shirin and Laili become

clear. In one of Rumi's mathnavis, it is said that Laila

ceased to be important to Majnun after he fell in love.

Both Farhad and Majnun are in love. Their narratives

are characterised by burgeoning love, extraordinary

circumstances, unusual nature, and talents unlike

others. Both are advanced in knowledge and ethics,

physically attractive. If one pays attention, all the

experiences that befell both Farkhad and Majnun

began after they mastered the arts of their time,

because according to Sufism, perfection is achieved

through love. In the preface of the epic, the poet

states, "Oh mind, who is heedless in your way, a

madman is wise in your way" [8.50], the poet

emphasised that "this is the way to the heart". And the

driving force of the day is love. The human soul's

aspiration towards its origin, Almighty God, is

realised in two ways: through the path (tariqat) or

through love.

Here, let's draw attention to one point: Farkhad’s birth

was prophesied. This phenomenon is usually

associated with the lives of prophets and guardians.

For example, the renowned shaykh Babayi Samosi,

while passing through the village of Kasri Hinduvan

near Bukhara, foretells the birth of a guardian. When

a man - Bahouddin Naqshband was born, he entrusted

his upbringing to his student, Amir Kulol [9.42].

Similarly, the legendary sage Jomosp foretells the

birth of Farkhad and entrusts Suhayla with his

upbringing. Indeed, according to Navai's

interpretation, Farkhad is not without the role of a

governor. It is known that he was educated by several

pirs (mastermind) in Sufism. After training their

students to the best of their abilities, shaykhs

recommended them to more powerful pirs based on

their talents. After teaching Farhad everything he

knew, Suhayla sends him to Socrates's school. On his

journey to defeat Temir Paykar, Khizr meets Farkhad.

He says, "I will not come to you" [7-164].

Khizr obi (obi means water) appears in many nations'

literature as a prophet who sought the water of life

and achieved eternal life by drinking it. He is

portrayed as a saviour who rescues people from

difficult situations, aids them, and guides them to

their objective. N. Komilov writes, "Khizr can be

considered as Farkhad’s second cousin," he is a

helper who appeared from nowhere to assist Farkhad,

who was striving towards a great goal. Farkhad

accepted Khizr's counsel, looked into the cup, and

saw the mountain where Socrates resided in the cave.

The greater the Shaykh, the more towering and

majestic is the mountain on which he lives, and the

journey to reach it is also challenging. At the same

time, he does not lack traits similar to guardians:

Adobi Khidayat, ahli yanglig, Ayini valoyat akhli

yanglig' [9-232].

In his works, Navai portrays Farkhad and Majnun as

consummate lovers, filled with pure love, who

eventually attain true love. This is particularly evident

in the chapter "Layli and Majnun", where he posits

that love purifies the individual, liberating them from

imperfections and leading them to perfection. In

Navai's perspective, metaphorical love acts like an

alchemical process, purifying the individual, such

that their 'dusty body' is eventually transmuted into

gold. This notion echoes the ancient belief held by

alchemists that, under high temperatures, various

substances could be transformed into gold – a concept

they dedicated substantial efforts to realising.

In this context, love is also likened to grass – even if

it's the most burning, most scorching grass. Under its

influence, the undesirable and detrimental traits of the

lover are amplified and the spirit is purified. This

process is the metaphorical alchemy that Navai refers

to. Love that has undergone this alchemical

transformation becomes renowned worldwide. The

essence of true love is the ultimate worldly

experience. "Oyinai jahonnamo" is, in fact, a

reference to the heart imbued with love. The heart of

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

448

an individual, liberated from worldly concerns and

wholly focused on God, becomes as pure as a mirror,

reflecting the world and its events.

It should be noted here that divine love, like worldly

love, is reciprocal: God expresses His love through

unseen signs. Both the universe and humankind are

the fruits of God's love. He would not create and

attract if there were no love. Conversely, without love

and the drive to seek it, one cannot attain God's love.

This love takes two forms: 1) God falls in love with

His servant and ignites the flame of divine love in

their heart; 2) the servant loves their Lord and

renounces everything for the sake of this love,

enduring pain and suffering. In return, God shows His

mercy, making the servant one of His beloved.

For instance, in "Farkhad and Shirin", Farkhad sees

Shirin and falls in love with her at first sight, yearning

for her after reciting verses. Recognising his

dedication, Shirin reciprocates his love purely.

Conversely, God Himself initially revealed His

beauty to Majnun, who, consumed by His love,

abandoned worldly pursuits to seek the divine

beloved. However, inevitable barriers such as the

world, people, and the physical body, stood between

them.

Given that the epics are named "Farkhad and Shirin"

and "Layli and Majnun", it's not surprising that in one

the boy and in the other the girl, take precedence.

Farkhad's character, somewhat exaggeratedly,

reflects the principles of futuvvat (generosity in

Sufism) and Naqshbandiya. He personifies noble

qualities typically attributed to young men –

generosity, fervour, loyalty, and diligence – in

abundance! Since his youth, he empathised with the

people, strived to alleviate their hardships, showed

compassion, despite possessing the strength of an

elephant, never harmed even an ant, endured life's

trials, and demonstrated self-sacrifice. These traits

render Farkhad a true young man. Despite his

extraordinary qualities and unique talent, he never

distanced himself from the people or abandoned

worldly pursuits, but rather lived by the motto "Dil ba

yoru dast ba kor!" (Love in the heart, hand at work).

He constantly thought of serving and benefiting

people. This becomes particularly evident when

Farkhad travels to Armenia in search of Shirin and

witnesses the miners' strenuous and unproductive

labour. Upon finding Shirin, he constructs a castle for

his beloved, surrounded by a pond.

Given that all of these were achieved by cutting

through mountain stones, the extent of Farkhad's

suffering becomes clear. From this perspective, it's

easy to comprehend Navai's promotion of the idea

that it's crucial to engage in deeds for the country and

people that ensure their satisfaction. Not only does

Shirin benefit from this, but the entire nation does as

well.

The poet suggests that actions performed in the name

of truth bear fruit, even during the darkest of times.

According to the poet's perspective, an individual's

humanity is principally determined by their social

activity, their contribution to the common good, and

their capacity to alleviate the burdens of others.

Someone who doesn't contribute to society and fails

to empathise with the people's struggles can hardly be

deemed a true human being. This is why Farkhad is

driven to acquire knowledge and skills. Notably,

Shirin also places humanity above love: 'Neither

lover nor beloved are jealous of me, if I were to die,

this would be my end'[8-393].

Such viewpoints are also evident in "Layli and

Majnun". For example, Majnun, having 'fallen in

love' and 'traversed the plains of sorrow',

acknowledges the power of love, but doesn't endorse

Majnun's alienation from society and his wish to live

in solitude. Majnun's journey began the day a spark

from the divine fell into his heart, leading him to the

steppe. The steppe signifies his entrance into the

realm of love. In Sufism, the steppe symbolises the

boundlessness of love. The poet emphasises this with

the line: 'Here came the steppe, the steppe of love'[9-

53]. No one has ever reached its end, nor returned

from it; the human bones strewn across the steppe

bear witness to this.

Majnun treads the path of Bayazid Bistami, a

renowned Sufi mystic, who advocated the way of

sukra – intoxication, vanity. According to Bistami,

only those who are completely immersed in the love

of God – considered divine wine – and forget

themselves, can experience divine enlightenment.

Anyone who is not a companion is not in love. This

is why intoxication and drunkenness feature so

prominently in classical literature. Thus, the poet

likens the individual in sukra to a person who has

dived into the sea and drowned, whereas the

individual who has attained Sakhav is akin to a pearl

diver.

For instance, whilst Majnun's actions only benefitted

himself, Farkhad's labours in digging a ditch and a

Alisher Navai’s Thoughts and Dreams of a Preeminent Person

449

pond serve not only Shirin, but the entire nation.

Majnun, however, embodies the day, and his path

(Majnun yuli) symbolises a journey towards truth

through the heart.

Although the poet himself subscribes to the

Naqshbandi teaching, he does not reject the paths of

Sufis such as Ibrahim Adham, Bayazid Bistami, and

Rabia al-Adawiyya. Instead, he respects their deeds

and statuses, mentioning these great figures in several

of his works and recounting stories related to them.

The 'madman' finds joy in the beauty of flowers and

communes with animals. The flora, fauna, and the

other-worldly entities sympathise with him and strive

to ease his pain. It's evident that Farkhad also formed

friendships with birds and animals, as when Khosrow

was secluded in the Salosil cave. In reference to this,

Shirin writes in a letter: "You have attained the status

of Solomon"[6.21].

CONCLUSION

Through the depiction of heroes befriending the

world of plants and animals, Navai puts forth the

concept of universal unity. As both humans and plants

are creations of God, there should inherently be unity

and harmony between them. Indeed, Allah has

imbued every particle of the universe with divine

qualities.

From this perspective, destroying nature, killing birds

and animals, are actions against Allah, thus they

should be respected and treated as friends. God is the

ruler of all. Both plants and birds sing the zhikr of

Allah in their unique ways. These are the noble ideas

put forth by Navai. Pertinently, the following

anecdote concerning Bahauddin Naqshband is worth

mentioning: "Hazrat Naqshband was riding a white

horse. When questioned about his choice, he

responded, 'On horseback, I can better hear the hymns

of the animate and inanimate entities around us

singing to the glory of Allah.'"

Navai does not separate spiritual beauty from

humanity, and he was an advocate of a symbiotic

relationship between knowledge and craftsmanship.

That is, a person who is spiritually mature and also

physically attractive embodies perfect beauty.

Similarly, if a learned individual also possesses a

craft, and a craftsman, in turn, embraces

enlightenment, this is regarded as true perfection. The

poet suggests it is desirable for a person to attain

maturity both physically and mentally, in both

knowledge and craft. Badiuzzaman, son of Husayn

Boykara, echoed this sentiment in his address to

Mirza: "…Beauty is mixed with image and poetry,

the exterior is handsome and the interior is perfect."

All these qualities are embodied in Farkhad: he was

proficient in all trades as well as in all sciences.

Alisher Navai's work is a unique source of wisdom.

Farkhad is not only spiritually mature but also

physically robust and attractive, brave and

courageous. His harmony with people, constant

readiness to serve his country, and using his

knowledge to alleviate people’s burdens, to ensure

their well-being and happiness, all demonstrate his

youthful vigour and allegiance to the Naqshbandi

teaching.

The Naqshbandi order promoted this path as the most

effective and efficient means of attaining God. In this

way, Alisher Navai conceived the image of a lover

who reached the truth (God) through the means of

love, through tariqat (Naqshbandi) in the form of

Navai Farkhad, and in the case of Majnun, through

love. If you seek an answer to any arising question

and turn to his work, you will surely find wisdom

suited to your state of mind. Your aims will be

realised, and your heart will find solace. This is due

to the poet's wisdom, garnered from a life observing

the entire spectrum of human nature, deeply

analysing the phenomena of nature and society, and

measuring all things and concepts related to the

universe and humanity.

The wisdom in the poet's works, drawn from life, is

beautiful in form, profound in content, and elevated

in artistic terms. Hence, it never loses its relevance

and is universally admired. This article, referencing

the judgment of wise individuals, is composed of the

insightful words of this great thinker and writer, from

nearly all his works, along with deep philosophical

contemplations and insightful observations of life.

REFERENCES

Президент Ислом Каримовнинг Навоий шаҳрида

Алишер Навоий ёдгорлик мажмуининг очилишига

бағишланган тантанали маросимда сўзлаган нутқи

// «Ўзбек тили ва адабиёти» журнали, 2001, 5-сон,

4-бет.

Аlisher Navoiy. Уммондан Дурлар. Die

perlenausdemozen. Pearls from the ocean. (Бадиий

таржима). Translated by K.Mamurov. Тошкент.

“Шарқ” –2000. 142с. 142 бет.

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

450

Алишер Навоий. Мукаммал асарлар тўплами. 13-жилд.

(Мажолис ун-нафоис). Тошкент, 1997. 169-бет.

Abdurauf Fitrat. Selected works. Two volumes. Volume 2.

Tashkent, 2000, pp. 110-117.

Komilov N. Sufism. The first book. Tashkent, 1996. 208 p.

123.

Алишер Навоий. Мукаммал асарлар тўплами. Йигирма

жилдлик. 1 -жилд. - Т.: «Фан», 1987, 21-бет.

Маллаев Н. Ўзбек адабиёти тарихи. Тошкент, 1976.

460-бет.

Алишер Навоий .Маҳбубул-қулуб (Насрий баён

муаллифи И. Махсумов). Тошкент, 1983. 52 – 54-

бетлар.

Баҳоуддин Нақшбанд абадияти. Тошкент, 1994. 42-бет

Alisher Navai’s Thoughts and Dreams of a Preeminent Person

451