Selecting Khazoyin ulMaoni Kulliyot for the Corpus of Alisher

Navoi's Works

Manzura Abjalova

and Nargiza Gulomova

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

Navoi Innovations University, Department of Philology and Language Teaching, Navoi, Uzbekistan

Keywords: Corpus, Innovative, Text Structure, Idiostyle, Devan, Byte, Semantic Tag.

Abstract: This article provides information on creating Alisher Navoi’s author corpus, using the “Khazayin ul-

maoni”collection as a base, and the educational value of the corpus. Causal connections between statements

create a logical flow of information. The article aims to help experts and researchers in special linguistics

understand the explanatory words found in ghazals according to artistic and scientific criteria. The language

used is clear, concise, and objective, with a formal register and precise word choice. The article follows

conventional academic structure and formatting, adhering to style guides and consistent citation.

1 INTRODUCTION

Bringing Alisher Navai’s invaluable spiritual heritage

closer to the people is a significant task. Navoi’s work

has a tremendous impact on the formation of the

spiritual world of mankind in a national and

humanitarian spirit. It serves as a guideline for

understanding the laws of formation and development

of our classical literature. Navoi’s creative heritage

consists of over 26.000 unique words – Davlatov

[2021], showcasing his philosophical observations.

To fully comprehend Navoi’s work, one must possess

the ability to delve into the world of Immaculate

Conception. However, given the semantic changes in

our current linguistics and the time period in which

Navoi lived, this may not be entirely feasible. Today,

not only the younger generation, but also specialists

working in the field of linguistics find it difficult to

fully appreciate Navoi’s creativity in accordance with

the criteria of artistry and science. Navoi’s works,

written in both lyrical and prose, may be challenging

to comprehend without the aid of explanatory

dictionaries. This is due to the fact that many of the

words found in classical sources are no longer in

common use today, either due to their archaic or

historical nature. In our study, we have identified

words that require specialist, annotated dictionaries,

https://orcid.org/0000-0002-1927-2669

https://orcid.org/0000-0002-7716-1799

or other auxiliary resources to understand as

‘annotated words’. In the preface of the devan

‘Garayib us-sigar’, Alisher Navoi found the meanings

of all explanatory words for his works, including his

four devans: “Garayib us-sigar” (“The strangeness of

youth”), “Navodir us-shabab” (“Rarities of youth”),

Commenting on the Naming of “Badoye’ ul-vasat”

(“Arts of middle age”), and “Favoyid ul-kibar”

(“Benefits of old age”). “Tufuliyyat avonikim, yetti-

sekkiz yoshdin yigirma yoshqacha chinasa

bo‘lgʻaykim, umr fusulining navbahori va hayot

gulshanining shukufavu gulzoridur, aning madhida

“Gʻaroyib us-sigʻar” bila sarf qildim. Shabob

zamonikim, yigirmadin o‘ttuz beshgacha desa

bo‘lgʻaykim, ham bu fusulning yozidururkim, yigitlik

chashmasorining hayotbaxshligʻining ogʻozidur,

aning vasfida “Navodir ush-shabob” bila kechurdim.

Va kuhulat ayyomikim, o‘ttuz beshdin qirq beshga

degincha qiyos qilsa bo‘lg’aykim, bu fusulning

xazonidurkim, tiriklik bogʻining bargrezining

nishonidur, aning ta’rifida “Badoye’ ul-vasat” bila

o‘tkardim. Va qirq beshdin-oltmish yaqinigʻachakim

ta’yin qilsa bo‘lgʻaykim, bu fusulning qishidurkim,

kishining xam qad bila adam yo‘ligʻa kirib, zamon

ahli bila xayrbod qilishidur, aning duosida “Favoyid

ul-kibar” bila nihoyatqa yetkurdum” – Navoi [1987].

This prose text contains 103 words, 68 of which are

annotated. Without the use of special explanatory

586

Abjalova, M. and Gulomova, N.

Selecting Khazoyin ulMaoni Kulliyot for the Corpus of Alisher Navoi’s Works.

DOI: 10.5220/0012905000003882

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 586-592

ISBN: 978-989-758-723-8

dictionaries, it may be difficult to understand the

valuable information about the names of the devans

in the “Khazayin ul-maoni” collection. It is crucial to

maintain a clear and concise writing style with a

logical flow of information and causal connections

between statements. The language used should be

formal, objective, and value-neutral, avoiding biased,

emotional, figurative, or ornamental language.

Technical terms should be explained when first used,

and subject-specific vocabulary should be used when

it conveys the meaning more precisely than a similar

non-technical term. The text should be free from

grammatical mistakes, spelling mistakes, and

punctuation mistakes. The content of the improved

text must be as close as possible to the source text,

and the addition of further aspects must be avoided at

all costs. The importance of existing explanatory

dictionaries in the semantic analysis of Navoi’s works

and their potential use today became clear during the

work process. The term “chinasa” used in the text

refers to the language of “Navoi’s works, as

described” in P.Shamsiyev and S. Ibrohimov’s book

– Shamsiev [1972] and the 4-volume “Annotated

dictionary of the language of Alisher Navoi’s works”

edited by E. Fazilov [1983]. Unfortunately, this

information is not readily available on internet

sources, making it difficult for the average reader to

find. Consulting experts may be necessary, but this is

not always feasible for the general reader. Interactive

innovative tools can be a solution to the problem

presented. The Alisher Navoi author corpus, referred

to as MK, serves as an example of such a system.

2 RESEARCH METHODOLOGY

The work on this corpus started by semantically

tagging 650 ghazals from the 2020 “Badoye ul-vasat”

library. A total of 39 hours were dedicated to Navoi’s

life and work in general education schools, with 9

hours specifically allocated to the study of Navoi’s

lyrics. The study focused on 5 of the poet’s 16 lyrical

genres, namely ghazal, rubai, tuyuq, qasida, and

fards. The study analysed ghazals, verses, and verses

from the “Badoye’ ul-vasat” devan in school

textbooks, highlighting the need for scientific

research of the divan. To facilitate the study of

Navoi’s work in the educational process, the work

began with the third devan. An initial prototype of

Alisher Navoi MK was created based on the semantic

tagging of 650 ghazals, providing contextual meaning

of the words in the verses - Abjalova et al., [2022].

Considering the corpus’ educational, social, spiritual,

historical, and linguistic significance, the research

continued by semantically tagging 1950 ghazals in

the remaining three devans of the “Khazayin ul-

maoni” collection.

In the digital age, Navoi’s literary works, both

lyrical and prose, can be presented to the public with

grammatical and semantic tagging of the lexical units.

This ensures that Navoi’s works are comprehensible

and readable to a wider audience, including those on

the global network.

The Alisher Navoi MK provides information on

the renewal of modern language from the 15th

century, cases of words becoming obsolete, activation

and passivation in contemporary social life, statistics

on the usage and frequency of certain words in

Navoi’s works, and poetic numbers used in ghazals.

The text also highlights the quick, accurate, and

comprehensive learning of horses. The reliability of

the corpus is guaranteed by the fact that the semantic

analyses in the author’s corpus are based on reliable

scientific sources. The corpus fully reflects the entire

spectrum of linguistic phenomena, allowing for a

comprehensive and objective study of the necessary

information.

“Badoyi’ ul-bidoya” (“The beginning of art”) is

Navoi’s first devan after Husayn Boykara’s accession

to the throne. In the preface, the poet discusses the

process of organizing the devan and highlights its key

features. “Avval budurkim, har kishikim devon tartib

qilibdurur, o‘ttiz ikki harfdinki, xaloyiq iboratida

voqi’durur va ulus kitobatida shoyi’, to‘rt harfgʻa

taarruz qilmaydururlar. Chun so‘z arusi nazm

haririning matbu’ kisvatin va mavzun xil’atin kiyib,

jilva og‘oz qilsa, huqqayi yoquti dog‘i o‘ttuz ikkita

gavhardin qachonkim to‘rtig‘a nuqson voqi’ boʻlsa,

muqarrardurkim, jamoligʻa andin qusur va kalomigʻa

andin futur voqi’ boʻlgʻusidurur. The divan by

Alisher Navoi begins with ghazals, consisting of 32

letters including ﻢﻴﺟ – chim, ﻲﺟ – je, ﻑﻮﺟ – gof and

ﻡﻮﻟ – ﻒﻟﺃ – lom-alif. It is important to note that the

information provided consists of 56 words, 36 of

which are no longer in use and require semantic

explanation for the ordinary reader to understand the

content. It is important to identify the explanatory

words in Navoi’s prose sources using special ID

codes and enter their contextual understanding into

the MK database through semantic tagging. This

ensures clarity and precision in the interpretation of

Navoi’s work.

Although Navoi named the divans in his kulliyat

by comparing human life to four metaphorical

seasons, the ghazals included in them are not

proportional to the corresponding age periods. For

instance, in “Garayib us-sigar”:

Yoshing ellik boʻldi, yuz qo‘ygʻil fano tufrogʻigʻa

Selecting Khazoyin ulMaoni Kulliyot for the Corpus of Alisher Navoi’s Works

587

Kim, shabob ayyomi aysh-u beadabligʻ chogʻi

bas. (240-gʻazal)

In “Navodir ush-shabob”

Ey Navoiy, huzn ila o‘tkar qariligʻ mehnatin,

Chun yigitlik bordi aysh-u ishrat ayyomi bila.

(548-gʻazal)

Yoshim ellik bo‘ldi yuz hasrat yesamkim sudi

yo‘q,

O‘zni maydin hush tutay chun o‘tti umrum

xushrogʻi. (586-gʻazal)

“Favoyid ul-kibar” is a collection of ghazals that

reflect the vitality of youth. No cha‘nges in content

were made. The poet created a commotion among the

young audience and took away their peace and

decision-making ability. The collection is a

celebration of youthfulness and its energy.

Mast o‘lub bir dam shabob ayyomini tut

mugʻtanam

Kim, yigitlik dam-badam o‘tmakdadur ayyom

aro. (19-gʻazal)

Ishq ajab dard emish, dardqadur chora sabr,

Vahki, Navoiy base oshiq-u bechoradur. (146-

gʻazal)

Undoubtedly, “Khazayin ul-maoni” is a

significant discovery of Navoi. This book contains

almost all uzbek poems belonging to the 16 different

lyrical genres created by the great poet throughout his

life.

The poet spent over six years (1492-1498)

organizing this collection in its current state,

arranging its internal structure in a robust manner and

categorising the 16 types of lyrical genres into four

devans. “Khazayin ul-maoni” preface includes poems

in six genres, with a total of 45,000 verses. The genres

are ghazal (2600), rubai (133), muhammas (10),

mustazad (4), musaddas (5), tarje’band (4), and qit’a

(210), as well as lugʻz-chistan (10), muammo (52),

tuyuq (13), fard (86), masnavi (1), and qasida (1).

The way in which the devan is ordered demonstrates

Alisher Navoi’s keen observation and logical

thinking. As a result, his devans have become a

unique and exceptional artistic event in the history of

Turkish poetry. Navoi’s works, including his devans,

quickly gained popularity among literary, artistic, and

scientific communities. Due to the increasing

popularity of Navoi’s devans, they were frequently

copied by renowned calligraphers including Sultan

Ali Mashhadi, Abdujalil Katib, Darvesh Muhammad

Taqi, Muhammad bin Nur, and Sultan Muhammad

Hamdan during the 15th century. These kulliyat

manuscripts, which consist of four devans, are

Navoi’s most widely copied works.

Table 1.

T/r Lyrical genres

created by Navoi

The number of

poems in

genres

“Garoyib us-

sigar”

“Navodir ush-

shabab”

“Badoye ul-

vasat”

“Favoyid ul-

kibar”

1 Ghazal 2600 650 650 650 650

2 Mustazod 4 1 1 1 1

3 Muhammas 10 3 3 2 2

4 Musaddas 5 1 1 2 1

5 Musamman 1 1

6 Tarji’band 4 1 1 1 1

7 Tarkibband 1 1

8 Masnaviy 1 1

9 Qasida 1 1

10 Soqiynoma 1 1

11 Qit’a 210 50 50 60 50

12 Rubaiy 133 133

13 Muammo 52 52

14 Lug’z 10 10

15 Tuyuq 13 13

16 Fard 86 86

PAMIR-2 2023 - The Second Pamir Transboundary Conference for Sustainable Societies- | PAMIR

588

In 1838, Muhammad Ali Khan, the Khan of Kokand,

issued a decree entrusting Muhammad Siddiq

Tunqatar with the task of copying 300 copies of

Alisher Navoi’s “Chor Divan” using the best

calligraphers of the khanate. At the same time,

hundreds of hattots copied Navoi’s works. The

scribes considered it an honour to copy these blessed

works of Navoi and were proud to record their

experiences under the influence of this work. As

Navoi’s divans are passed down through the centuries

and from book to book, various changes are made to

their structure, order, size, and text. Hamid

Sulaymanov compared the books of “Khazayin ul-

maoni” with rare copies copied in the 15th-16th

centuries and many manuscripts kept in the libraries

and museums of Tashkent, Leningrad, Dushanbe,

Baku, Paris, London, and other cities. He prepared the

current version of “Khazayin ul-maoni” for

publication. The collection was later published by

several publishers, based on it. In 2013, the “Gafur

Gulam” publishing house released a 10-volume

collection of Alisher Navoi’s complete works. The

first book of the renowned “Garayib us-sigar” was

included in volume 1. In 2011, the “Tamaddun”

publishing house conducted a comparative analysis

with the ghazals published by other publishers. For

instance, the 67th verse of the “Garayib us-sigar”

devan begins with “Go‘yiga boshimni yozin yetkurub

chavgonin o‘p” the verse begins with the words

go‘yida in one devan and ko‘yida in the second devan

(2-table). At the same time, the explanatory words in

explanatory dictionaries can have different meanings.

The meaning of the word used by the poet in this

stanza can be deduced from its content. “Goyida”

refers to a small wooden ball used in the game of

‘chavgon’ played on horseback, while “ko‘yida” is

played on the street or road. The fourth verse of the

8th ghazal from the book “Favoyid ul-kibar” begins

with “Chu derlar insonni mushtak o‘ldi nisyondin”.

In one devan, nisyan- means forgetting, while in the

second devan isyon- it means rebellion. This

inconsistency in translation hinders the correct

understanding of the ghazal’s meaning, making the

poet’s purpose unclear. In ghazals, one can observe

numerous such instances. In the “Kotiblar zikrida”

section of the work “Mahbub ul-qulub” [18], Navoi

writes in the seventeenth chapter that “A good writer

brings peace to the word and the speaker” It is well-

known that dots play a crucial role in the Arabic

alphabet. As a poet once said, a single careless

mistake by a scribe can alter the original meaning of

a word. For example, “Ulki, bejo nuqta bila “habib”

(do‘st)ni “habis” (yaramas) qilgʻay va “muhabbat”ni

“mehnat” – aningdek habisi mehnatzadagʻa yuz

la’nat” said. Such mistakes can mislead the reader,

causing a misunderstanding of the essence of the

letter and negatively affecting their mood.

Navoi arranged the 650 ghazals in each of the divans

of the “Khazayin ul-maoni” collection strictly in the

Arabic alphabet according to their rhymes and

quantity. The ghazals ending with the letter ‘alif’ are

present in all four devans. There are 39 ghazals

ending with the letter “be” and 2 ghazals ending with

the letter “pe”.

Table 2: In the editions of “Gafur Gulam” and “Tamaddun” publishing houses, different copied words in the divans.

Gʻazal

ami

Published by “Gafur Gulam” publishing house Published by “Tamaddun”

“Gʻaroyib us-sigʻar” “Gʻaroyib us-sigʻar”

29 Er tutar ko‘nglumda gardundin judo bo‘lgʻan balo Yor tutar ko‘nglumda gardundin judo bo‘lgʻan

alo

36 Bir sari qulogʻingda gavharmu ekin yoxu

Har sari qulogʻingda gavharmu ekin yoxu

36 Bir jonibida oyning axtarmu ekin oyo? Har jonibida oyning axtarmu ekin oyo?

67 Go‘yiga boshimni yozin yetkurub chavgonin o‘p Ko‘yiga boshimni yozin yetkurub chavgonin o‘p

Favo

id ul-kiba

3 Makkadin xori

ilib, mulkidin a

lab benasib Makkadin xori

ilib, mulkidin a

lab nasib

3 Voli

lab olam otli

ʻ kulbai ahzon aro Voli

lab olam otli

ʻ kulbai ehzon aro

4 Asreki, zikringni aylab hudi

Asreki, zikringni aylab hudoya

8 Chu derlar insonni mushtoq o‘ldi nisyondi Chu derlar insonni mushtoq o‘ldi isyondin

14 Ichirsa jomi hidoyat, navo tuzub Jomi

Ichirsa jomi hidoyat, navo tuzub jome

21 Ki chu

ʻd bo‘lma bu va

ronai muha

ar aro Ki chu

ʻz bo‘lma bu va

ronai muha

ar aro

Selecting Khazoyin ulMaoni Kulliyot for the Corpus of Alisher Navoi’s Works

589

(2- drawing) Arrangement of ghazals in the Arabic

alphabet in “Khazayin ul-maoni” collection

Figure 1: Based on the rhyming of the ghazals in the four chapters of the “Khazayin ul-maoni” collection, they are arranged

in the same quantity according to the Arabic alphabet.

It is said that Navoi put titles like the letter “pe”

“Parivashlarning parvozi” or the letter “se” “Samin

gavharlarining samarasi” which indicates that Navoi

skillfully used the art of alliteration/tarze in literary

studies. When arranging the collection, the thinker

placed great importance on having an equal number

of ghazals with the same radif in each devan. The

“Khazayin ul-maoni” collection contains a total of 12

ghazals with the radif “Manga”, which are divided

equally into three devans and placed in the 8th, 9th,

and 10th positions of each devan. The collection

includes a total of 20 ghazals with the “Manga” radif,

five in each devan (11-12-13-14-15), and 8 ghazals

with the “Sanga” radif, with each devan containing

two (16-17 places). Additionally, there are five

ghazals with the “Aro” radif, making a total of 20 (18-

19-20-21-22 places). The presentation of the ghazals

in such a proportion is a testament to the logical

thinking of the great thinker. Including these analyses

in the corpus enhances its educational value and

demonstrates Navoi’s genius. The analyses show that

Navoi’s works in the “Khazayin ul-maoni” collection

are exceptional, which is why the collection was

chosen as the first object for the corpus. The size of

the database changes as other works by Navoi are

added, making the corpus a dynamic system. A

database is a set of interconnected and ordered objects

that reflect the nature, state, and relationships within

a given field.

Statistical analysis of ghazal text is related to natural

language processing (NLP), and Ziff’s law can be

used to calculate the frequency of each word in large

texts and their repetition rate. This law can help

determine the number of words in the text and the

amount of their repetition. For example, Ziff’s law

was applied to analyze American writer Mark

Twain’s “The adventures of Tom Sawyer”. The work

contains a total of 71,370 characters and 8,018 unique

word types. The average word frequency is 8.9,

indicating that words are repeated approximately 9

times. However, not all words have equal usage in the

text. Some words are repeated up to 700 times, while

others only occur once. These words are known as

hapax legomena, and they make up about half of the

work. The Ziff’s law was used to determine the

number of words in the kulliyat devans. The ghazals

in the “Garayib us-sigar” devan have a total of 4975

verses, which is equivalent to 9950 words (the total

number of words in the devan is 75,350, and in the

ghazals, it is 66,954). Similarly, in the “Navodir ush-

156

108

268

116

1616

168

116

180

272

208

304

Alif

Jim

Chim

Dol

Sin

PAMIR-2 2023 - The Second Pamir Transboundary Conference for Sustainable Societies- | PAMIR

590

shabob” devan, there are 4998 verses, which is

equivalent to 9996 words (the total number of words

in the devan is 71,527, and in the ghazals, it is

66,596). Finally, in the “Badoye’ ul-vasat” devan,

there are 5001 verses, which is equivalent to 10002

words (the total number of words in the devan is...)

The “Favoyid ul-kibar” devan contains 5029 to 10058

verses (75,911 words in total, with 66,722 ghazals).

“Khazayin ul-maoni” has 2600 ghazals with a total of

294,368 words (forms), 266,811 of which are in

ghazals. The ghazals in kulliyat use some words more

than 1000 times, while others are used only once.

Ziff’s law defines the most frequently used word in

the text (occurring more than a thousand times) as

r=1, the second most frequently used word (occurring

between one and a thousand times) as r=2, and the

third most frequently used word (occurring less than

five hundred times) as r=3. Additionally, the poet’s

skill in word usage can be determined by analyzing

the range of words found in ghazals (3-table).

Table 3: The indicator of determining the number of words in ghazals according to the law of Zif.

So‘z Chastota Zif qonuniga ko‘ra, so‘zlar miqdorini

ani

lash

ko‘z 2000 r = 1

ish

1988 r = 1

la’l 727 r = 2

sarv 529 r = 2

dah

276 r = 3

262 r = 3

onon 187 r = 3

ko‘z

u 169 r = 3

miqroz 4 r = 3

ig’moz 3 r = 3

’lan 2 r = 3

mahofat 1 r = 3

The statistical composition of a text is crucial in

determining the author’s style. This can be achieved

through statistical analysis of the corpus. The

statistical structure of a text is commonly defined as

the relationship between the number of unique words

and their frequency of occurrence.

Linguostatistical analysis determines the idiostyle

of the creator, which refers to their unique writing

style and skill in using language units such as nouns,

adjectives, verbs, grammatical forms, and sentence

structure. This analysis allows for the determination

of the text’s content, the period of writing, and, if

necessary, the authorship. A comparative analysis

was conducted on the subject construction and text

structure of the works of writers such as F.

Dostoyevsky, L. Tolstoy, and M. Sholokhov. The

term “statistics” is derived from the Latin word

“status” and refers to the state of events. By

statistically analysing Navoi’s 2600 ghazals written

in turkish, it is possible to determine the author’s

proficiency in word usage, creative style, and

frequency of word usage. Each period and nation’s

literature has its own distinct style. Navoi’s

vocabulary created a unique and innovative style in

Turkish literature.

Uzbek literature features numerous ghazals with

5-10 verses. However, in “Khazayin ul-maoni”, the

size of ghazals ranges from 5 to 13 verses.

Specifically, there are 2 ghazals with 5 verses, 5 with

6 verses, 1747 with 7 verses, 58 with 8 verses, 695

with 9 verses, 19 with 10 verses, 69 with 11 verses, 1

with 12 verses, and 5 with 13 verses. Therefore,

Navoi’s lyrics contain many ghazals with 7 to 9

verses. This statistical analysis of Alisher Navoi MK

is important as it provides a clear account and

demonstrates the scope of work on the database.

Studying the poet’s ghazals based on linguistic and

linguopoetic criteria allows for a clear conclusion to

be drawn about the historical development of the

Uzbek literary language. Studying Navoi’s ghazals

has significant educational value due to the use of

historical figures and ethnic places to enhance the

meaningfulness and effectiveness of the ghazal,

vividly expressing the feelings of the lyrical hero.

This practice is also common in general education

schools and can be found in history and geography

textbooks. From a literary studies perspective, these

are typical examples of the poetic art of talmeh.

Talmeh is studied in the field of science and art, and

it involves the integration of sciences in modern

education. Integration (lat ‘integration‘) refers to the

joining of information from various sources based on

a certain purpose. The importance of

interdisciplinarity in enhancing the quality of

education cannot be overstated. It provides students

with the opportunity to gain a deeper understanding

Selecting Khazoyin ulMaoni Kulliyot for the Corpus of Alisher Navoi’s Works

591

of a subject and apply their knowledge in practical

settings. Studying the semantically tagged ghazals in

Alisher Navoi MK enhances the student’s knowledge,

skills, and abilities not only in literature but also in

history and geography. Teaching examples of

Navoi’s life and work based on the student’s age is

also effective in education within the continuous

education system. The intended audience for each

ghazal was determined based on the complexity of the

language used, the scope of vocabulary, and the

clarity of the expressed idea. This information is

reflected in the metadata provided for each ghazal in

Alisher Navoi MK. Metadata is important in the

corpus manager, specifically in the search filter. It

helps to find and analyze ghazals for 16-year-olds

(9th grade) during lessons and complete homework

tasks in a meaningful way. Determining the audience

age of ghazals through special codes not only benefits

the educational system but also facilitates learning

and memorization for the general public. To provide

the necessary information, it is important to include

the author’s name, age, and gender. Additionally,

include the word count, complexity level, and

intended audience of the text. Avoid including

personal information such as residential address.

3 CONCLUSIONS

In the continuous education system, teaching

examples of Navoi’s life and work can be effective in

educating students of all ages. The audience for each

ghazal should be determined based on the complexity

of the words used, the scope of the words used, and

the possibility of understanding the idea expressed in

the ghazal. The metadata provided for each ghazal in

Alisher Navoi MK reflects this information. Metadata

is also important in the corpus manager, specifically

in the search filter. It is useful for finding and

analyzing ghazals for students in 9th grade, as well as

completing homework tasks in a complete and

meaningful way. Determining the audience age of

ghazals through special codes not only benefits the

educational system but also facilitates learning and

memorization for the general public. To provide the

necessary information, it is important to include the

author’s name, age, and gender. In literature classes

of general education schools, students study various

poetic arts such as mubolagʻa, tanosub, iyhom, tazod,

talmeh, tazmin, tashbih, istiora, tajohuli orifona,

husni ta’lil, tajnis, irsoli masal. The “Khazayin ul-

maoni” collection is a crucial resource for studying

the poetic arts in the works of our thousand-year

literature and for understanding Navoi’s social,

political, educational, and philosophical views. The

corpus reflects ghazals with semantic tags, providing

a foundation for poetic arts that expands users’

spiritual and mental thinking, increases their

historical knowledge, and develops their ability to

read Navoi’s works. Alisher Navoi’s “Khazayin ul-

maoni” series of divans is renowned for its perfection

and its collection of poetry. According to, “Khazayin

ul-maoni” was created to enrich the corps base.

REFERENCES

Davlatov O. A treasure trove of meanings. – Tashkent:

Tamaddun, 2021. – B.5. The indicated work: – B. 6.

Valikhojhayev B. Poetry of Alisher Navoi. B.

Valikhojhayev. Poetry of Alisher Navoi.pdf B. 10.

Alisher Navoi. Strange cigar. A perfect collection of works.

Volume 3. – Tashkent: Science, 1987, – B. 17-18.

Shamsiev P., Ibrohimov S. Dictionary of Aliasher Navoi’s

works. – Tashkent: Gafur Ghulam, 1972. – 784 p.

Explanatory dictionary of the language of Alisher Navoi’s

works. / Fazilov E. under the editorship. 4 volumes. –

Tashkent: Science, 1983-1985.

https://alishernavoiykorpusi.uz; Abjalova M., Gulomova

N., Rashidov H. Semantic base of ghazals in Navoi’s

“Badoe’ ul-vasat” divan for Alisher Navoi’s author

corpus. Certificate of authorship, No. BGU 00583. –

Tashkent, 2022.; Abjalova M., Gulomova N.,

Sadullayeva Sh. Author corpus of Alisher Navoi.

Certificate of authorship, No. DGU 18544. – Tashkent,

2022.

PAMIR-2 2023 - The Second Pamir Transboundary Conference for Sustainable Societies- | PAMIR

592