The Role of Stories in Hayrat Ul-Abror Structure
Nigora Sharipova
Navoi Innovations University, Karmana, Navoiy, Uzbekistan
Keywords: Story, Composition, Plot, Classification, Poetic Interpretation, Artistic Skill.
Abstract: The article analyzes the role of stories in the composition of the dastans “Hayrat ul-abror”, their important
function in the formation of the structure of the work, the ideological and artistic features of the story, their
classification, and plot issues. When creating the “Hayrat ul-abror” architectonics, the issues of the original
style of Hazrat Navoi, his attitude to tradition, the early epics of his predecessors and innovation were
highlighted. It was found that the stories, considered the illustrative final part of the conversations of the epic,
are an important factor in proving the poet’s artistic intention. “Hayrat ul-abror” emphasizes that
conversations and stories are inextricably linked, that a specific moral, poetic idea is expressed in
conversations based on the author’s own opinion, the author’s views on time, space, reality, that the stories
reveal the issue discussed in the conversations, problem, the attitude of the sages of the past, saints to the idea.
This article also reveals the principles of updating epic stories, a realistic reflection of the spirit and problems
of the era in which the poet lived.
1 INTRODUCTION
The epic "Hayrat ul-abror" differs from the
subsequent epics "Khamsa" in having a single epic
plot due to its complex composition and wide range
of characters. This epic is fundamentally different
from the next four epics of the “five” not only
ideologically and semantically, but also in
construction. The work can be divided into three
compositional chains:
 General, integrated composition of the epic.
 Composition of conversations.
 Composition of stories.
This classification is also an important basis for
grouping the system of images in the epic. Images in
the epic participate in the formation of a
compositional chain. It should be noted that in
“Hayrat ul-Abror” articles and stories are
interconnected, and the articles express certain moral
and poetic ideas based on the author’s own opinion
and views on time, place and reality. The stories
define the attitude of the sages and revered saints of
the past towards the issue, problem and idea discussed
in the articles. The author's views, expressed in stories
and articles, are substantiated by the problems of the
destinies of real historical figures, mystics, rulers,
through a work of art that has a plot on a life event.
2 MATERIALS AND METHODS
Navoi is also a brilliant storyteller, and in this field,
he wrote folk oral works, Nizami, Dehlavi, Jami's
"Khamsa", as well as Jalaluddin Rumi's "Masnavi",
Fariduddin Attar's "Mantik ut-tayr", "Tazkirat". ul-
avliya", Saadi's well known plots and parables in the
works "Gulistan" and "Boston". At the same time, as
a statesman, Navoi knew perfectly well the character
and way of life of different social categories of his
time. That is why the stories clearly convey the image
and spirit of social life.
If we compare the range of moral, social ideas
and problems presented in Nizami's epic "Mahzan ul-
asror" with the ideas in Navoi's "Hayrat ul-abror", we
can see that Navoi's stories are on a much higher
level. The stories in Amir Khusraw Dehlevi's "Matla
ul-Anwar" and Abdurrahman Jami's "Tuhfat ul-
Ahrar" are much richer and more colourful than
Nizami's stories. In particular, the enlightening spirit
is strong in the stories of Jami's epic. The figures of
rulers (Noshiravon, Harun al-Rashid) in Nizami's
stories do not appear at the level of vivid
personalities. These shortcomings, in Navoi's
opinion, were somewhat corrected by Khusrav
Deglavi.
Sharipova, N.
The Role of Stories in Hayrat Ul-Abror Structure.
DOI: 10.5220/0012904600003882
Paper published under CC license (CC BY-NC-ND 4.0)
In Proceedings of the 2nd Pamir Transboundary Conference for Sustainable Societies (PAMIR-2 2023), pages 579-585
ISBN: 978-989-758-723-8
Proceedings Copyright © 2024 by SCITEPRESS – Science and Technology Publications, Lda.
579

According to the principles of epic by Nizami,
Dehlavi and Jami, the stories in Navoi fulfil three
important poetic tasks.
 Arguing, justifying the question on the topic
of the conversations.
 If the problem is justified, to express an
opinion about it in artistic images.
 The role of familiarisation with the ideas of
the following epic "Khamsa".
Some of the characters in the narrative stories are
historical figures, kings (Noshiravon, Bahram,
Iskandar) and saints (Boyazid Bistomi, Ibrahim
Ahmed, Abdallah Mubarak, Sheikh Iraki, etc.), some
are ordinary hard-working people (his son - an old
man demanding food, an old woodcutter, a slave,
etc.), some are animals (a lion, a deer). Some
characters are nameless, given only symbolic names
(the tame Tomy and the contented Blood). Some
stories have a complete plot, some stories have part
of a plot.
The stories of "Hayrat ul-abror" can be grouped
by theme and content as follows:
 Stories in a mystical-philosophical spirit.
 Stories focusing on justice, valour, and
bravery.
 Stories interpreting human virtues and vices.
 Stories glorifying science and scholarship.
First group. Bayazid Bistomi and Muridi (first
conversation), Ibrahim Adham and Robiai Adwiya
(second conversation), Abdullah Ansari (fourth
conversation), Sheikh Iraki (ninth conversation),
Iskandar (fourteenth conversation), Stories of Zainul-
Abidin and his son (seventeenth conversation) can be
included in the first group.
The second group includes the stories of Shah
Ghazi (third conversation), Abdullah Mubarak
(sixteenth conversation), and Shah Bahram
(nineteenth conversation).
Stories belonging to the third group include
"Hotami Toyi" (fifth conversation), "Noshiravon and
Nargis" (sixth conversation), "A Satisfied and
Dissatisfied Friend" (seventh conversation), "Ikki
vafoli Yor" (eighth conversation), "Lyon and Durroj
Masali" (tenth conversation). Ayub and the Thief
(thirteenth conversation), Israelite Rind (fifteenth
conversation), Chin Gozali and her lover (eighteenth
conversation), Khoja Muhammad Porso and his
stories about Khoja Abu Nasr (twentieth
conversation) may be learnt.
The fourth group includes the stories about Imam
Fakhr Razi and Khorezmshah (eleventh
conversation) and Yakut (twelfth conversation).
The scholar N. Ganikhodjaeva Navoi, who
researched the stories of "Khamsa", said that
throughout his activity Navoi defended the interests
of the people in order to prevent feudal massacres,
which subjected this people to destruction and
humiliation, and to establish peace in the country. It
can be said that these ideas are more vividly
expressed in the poet's stories about the rulers.
According to N. Ganikhodjaeva, some stories
show the development of characters, while others do
not, and some stories are based on showing the
momentary state of the character. In our opinion,
during this short period of time the spiritual world,
worldview, spirituality and enlightenment of the
character can be clearly seen. In particular, this is the
case with the characters of Herat Pir Abdullah Ansari
and Bayazid Bistami. This is not the case with the
depictions of other saints, dervishes, and Sufis. For
example, in the story about Muhammad Porso and his
son Abu Nasr, the character of the heroes is revealed
on the basis of a certain plot and development of
events.
In "Hayrat ul-abror" in the third conversation he
criticises tyrant-kings who tortured his people and
sultans with strong hatred according to the subject of
the article. Professor H. Boltaboev in Fitrat's treatise
"Navoi's Opinion on Humanity" interprets Navoi's
opinion of the Sultans in Fitrat's interpretation: and
concludes that he showed his inability to pass the ulus
on the path of piety. Since they are clay, you are not
pure light, they are all made of clay.
It can be said that Alisher Navoi influenced his
friend Sultan Hussein Baykar to become a just king
by criticising the repressive sultans. This chapter
contains important information about the biography
of Sultan Hüseyin Baykar. It records the historical
battles of the poet Sultan Hussein for the throne.
The story of Shah Ghazi and the complaining old
man in "Hayrat ul-abror" has a complete plot. In it,
the exposition - the previous state of the characters is
described on the basis of real reality:
Andaki, G‘oziy farxunda baxt
Toj olayin deb taloshur erdi taxt.
Yuz, ikki yuzcha kishi birla qazoq
Gah yeri Xorazm edi, gah Adoq.
In these verses the real historical reality is clearly
given. According to historical sources, Hussein ibn
Mansur ibn Baykara fought for the throne in the
Timurid region in the twenties and thirties and fought
fiercely in the steppes of Khorezm and Kipchak.
Sultan Abu Said did not heed the warning of Khoja
Akhror, led a large army into Iraq, was captured and
died in battle. Hearing this news, Hussein Boigaro
quickly defeated Yodgor Mirza and took the throne.
Navoi describes the tyrant sultans in the article and
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the justice of Shah Ghazi Hussein Boykar, who is
their opposite, in the story.
This story has a complete plot, a knot of conflict (the
old man's son was killed by Shah Ghazi in battle); a
development (the old man demands food for his son
and complains to the judge, the judge demands a
witness; a climax (the old man recognises the king's
justice and honesty as two witnesses); denouement
(finds the king guilty , or receives punishment, or
sentences him to pay alimony); epilogue - as the old
man, relinquishing his claim, is moved by this justice
- all elements of the plot are beautifully worked out.
The king agrees with the verdict and places a sword
and a handful of gold before the old man. His story
mentions the Navoi Mazkur Zoli Zar, one of
Firdausi's heroes. Shah Ghazi's justice is also
developed in the character of Alexander in the epic
"Saddi Iskandari".
The theme of the story is the old man's demand for
justice, the problem is the judge's demand for two
witnesses. The idea in the idea - if a citizen is
oppressed, he has the right to complain to the king.
To say this took great courage from the poet. Hussain
Baigaro for no reason said in his "Risola" that
"Alisher is courageous in right words". Khondamir
writes in "Makorim ul-Akhlaq" that Hussein Baigaro
issued an order to resettle three thousand families
from Herat to Khorezm. Navoi appealed to the king
eleven times to change this decree. Three thousand
family numbers will be reduced to one thousand. Two
thousand families will not leave the Motherland.
Alisher Navoi's personal courage and patriotism are
reflected in his stories and heroes.
3 RESULTS AND DISCUSSION
Alisher Navoi devotes the fifth conversation of
"Hayrat ul-Abror" to the theme of generosity and
bounty and adds to this article the story of Khotami's
wedding. It is known from history that Khotami Toyi,
existing in Oriental literature and mentioned by Navoi
in his epic "Note 6-a. end 7-a. chief of the Toyi tribe
in Yemen, a famous military leader and poet. Among
the peoples of Arabia and the East Khotami Toyi is
known as Khotama of the Toyi tribe".
The idea expressed in the plot of this story is to
throw light on the reasons for the difference in the
characters and outlook of Hotam and the old
woodcutter. By contrasting generosity and avarice in
the story, the poet leads the reader straight into the
valley of generosity. He exclaims that it is nobler to
live by one's own labour than to rely on the generosity
of people:
Bir diram olmoq chekibon dastranj,
Yaxshiroq andinki birov bersa ganj.
Navoi's story shows that the old woodcutter is
physically weak but strong morally. The spiritual
strength of the woodcutter is that he does not need
Khotam's generosity but earns a living by his own
labour.
In Nizami's "Mahzan ul-asror" there is also an
conversation of such content, and the story attached
to it corresponds to Navoi's story in theme and
direction. The fifth conversation in "Mahzan ul-asror"
is called "On the Peculiarities of Old Age", and
Nizami added to it a story about an old bricklayer.
These two stories share the same idea. Nizami and
Navoi glorify pious people who spend their lives in
honest labour and make a living from the small
income they thus earn.
The third chapter of Saadi's work "Gulistan" is
called "Description of the Virtues of Contentment",
and the author includes several stories about Khotami
Toya, close in plot to Navoi's story. The dervish in
Saadi's story, like the old woodcutter and the
bricklayer, asks for alms and is content with what he
earns rather than helping others. In Saadi's story, the
old man:
“O‘z mehnatidan non yegan kishi,
Hotam minnatidan ozod yoz-qishi"- Suffice it to
say that this image in Navoi is ideal in many respects.
In addition to the woodcutter's reply and the address
to Khotam, the author himself is also present in the
story.
Himmat agar bo‘lsa Navoiy sanga,
Banda durur Hotami Toiy sanga.
brings a final judgement and in every way encourages
the reader to be satisfied.
Literary critic N.Gaffarov says that the character
of the old woodcutter in the story "Hotami Toyi" is
not an ordinary citizen of society, this character is a
saintly nature, a saintly quality, "a person who puts
the dirham earned by honest work above grateful
charity, renounces the pleasures of the mortal world,
and lives only for the pleasure of the Truth. admits
that analyzing Sa'di and Navoi's stories in terms of
ideas and content, Navoi scholar N. Ganiho'jayeva
emphasizes that, unlike his predecessors, Navoi
skilfully used psychological imagery, skilfully
enlivened the mysterious spiritual world of a noble
person who fell in love with Hotam in the work.
In idea and content, Navoi's story is somewhat close
to those of Saadi and Nizami. However, in Navoi's
story the social spirit and psychological image are
somewhat more perfect. Moisafid in "Khairat ul-
Abrar" harshly criticises Khotam, criticises him
mercilessly, includes him among those who refuse to
The Role of Stories in Hayrat Ul-Abror Structure
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work, and says that the most important sign of
nobility is earning an honest living:
Sen dog‘i chekkil bu tikan mehnatin,
Tortmag‘il Hotami Toyi minnatin.
At the end of the story, the idea of the literary hero
(Hotam Toei puts the old woodcutter above him) and
the idea of the poet come together. According to this
idea, Khotam's generosity is good, but living by one's
own labour without needing Khotam is even better. In
this story, the poet condemns greed and promotes the
idea of hard work. «The sixth conversation of "Hayrat
ul-Abror" is devoted to matters of manners, and
Navoi adds to this article a story related to
Noshiravon. According to the legend, when
Noshiravon was extending his hand to his beloved in
the garden, his gaze fell on a daffodil flower, and he
immediately pulled her hand away. In Noshiravon's
opinion, it is impolite to extend one's hand in front of
this flower, which resembles a human eye. In this
story, the poet has recognised politeness and modesty
as necessary qualities of a man, and Noshiravon in
"Tarikhi Muluki Ajam" appears as a just king, a wise
man who knows religion.
Literary critic N. Mallaev says that this plot can
be found in ancient Eastern and Western literature,
including in “Khumcha” by Titus Mac Plaut, a work
by the Uzbek storyteller of the 16th century Khoja.
There is another story about Noshiravon in
Tarihi Muluki Ajam. In this context, the story is also
found in the works “Gulistan” by Sheikh Saadi and
“Gulistan Bit-Turks” by Saifi Saroi, written as a free
translation of this work. Both creators have the same
conclusion and solution: you need to pay for the
product. To take for free did not become a habit and
the village did not turn into ruin. They asked him:
“What damage will this flax cause to the village?”
Noshiravon replied: there are few grounds for
oppression. Everyone improved little by little and
reached the current level.”
The story about Noshiravon, written by Navoi,
echoes Sheikh Sadi. However, the ending of Navoi's
story is somewhat ideal. If Saadi limits himself to the
general opinion of increasing oppression, then this
aspect finds a more reasonable expression in Nawai:
“It is amazing that a king can adopt a bad habit for a
small sum.” After all, “fame goes to the one who
created it.” From this idea, the reader becomes alert,
synthesizes his actions and refrains from oppression.
In addition, other parts of Saadi's Gulistan and Boston
describe Noshiravani Adil, and events related to him.
These are prose and poetic works such as “About
Noshiravon and his minister Buzurjmer” and
“Noshiravon’s testament to Hormuz before his death”
in the first chapter of “Boston”.
Literary critic N. Ganikhodjaeva believes that
“Navoi’s thoughts about justice are more similar to
the thoughts of Nizami and Saadi. That is why some
of Navoi’s thoughts on the topic of justice are very
similar to the stories of Nizami and Saadi on the topic
of justice”. In fact, Nizami Ganjavi also included a
story related to Noshiravon in Mahzan ul-asror, the
first epic of his Khamsa. This story is completely
different from the ones above in plot and idea. The
commonality of the stories, as noted by scientist N.
Ganikhodzhaeva, is not noticeable in the stories of
Noshiravon by both artists. However, the plot of the
story “About Shah Bahram”, appended to the
nineteenth article of “Hayrat ul-abror”, is compatible
in theme and idea with Nizami’s story “About
Noshiravon and his minister”. Both stories have
something in common. However, the elements in the
stories are not the same. In Nizami, the main
characters of the story are Noshiravon, his minister
and two owls, but in Navoi the situation is a little
different. In his story, Navoi turns to the images of
King Bahram and the poor farmer. The fact that
Navoi is a master of psychological imagery can be
seen from the tragic appearance of the villages of that
time and the honest and courageous words of the
peasant addressed to the tsar. In this story, two
characters are contrasted: on the one hand, the
powerful King Bahram, and on the other, an honest
old man in a difficult situation, oppressed by
oppression.
Xasta ko‘ngul ovlomog‘ etmay havas,
Sheva anga dashtda ov erdi bas.
In this verse, Navoi uses the word “hunt” in different
meanings and emphasizes that the main task of a just
and wise king is to solve the problems of sick souls
and make them happy.
In the tenth conversation of Hayrat ul-abror, the
parable of the lion and durrodj is included in the epic
to give the reader a deeper understanding of the tragic
end of lies. Durrodj did not adhere to the terms of
friendship: he deceived his friend, who did not listen
to his words. The most difficult moment in his life is
when he falls into the trap of a hunter, the lion
“companion” does not come to the rescue and his life
ends in tragedy. Navoi wants to say that the position
of a liar among the people is sad. Regardless of
whether he is a king or a prince, if the public knows
that he is lying, no one will believe his truth:
Kimsaga yolg‘onchi debon qolsa ot,
Bu ot ila chorlasalar o‘zu yot,
Sidq xitobi yana yonmas anga,
Chin desa ham, xalq inonmas anga.
It is clear that Navoi, while writing "Hayrat ul-
Abror" and choosing a topic and image for each
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conversation, took into account the wishes of a wide
audience. For this purpose, it is characteristic that he
chose an instructive parable for the tenth article in the
style of "contribution from a story" rather than a story.
With this, the poet:
First of all, the influence of a metaphorical image
is several times greater than the influence of a simple
image.
Secondly, taking into account that the quality of
correctness should be formed in the human
personality in childhood, and after growing up, even
with all the influence, the person may not fully reflect
this quality in himself, the readers of this article are
children. , chose the youth audience. He thought that
the revelation of the theme through the metaphorical
characters of the parable is both interesting and
impressive for the young reader.
Prophet Ayyub is mentioned as the main character
of the story appended to the thirteenth conversation
of the saga. In some studies, and sources, the
character of Ayyub in “Khairat ul-Abrar” is
interpreted not as a prophet, but as a scientist Ayyub
bin Khalaf Khazraj. However, at the end of this story,
Navoi, who stated that although Noah did not desire
his life, but desired the patience of Ayyub, his views
completely confirm our opinion that the character of
the story is the prophet Ayyub:
Bot bo‘lu bir jom ila yetkur futuh,
Sabr esa Ayyubcha, yo‘q umri Nuh.
It is known that Ayyub is one of the 25 prophets
whose name is mentioned in the Koran. Ayyub's
name and history are mentioned in the Torah, Bible
and other ancient books. Ayyub is known as the
symbol of a patient man who endures all kinds of
troubles and difficulties with steadfastness”. In the
story he is embodied as a benevolent image that does
not require obedience to prayer. Navai about Prophet
Ayyubi Sabur, who saw a thief enter his house, did
not break his prayer, was patient, and then showed
mercy to the thief and burned his body and soul in the
fire of repentance. He also provides information in his
work "The History of Anbiyo and Hukamo".
According to sources, “Prophet Ayyub has been
world famous for his patience since ancient times and
this quality has been set as an example. Indeed, in
response to satanic envy, he endured all the troubles
and pains sent by God, and did not complain”. Many
scientists prove that the descendants of the Prophet
Ayyub were subjected to various tests by God and
overcame all difficulties on their own, relying on the
suras of the Holy Quran and a number of religious and
scientific literature.
“Some historians suggest that Ayub’s
probationary period was three years, others - seven
years and several months.
Secondly, all their property disappeared. Seeing
this, people of little faith and disbelief laughed at
Ayyub and said: “If he were a prophet, he would not
have suffered such pain and would not have been
separated from his wealth” and turned away from him
completely. However, Ayyub (peace and blessings of
Allah be upon him) was God's favorite prophet.
In “Hayrat ul-Abrar” there is the concept of
honesty, rightness of hand, and Navoi uses this phrase
to characterize the owners of husnikhats and people
who are accustomed to honest work in their daily
lives. In particular, to people who have written the
letter correctly, the poet says “Tengri nasib aylab
anga shodlik” together with “Tengri nasib aylab anga
shodlik”.
According to poet’s view, the owner of a crooked
hand acquires two different meanings:
1) In the form of crooked writers, secretaries who
exaggerate lies.
According to Navoi, it should be said about the
owner of the “Crooked Letter” that he is accustomed
to correctness: «Egri durur xatki, emas mustaqim».
2) In the form of robbers. These thoughts of the
poet are very important for a complete understanding
of the essence of the story about the Merciful Job and
the thief in the epic. The character of the thief plays
an incomparable role in the development of Ayub's
character in the story. The expression “crooked hand”
has long been used by our people to refer to thieves,
and the people hated them. Also, in the proverb “A
thief will not stop stealing until his hand is cut off”
there is an indication that when a person commits
theft, he is punished by having his hand cut off. Navoi
also mentions this tradition in the tenth article of
“Hayrat ul-abror”:
Bo‘lsa ilik egrilik ichra samar,
El ani kesmakda tuz etgay magar.
In one place, the poet, seeing the punishment of a thief
by “cutting off his hand,” thinks that in another place
it is possible to enlighten his winter heart with the rain
of enlightenment, forgiving and justifying his sins.
such a high task for the gracious Ayyub. The poet
admits that the thief is also a member of society.
Navoi, who for many years was a moral supporter of
the people, could not always see the thief as deserving
of severe punishment. Learning to forgive a thief can
also awaken the dormant qualities of righteousness in
the thief's personality, making him worthy of the
valley of truth. The poet, who understood this well,
included the story “The merciful Ayub corrected the
wickedness of the thief-thug.” as an expression of his
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views. This story has the perfect plot. Ayyub, who
opened the door of his house to the “kisaburi
nakbzanu”, who could not squeeze into the “small
hole” with a “big load”, and showed the way, made
the position of the thief black and perverted. With a
thousand regrets about his action, the thief laid his
head on the blessed feet of Ayyub, shame burned his
body like hay, and he repented. In this place, Navoi
drew special attention to the fact that repentance is the
first stage of the spiritual and spiritual improvement
of tax in Sufism. The thief’s crying and repentance,
Ayub’s becoming a murid, give the idea of the story
a mystical connotation. Thanks to Ayyub's excellent
behavior, the thief reaches a state of repentance, curbs
his ego and takes the right path. In Sufism, the essence
of repentance is explained as “renouncing disbelief,
turning back to morality, seeing one’s shortcomings,
turning away from evil deeds, evil deeds and evil
thoughts” [6;27] presents the wise act of the prophet
as the main motivation of the story and emphasizes
that as a result the thief's heart turns to enlightenment:
Komil anga berdi chu bu parvarish,
Ayladi bir avf bila muncha ish.
In the epic “Hayrat ul-abror” Alisher Navoi gives the
character of Prophet Ayyub, popularly known as a
symbol of patience, the characteristic of forgiveness,
which shows that the image of Prophet Ayyub in
literature has reached an ideological and ideological
level. artistic excellence, and it should also be
recognized that this aspect shows the innovation and
artistic skill of the poet.
A story with a poignant plot is attached to the
eighteenth conversation of “Hayrat ul-abror”. This
story, entitled “The Exploits of Chin Margzori
Mushkin Gizola.” describes an event in the spirit of
the fairy tale “A Thousand Nights.” The king
sentenced the lovers who saw the beauty of his
daughter to death, chained them to the wall and made
them drunk. Despite this execution, the faithful lover
lies among the ruins, happy that his beloved is killing
him. This tale has mysterious meanings, folk art - a
plot typical of a fairy tale, new aspects of the romantic
theme, an idea related to truth and metaphor, the
influence of the love of a tyrant khan, loyalty, fidelity,
joy to death, all artistic and ideological aspects there
are elements.
The events of the story, conflicts, and conflicts
develop according to the logic of the characters. The
atmosphere of arrogance and malice in the character
of Khan and his daughter-master drives the plot. Hakk
Taala Chin is a beautiful girl who gave beauty to her
daughter and father - the khan does not want the
people and subjects to see this blessing given by God.
This creates tragedies of negative characters. This
story is not about thinking, but about the loyalty and
devotion of the nobles - although it does not have a
positive effect on the ignorant and murderers, it can
be found in both fiction and fairy tales. The poet's
purpose and idea allow this.
The idea of the fairy tale is perfectly poetically
expressed that if happiness and beauty are not
combined with human qualities, then they will bring
grief, misfortune, and destruction to the people.
In the last twentieth article of “Hayrat ul-Abror”,
the story of Alisher Navoi describes how one of the
arrogant companions of Khoja Bahauddin Nakshband
went on a pilgrimage with his son Abu Nasr. It is said
that when the Hajj ceremonies are performed and the
people disperse, they ask Khoja Muhammad Porso:
“We have heard that your prayers will be answered,
please pray that our wishes will be heard.” Khoja
Mohammad Porso said: “I came here with the
hardships of travel, my son found peace from the
hardships of the path, only thinking about the Truth. I
cannot pray without my teacher's permission. Since I
am my son’s teacher, I will allow him to bless you.”
The son of Abu Nasr prayed, and at the end the
Almighty said: “Amen!” to this prayer of my father.
“Please answer this prayer in my honour.” These
words have a strong impact on everyone. These
characters in the story are real historical figures, and
Khoja Muhammad Porso gave information about the
principles of the Naqshbandi sect in his works
“Kudsiya” and “Fasl ul-Khitab”. The incident
mentioned in Khairat ul-Abrar is also described in
Nasaim ul-Muhabbat.
It is not for nothing that this story about the
relationship between father and son is included in the
saga. In the twentieth article, which concludes the
saga, Navoi gives advice to Prince Badiuzzamon. The
father-son relationship between Prince Badiuzzamon
and Hussein Boigaro was always irreconcilable, and
much of its improvement was due to Navoi. The
addition of the story of Khwaja Muhammad Porso
and his son Abu Nasr Porso from Hayrat ul-abror to
the article containing advice to Prince Badiuzzaman
is an important step towards improving the father-
child relationship between Hussein Boykara and the
prince.
4 CONCLUSIONS
The conversations and stories in Khayrat ul-Abror
can be said to be related to the following epics in
terms of theme and character:
 The proximity of the article about love and
the love story of Fakhriddin Iraqiy to
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“Farhad and Shirin” and “Leyla and
Majnun”.
 An article about criticism of the sultans and
a story about Shah Bahram are close to the
theme of the “Sabayi Sayyor” saga.
 The closeness of the article about people
who benefit the people to the ideas of Farhad
digging a mountain and bringing water in the
epic "Farhad and Shirin".
 The story of Alexander's will is developed in
"Saddi Iskandari".
The fact that other conversations, stories, and
parables of the saga are not similar to the content of
subsequent epics shows that “Hayrat ul-abror” is not
just a prelude to other epics, but an independent epic.
Another proof: the three miracles in “Khairat ul-
Abrar”, journeys of the mind into the world of
property, existence and kingdom are not a prelude,
but the ideological and artistic center of the entire
saga. Therefore, in our opinion, it is appropriate to
study the stories of “Hayrat ul-abror” as components
of an independent epic plot.
The themes chosen in the stories of “Hayrat ul-abror”
not only express the worldview of Navoi, but also
reflect the worldview of the heroes of the story -
(Noshiravon, Bahram, Jamshid, Iskandar, Abdullah
Mubarak, Abdullah Ansari, Ibrahim Adham, Rabia
Adavia, etc.) It should be noted that the worldview of
each of them contains very important ideas for real
life, society and individual life.
It should be noted that the plots of the first epic, in
addition to illustrating the essence of the topic
presented in the articles, are valuable historical and
artistic sources that express the artistic and aesthetic
views of the author and provide important
information about the life of historical figures. Who
lived in history.
REFERENCES
Alisher Navoi. Hayrat ul-abror. CSW. Ten volumes.
Volume six. – T. Photo: Press and InformationAgency
of Uzbekistan.Gulam Publishing House-Creative
House of Printing, 2013.
Alisher Navoi. The history of the rulers of Ajam. CSW. Ten
volumes. Volume eight. – T.: Gafur Gulam Publishing
House-Creative House of Printing, 2013.
Alisher Navoi. The history of the prophets and sages. CSW.
Ten volumes. Volume eight. – T.: Gafur Ghulam
Publishing House-Creative Press House, 2013.
Abdulaziz Mansour "Translation and interpretation of the
meanings of the Holy Quran". - Tashkent, 2001.
Boltaboev N. Uzbek literary criticism of the beginning of
the XX century and the scientific heritage of Fitrat.
Philol.science.doc. Diss. - Tashkent, 1996.
Komilov N. Sufism. – T.: MOVAROUNNAHR-
UZBEKISTAN, 2009. – B. 27.
Mallaev N. Alisher Navoi and folk art. - T.: Gafur Gulam
Publishing House-Creative Press House, 2015.
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