Interpretation of Babur Mirza’s Character in the Epic “Kun Va

Tun”

Yulduz A. Karimova

Jizzakh State Pedagogical University, Jizzakh, Uzbekistan

Keywords: Historical Person, Interpretation, Associativity of Images, Polyfunctionality of Details, Semiotic Key,

Historical Truth, Artistic Conception, Lyric-Epic Interpretation.

Abstract: This article discusses the artistic image of Bobur Mirzo, created by Barot Boykobilov, as well as his position

in writing and the influence of historical materials on his work. In the work “Kun va Tun”, the author, ignoring

the ideological restrictions of that time, pays attention to the human soul of Bobur Mirza as a loving person,

ruler and poet, builder and just ruler, also reveals the basic principles on which the culture and ideals of that

time were based, which inspired the author in his work.

1 INTRODUCTION

Literary scholar Adhambek Alimbekov commented

on the creation of Muhammad Ali’s epic

“Gumbazdagi nur” and the idea of the work:

“Gumbazdagi nur” is about the mausoleum of Amir

Temur in Samarkand and the architects who built the

mausoleum, about our creative people. The author

aims to artistically express the fact that the nation will

never forget its most magnificent buildings and its

greatest children and keep everything in its bosom.

The original claim: despite the fact that the name of

Sahibqiran is taboo, achieving the glorification of

Amir Temur by means of the above. The owner’s

return to hearts began in the 60s of the 20th century.

“But the thoughts were chaotic and confused. In such

conditions, fiction began to fulfill its historical task,”

he writes.

The scientist’s opinion, which we quoted above,

exactly confirms Zarifakhonim's information about

the reasons and factors for the introduction of the

subject of Amir Temur and Babur Mirza into the

works of Oybek. And the literary critic Adhambek

Alimbekov is absolutely right about one more thing:

although Sahibqiron and Babur Mirza both returned

to the hearts at the same time - in the 60s, many

people are unaware that the rotten chain has been

broken. , obedient as an elephant spinning around a

stake, numbed by the tragedy of “the years when the

https://orcid.org/0000-0001-9600-7263

owl came” (Zarifaxanim). That’s probably why, as

the scientist noted, thoughts are chaotic and mixed,

sometimes great courage was required even for

beautiful truths.

No one could guarantee that the sword of ideology,

temporarily in its scabbard, could not play again on

the head of the creator. But despite this, our writers

decided to take advantage of the warming of domestic

politics to write down the historical topics that have

been occupying their minds for a long time.

As noted by our literary experts: “The name of the

work of art is a semiotic key.” In this sense, it can be

said that the first information about the artistic

intention of the authors is conveyed to the reader in

the title of “Gumbazdagi nur” and “Kun va tun” epics

about Babur Mirzo by Barot Boyqabilov, which we

will analyze below. These names with polyphony,

deep poetic meaning, and artistic weight seem to be

the key to the concept that determines the essence of

epics.

In the title “Gumbazdagi nur” Muhammad Ali refers

to the dome of the Gori Amir mausoleum, the eternal

abode of Amir Temur.

2 FINDINGS AND RESULTS

In the ‘Islam” encyclopedia, the word “light” is

explained as “in the Qur’an, light means God himself

Karimova, Y.

Interpretation of Babur Mirza’s Character in the Epic “Kun Va Tun”.

DOI: 10.5220/0012976000003882

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 1471-1478

ISBN: 978-989-758-723-8

1471

(the light of the heavens and the earth), and light is

one of the many attributes of God.” If we consider this

comment, then we can witness the deep thinking of

the creator that the author has pointedly pointed out

the great truth, which was completely impossible to

say at that time, that the owner Amir Temur was

chosen among the chosen ones. After all, whether his

light is figurative or divine, it is the source of life. The

place where the light falls brightens, warmth begins,

and life begins. Amir Temur’s artistic life seems to

have started from this light.

Poet Barot Boyqabilov also called his epic about

Babur Mirzo, written in 1968, “Kun va tun”. In the

“Annotated Dictionary of the Uzbek Language”, one

of the seven explanations given to the word “Kun”

indicates that this word means sun, and in another

place, it is explained as “the part of the day when the

sun rises”. So, the author equates Babur Mirza with

the sun, the owner of a unique personality who was

able to combine two completely opposite poles:

royalty and poetry with an incomparable grace. The

name “Kun va tun” means that the great children of

our nation like Babur Mirza illuminated the night in

which they lived - winter, the feudal past, with their

intelligence, activity, and high talent, and spread

warmth like the sun reaches the ages and teaches his

long generations about humanity, perseverance, will,

eloquence and maturity.

It is known that Mirza Babur, who attracted the

attention of the enlightened world for five centuries,

was viewed as an invader and a feudal ruler in his

homeland during the Shura era. As we mentioned

above, Barot Boyqabilov’s epic “Kun va tun” was

written at the time when the attitude towards our

national-spiritual heritage, the honour and personality

of our great ancestors softened.

From the first verses of the epic, the “cautious” author

emphasizes that the reader is introduced not to the

king, but to the world of the soul and spirit of the poet

Babur Mirza:

Andijon shahriga qo‘yganda qadam,

Bog‘ aro sezaman Bobur ruhini.

Za’faron devonin varaqlagan dam,

Tinglayman shoirning mungli ohini -

Boyqabilov B (1999).

Step into Andijan city,

I feel the spirit of Babur.

The time when the saffron leaf is leafed through,

I listen to the mournful voice of the poet.

The metaphors “zafaron devan” and “mungli oh” in

the passage taken from the work allow us to fully

imagine both the external and internal image of Babur

Mirza. The author masterfully materialized the

feeling of longing through yellow and saffron colors.

It is as if the reader feels the pain of Babur Mirza

saying, “I have no choice but to give you a lot, I have

no decision for one moment and one breath”. In

Hijran, the words poured out from the poet's heart,

bleeding from longing, make the Divan a saffron

color. Such poetic expressions exaggerate the tragedy

in the image and bring the mental scenes of Babur

Mirzo closer to the reader.

In the saga of Barot Boyqabilov, the priority trend in

creating the image of Babur Mirza in almost all

genres of Uzbek literature of the Shura period, that is,

the attempt to create the image of the poet Babur, not

the king Babur, is more noticeable. The author

emphasizes this in the introduction of the epic:

Ot surib Sayhundan Jamnaga qadar,

Taxt talash janglarin etmam hikoya.

Shoir yuragini tig‘lagan xanjar –

Hijron dostoniga erur kifoya.

Riding from Sayhun to Jamna,

The story of the battle for the throne.

The dagger that pierced the poet's heart -

It will be enough for the story of Hijran.

Knowing that a great test - an ideological test - is

waiting for the epic to be written, the writer knows

that Babur’s sufferings besieging his homeland, the

sorrow of the country, the longing for the motherland,

the idea of the epic pilgrimage of the homeland stuck

like a dagger in the poet’s heart, this is - He seems to

surround his work with the epic of Hijran.

The saga begins with the image of Babur Mirza’s

departure from the homeland.

In the picture, not only the tragic situation of the

Timurid prince “Dilsiyoh” who was leaving his

country “in the dark night” and “on a black horse” like

a leaf in the ravages of time, but also “Sayhun crying

below the flowing caravan”, “Like an orphan

“O’ksinar alam”, “A burning candle in the house of

hearts”, “A bright moon in the cradle of the sky”,

“Mountains cry out from the heart”, “Alam pours out

its young Sayhun” the gloomy image of the

Motherland, which is separated from its most worthy,

smartest, bravest son, was also shown.

Both in history and today, there have always

been people who left their motherland and went far

away from their homeland due to the demands of fate.

But the departure of Babur Mirza and others from the

country was not a simple departure, it was a great loss.

The author’s talent is that he was able to make the

reader feel the pain of this great departure:

Gul-gul ochilmasdan bahor lolasi,

Fasli kuz dastidan bo‘ston ketadir.

Tog‘lar ko‘ksin teshar dildan chiqqan oh,

Ota qabrin tashlab o‘g‘lon ketadir.

Saltanat tojini tark aylab Bobur,

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Bilmadim, do‘stlarim, qayon ketadir?

Spring tulip before the blossoms open,

The season starts with autumn.

The mountains are blue, oh, from the heart,

The father leaves the grave and the son leaves.

Babur left the royal crown,

I don’t know, my friends, where will it go?

The rhetorical question in the quoted passage made it

possible for the author to use the method of

retrospection in the construction of the epic subject.

Because before showing where Babur, who is giving

up the crown of the kingdom, shows why he is leaving,

it ensures the consistency of the events and the

integrity of the subject. The writer goes back in

history - to the events of 1501 - according to the

retrospective method.

It is known that Babur Mirza appeared on the stage of

history as the last representative of the Timurids, who

ruled Transoxiana for 130 years. Babur Mirza wanted

to follow the example of the politics and state

management of his great-grandfather Amir Temur,

and he had a noble and auspicious goal of uniting

Central Asia into one powerful state. For this purpose,

he fought to put an end to the mutual extermination

wars between the Timurids. Shaibani Khan, the

enemy of the Timurid kingdom, faced an experienced

enemy. But the event is different, the fate is different.

Babur Mirza's noble dreams did not come true, the

19-year-old prince became lonely and weak in front

of the cruel games of history.

As a realist writer, the author of “Kun va tun” does

not limit himself to vivid description and artistic

expression of “Boburnoma” events but tries to reveal

their causal connections and essence. According to

the requirements of the genre, the writer artistically

perceives and interprets the most ideal points in the

life and character of Babur Mirzo.

In the epic, the pathetic situation of the people of

Samarkand, who were besieged for a long time, was

revealed in impressive scenes:

Chumoli singari tentirab nochor

Bir burda non izlar ko‘chama-ko‘cha.

Akasi ukaga boqmaydi bir bor

Domiga tortmoqchi qorong‘i kecha

It is helpless like an ant

There is a bread trail on the street.

Brother does not take care of brother

It’s a dark night.

Through such images as “The dry army is desperate,

the guards are guarding the gate of Konigil”, “There

is no food except for the rustling of the tree and the

leaves of the mulberry, for the horse and the crow”

shows that he is wandering around like a disaster,

When the Timurid kingdom was in complete danger,

the people whom Babur looked after, even the ruler

of the event like Husayn Boykara, said, “Send an

ambassador to Shaibani!”

So‘nggi umidlari so‘ngan Bobur Mirzo afsus-

nadomat bilan:

Sulton Husayn yanglig‘ qo‘li baland shoh,

Shayboniydan cho‘chib qolsa, netay men–

Babur Mirza, whose last hopes had faded,

regretfully said:

Sultan Husayn is a king with a high hand.

What should I do if he is frightened by Shaybani,

Says.

In these painful words spoken by Babur Mirza, we

seem to understand the circumstances that led the

Timurid state to an inevitable crisis.

The fact that the writer conveys the helpless situation

of Samarkand under siege to the reader through the

eyes and observation of Babur Mirza increased the

impact of the image: “Compassion covered his heart,

and he said from a humble state”: “Oh my Lord!”

In this situation, Babur Mirza made his last decision:

Qafasdagi qushday yashash na hojat,

Men ketsam, qamaldan qutular shahar.

No need to live like a caged bird,

If I leave, the city will be besieged.

After losing Samarkand to the enemy for the second

time, the author details Babur Mirza's battles with

Ahmed Tanbal to regain the throne of Andijan,

wandering around the country, waiting for help from

his uneducated khan uncles to save his position does

not illuminate.

In the depiction of the events of the siege of

Samarkand alone, the writer combines the inner

world of Babur Mirza, who was left helpless before

the judgment of history, with the external world of

reality in convincing pictures, and as we witnessed

above, the landscape of that time, the current social

and political situation, is integrated before the eyes of

the reader was able to show.

Literary scholar Pirmat Shermuhammedov: “There

are many complicated aspects of addressing a

historical topic. The writer must study the period in

which he was written, fully adhere to the historical

truth, and at the same time exaggerate the aspects of

historical events that are relevant to today. Otherwise,

there will be no point in referring to historical events”

- Shermuhammedov P (1981), – says.

In our opinion, the artist should show more deeply not

only the aspects of historical events that are relevant

to today, but also the universal and universal aspects

that are important for all times and eras. The basis of

turning to history and re-artistic perception of the

material of the past should be the writer's position and

purpose.

Interpretation of Babur Mirza’s Character in the Epic “Kun Va Tun”

1473

In “Kun va tun” we see such a clear position of the

writer, a socio-ethical concept that has become a

spiritual need of the writer. The plot, conflict, and

image system of the epic are also chosen according to

the author’s concept.

In all times, internal conflicts, conspiracies, not

seeing each other, disunity is a vice that destroys the

kingdom from the inside and easily opens the door of

the country to the external enemy. The inevitable loss

of one’s original children is interpreted in the work as

a great human pain and dream.

Several historical figures in “Boburnoma”: Khoja

Kalonbek, Qambar Ali, Nasir Mirza, Jahangir Mirza,

Muqimbek, Muhammad Husain, Mirza Khan,

Masuma Sultanbegim, Ibrahim Lodi, Khondamir

have their place in the story of the epic. Also,

according to the author’s artistic intention, there are a

number of textures in the epic: an old scientist from

Kabul, an old gardener, Indian king Singh, Krishnan

from Delhi, two lovers; he introduced the characters

of an Afghan boy and an Indian girl, and a widow

whose husband died in the battle of Panipat. Without

deviating from the principle of historicity, the writer

tries to reveal the relationship between Babur Mirzo

and his surrounding environment and conditions with

the participation of these characters.

It is known that Babur Mirza restored the structures

that supplied water to the cities of Kabul and Ghazna,

but later became useless. In order to ensure the safety

of trade routes from Agra to Kabul, he built

caravanserais and rabots. He gathered scientists and

poets around him, sponsored and encouraged their

creative research. Babur Mirza continued his creative

work in India, paying special attention to the

improvement of the cities of Agra and Delhi. He

directs the construction of palaces, palaces, public

baths, and gardens along the banks of the Jamna River.

He will eliminate the idle taxes that afflict the

working people.

In the epic “Kun va tun”, the author artistically

studies these historical facts, tries to interpret the life

of that time, all the contradictions of the environment

in which Babur Mirzo found himself through his heart.

Babur Mirza in the picture “Babur riding his black

horse with a whip, joyfully crossing the street of

Kabul” does not rise to the sky from his victory, but

looks at the ground, under his feet, where he is taking

refuge. Asri listens to the plea of the Afghan soil

saying ‘Water, water”, “My life is spent on the island,

Cancer is sticking a sword in my chest” and the fields

that need a sip of water. The dreams of Babur Mirza,

who entered the Afghan soil not as a conqueror, but

as a child, were transferred to the language of Mirza:

“If I don't care about Kabul, what do I need this bright

world?’ (p. 580)

Babur Mirza’s activities in India are more deeply

explored in the epic:

Tor-u mor aylagach Rano Sangoni

Qoshiga chorladi hind umarosin:

Tangri berdi menga katta dunyoni,

Endi rozi qilsak hind fuqarosin.

G‘ayri dinmiz, lekin topilg‘ay chora,

Mendan jabr-u jafo ko‘rmas xaloyiq

Siz agar jonimga kirsangiz ora

Ish tutsak, hindlarning ko‘ngliga loyiq.

Rano Sangoni after turning tor-u mor

The Indian asked him:

- God gave me a big world,

Now if we agree, you are an Indian citizen.

It's not our religion, but we can find a solution.

The people will not suffer from me

If you come into my life

If we work, we deserve the hearts of the Indians.

In this plaque, one can see the artistic expression

of the fact that the foundation of the Babur Empire,

which lasted for more than three centuries and played

an important role in the history of India, was built by

its creator from the very beginning on the basis of

love, humanity, mutual trust and equality.

Bunda oqar suv yo‘q, yo‘qdir bog‘-u rog‘,

Toshqin Jamna oqib yotur befoyda.

Ekinsiz mung‘ayib yotibdi tuproq,

Daraxt ham ko‘karmas suvi yo‘q joyda

There is no running water in it, there is no garden

or river,

The flood Jamna flows in vain.

The soil is languishing without crops,

Even a tree cannot grow where there is no water,

said Babur Mirza, according to his custom, he pays

attention to water and soil, which are the basis for the

well-being of the people. “The air of Ogra is

suffocating, there are few cool places in Delhi and

Dibolpur,” laments Babur Mirza. Thinking about the

country’s future, prosperity: “Digging a ditch is the

cure for this, I see that the country will have a garden

and a river together. If we build a bath in Delhi, Ogra,

if we dig pools, we will turn it into a flower garden”

leads to goodness.

Babur Mirza showed his optimism, tolerance, “far

from restrictions and bigotry like sectarianism” (J.

Nehru) and said, “It is difficult to do business in this

country without you, the palace needs ministers from

Indians”, and he named Shaikhora among the Indian

scholars appoints him as his minister. We can see that

Adib relied on historical truth in this image. Also,

through characters belonging to the Indian people

such as Roja Singh, Anand, Krishnan, the writer was

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able to convincingly create a generalized image of all

Indians who recognized a just, compassionate, vassal

ruler as their true leader and leader in the form of

Babur Mirza.

It is known that the enlightened world ranks Babur

Mirza’s pen talent second only to Alisher Navoi, and

nationalism policy to his grandfather Amir Temur.

In the epic, the author found an opportunity to tell this

truth, which was very rare for his time, in an artistic

way. In the play, Babur Mirza talks to the spirit of

Alisher Navoi and Amir Temur.

Babur Mirza, suffering from homesickness for his

motherland, seems to find solace in Navoi, as he

repeats the poet's lively verses about foreignness and

alienation, as if Hazrat himself appears in front of him.

Navoi Babur said that the kingship and poetry that fell

to Mirza’s fate were an unforgivable fate for him:

Qutlug‘ xazinaga uribsan panja,

Onda durri gavhar behad, behisob.

Sarf etsang yetgusi yetti tumang‘a,

Turkiy ila ayla umring sarhisob

You hit the lucky treasure with your paw,

Then there are countless gems.

If you spend, it will be enough for seven districts,

Summary of your life with Turki,

says. Navoi’s soul helps Babur Mirzo bravely

overcome the strange moments of the foreign country,

saying that his work in Turkish language is equal to

the content of his life, and predicts this service of the

poet to the nation by saying: “Show the dawn of the

ages, Jamal!”.

The conversation with the spirit of Amir Temur also

caused the image of Babur Mirza to become brighter

and fuller. Disturbed by the fact that the pillars of the

great state he built are falling one by one, the owner

says: ‘Temur kept saying, the world stands on its feet.

I have introduced my great nation to the world.’ In his

next words, the master says the reasons why he is

considered worthy of such honour and affection:

Adl janglar qildim zamon zayli-la,

Haqiqat yo‘lida tolmay kurashdim.

Muruvvat ko‘rsatib muslim ahliga,

Insonga yaxshilik qilmoqqa shoshdim.

I have fought fair battles, time has passed,

I fought hard for the truth.

Showing kindness to the Muslim people,

I was in a hurry to do good to a person.

Through the owner’s own words, the writer

Amir Temur impressively expressed the eternal

aspects of his genius.

At the beginning of the verses of the mentioned

poetic passage, the writer expressed in his own way

that the Adl, Haqiqat, Muruvwat were the solid

foundations of the sovereign state, and these

foundations were transferred to the policy of

nationalism without any change he was able to realize

his ideological and artistic goal.

The selected topic, its determination from history -

from the distant or recent past, the principles of

sorting historical materials, transferring them to an

artistic work, the principle of image in expression -

all of this depends on the character of the characters

of the creator, the nature of the genre: the subject,

composition, conflict of the work, we know that it

affects the language of the work and the style of the

writer. At a time when creative freedom is limited and

all kinds of ideological barriers are put up, the writer's

people should search for a way to express their

identity like a blinded spring, try to transfer what they

want to their language by using various artistic

methods and opportunities, and it is clear from

literary experiments that certain results can be

achieved in this case. But there are situations when

sometimes those results can justify themselves, give

a good artistic effect, and sometimes they can cause

objectionable situations.

In the literature of the Shura period, at one time, the

role of the individual in history, in particular, the

neglect of the services of the rulers and religious

leaders towards the development of the society and

the development of the nation, one-sided approaches

under the influence of ideology (Abdullah Qahhor’s

“Ashula to” written in 1962 about this problem)

caused a biased attitude towards their personality,

which in turn led to the emergence of mixed

interpretations, sometimes blurring the face of reality,

in works on historical topics.

In his book “Afterwords”, the poet Usman Azim

focused on the same issue, and the love story of Khalil

Sultan and Shodimulk was changed to Mirzo Ulugbek

and Feruza in the tragedy “Mirzo Ulugbek” by

Maqsud Sheikhzada, Mirzo Ulug He points out that

the principle of justice against historical figures was

violated in the debates between Bek and Khoja Ahror,

as well as in the presentation of Majiduddin as one of

the murderers of Momin Mirza in the drama “Alisher

Navoi” by Izzat Sultan and Uygun.

According to Usman Azim, “When you write a long

history, you feel free”, As you bring historical events

into a whole form within the framework of creative

appropriation - based on the demand of the subject -

you allow more or less art.

But this freedom has a moral and spiritual limit. This

limit avoids distorting the historical truth, requires a

fair approach to the actions of historical figures.

Leaving such a limit cannot be justified by the writer's

right to the artistic texture or by the superiority of

artistic truth over real life. The writer's fantasy of

Interpretation of Babur Mirza’s Character in the Epic “Kun Va Tun”

1475

creating an artistic reality based on historical

materials will not offend the reader who has more or

less knowledge of modern events only if he does not

violate the principle of justice towards historical

figures” - U. Azim (2020).

Of course, there are objective and subjective reasons

for the origin of such situations, which, as Usman

Azim regrettably points out, cause an objection to the

intelligent reader. If the nation knows its historical

roots and sources of nourishment, if it receives

spiritual support, evil ideological forces, knowing

that it will be much more difficult to bend it, are

destroying our rich past, our historical figures, their

ways of life, political and social activities, complex

those who kept important information about the paths

of destiny in secret, “closed funds” and kept them in

secret, sometimes revealing them, sometimes secretly

prohibiting them when the time came. “...There are

still many pages of our distant and recent past that are

mixed up in the dust of history. In order to enlighten

them in the eyes of our contemporaries, our writers

and historians must do a lot of work in cooperation,

just as a writer must study history well, a historian

thinking about a work of art must also study literature

well” - Sultan Khairiddin (2019), – the process itself

shows that the opinion is justified.

The solution to the problem lies in the human and

creative responsibility of the writer. Great Tolstoy

said: “I write for everyone.” With this idea, he

emphasized the public nature of fiction. At this point,

we should not forget to accept as a fact that the

majority of students, who make up a very large

audience of different levels, have read in a historical

work. In this regard, it would be fair to admit that

Usman Azim’s objections about the responsibility of

the writer in the artistic expression of the activities of

real historical figures who entered the artistic work

with their real names from the distant past, otherwise

today We are living and thinking in the wake of a

cruel era, which was once indifferent to the honor of

people, and in which great human destinies were

indiscriminately twisted by the will of the ruling

ideology.

According to the author’s artistic imagination, there

is also a meeting scene between Babur Mirza and

Husayn Boygaro in the epic “Kun va tun” that we

analyzed. In the events of 1505-1506 of

“Boburnoma”, Babur Mirza: “Sultan Husayn Mirza

made a vow to Muhammad Shaybani Khan and

wished all his sons, my son is the son of Syed Sultan

Ali Hobbin Sayyid sent Afzal and wished. It was

necessary for us to worship the side of Khorasan in

many ways. On the one hand, the great king who sat

on the throne of Temurbek like Sultan Husayn mirza

gathered and blessed his surrounding and younger

sons and begs when you go with a sword, we go with

a head, and when a hand goes with a stick, we go with

a stone” - Zahiruddin Muhammad Babur. Kulliyat

(2021), he writes.

But Babur cannot meet with Mirza Husayn Boykara,

because he was waiting for it and had high hopes.

Because: “At the end of this year, in the month of Zul-

Hijjah, Sultan Husain took care of Mirza Shaibani

Khan and reached God’s mercy” - Zahiruddin

Muhammad Babur. Kulliyat (2021), informs in

‘Boburnoma”.

After the death of Babur Mirza Husayn Boygaro, he

went to Herat at the invitation of his sons - mirzas. He

participates in the events dedicated to the memory of

the deceased by Khadikhabegim. Babur Mirza lived

there for a while.

In “Kun va tun” writer Babur connects the

arrival of Mirza to Herat with the love line of the

subject of the work. According to the artist’s artistic

imagination, Babur Mirza comes to Herat to see his

beloved Ma’sumabegy, who was forced to leave his

homeland after Samarkand fell into the hands of

Shaibani Khan. Hearing that Babur Mirza is coming

to Herat, Husayn Boykara and his sons go to Joyi Injil

to meet him.

The author describes Boykara’s portrait in

accordance with the tense social and political

situation of that time:

Husayn Boyqaro siymosi so‘lg‘in,

Xira ko‘zlarida g‘ussali armon.

Nogiron qalbida so‘nganday yolqin,

Asoga suyanib, boqar bedarmon.

Husayn Boygaro’s face is pale,

An angry dream in his dim eyes.

In the heart of a disabled person, the flame fades,

Leaning on a staff, he is sick.

Transoxiana completely lost, Khurasan is also in

great danger. In the epic, the portrait of the hero is

created according to the portrait of the era. “The

Persecuted Koragon Lineage”. The writer

summarizes the chaotic appearance of the entire

Timurid kingdom to the appearance of Boykara.

Father in the lines of Boykara’s portrait such as “A

gray table in the head...”, “A sad dream in his dim

eyes”, “His figure is bent like a sword”, “A poor man

leans on a staff”, “A cold wind pinches his face”, “A

life that casts a shadow on his eyebrows” Endless

conflicts between son and son, a broken atmosphere,

innocent blood spilled on the throne, innumerable

mistakes that cannot be corrected, the son of time lost

to the enemy, the pain and the traces of suffering are

evident.

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Through the meaning in the lines “Khurasan, which

is facing a crisis, is the support pillar of Guladi

Husayn”, we understand that the reason for such a

damaged state of Boykara is the absence of a support-

pillar - a loyal friend like Navoi.

Although he is much smaller than the subject of the

epic, Majididdin also occupies a special place. The

very image of “The cloudy sky riding on his palm,

Majididdin playing it in his hand” (Husayn Boykaroni

- Y.K.) evokes associations related to the work of the

minister in the mind of the student. It can be seen that

the creator of ‘Kun va Tun” also followed the

footsteps of the authors of the drama “Alisher Navoi”

in the lines of Majididdin’s image.

A legitimate question arises: for what artistic purpose

did the writer meet Babur Mirza and Husayn Boykara

in real life, face to face in a situation contrary to the

truth of history?

In our opinion, there were two real forces that could

have saved the Timurid kingdom in the unstable

socio-political situation during Shaibani Khan’s

invasion. One is in Khurasan - the greatest of the

Timurid rulers, “the valiant and experienced king”

Husayn Boygaro, as mentioned in “Boburnoma”, and

the other is the young, arrogant and noble prince

Babur Mirza in Transoxiana.

That is why Alisher Navoi, who was able to assess the

situation correctly and was well aware of the situation

of other Timurid princes, set his eyes on Babur Mirza.

When Babur Mirza took Samarkand from the hands

of Shaybani for the second time, he sent a letter, in

which he pointed to the name of Babur Mirza and

expressed that the capture of Samarkand this time was

typical of a tiger, that is, by a brave way - M.

Kenjabek(2021).

It is a pity and a dream that these two brave forces

could not unite against the one evil, the reason for this

inability to unite was the inaction of Hossein Boykara.

That’s why Babur Mirza said: “A brave and

experienced king like Sultan Husain Mirza did not

help us and did not send us an ambassador, but sent

Kamaluddin Husain Gozurgahi to Shaybak Khan as

an ambassador during the siege” - M.

Kenjabek(2021) – he says regretfully.

Barot Boyqabilov, in the course of re-artistic

perception of these historical events, tries to show

once again the role of the individual in history in the

person of Husayn Boygaro. He destroyed his enemies

in dozens of battles. I don’t know anyone of

Temurbek’s descendants, it is as if Sultan Husayn

Mirza was drawn with a sword” - M. Kenjabek(2021).

When the fate of the whole country and kingdom was

being decided, the owner of the confessions was

wrapped in the shell of internal conflicts, laziness,

inaction, inability to distinguish the important from

the unimportant led to a crisis ending. It can be said

that this is why Husayn Boykara’s human destiny,

and the fate of the ruler did not end well in the end. In

order to show the dramatic end of such a life, Adib

includes the scene of Husain Boygaro and Babur

Mirza’s face to face in the plot. And in this scene, we

see not the ruler of Khorasan, “Ajabzamone”, who

was full of virtuous and incomparable people, and

flourished in every way, but Sultan Husain, whose

figure was bent like a sword due to the burden of his

mistakes and mistakes.

There is another delicate point in this scene, which

has a heavy artistic load and invites the reader to

observe.

Husayn Boygaro enjoyed the conversation of Babur

Mirza, who was full of determination and

intelligence:

–Qulluq, Bobur Mirzo! Navoiy go‘yo

Qoshimda turganday masrurmen bugun

Ash’oringiz bermish ko‘zimga ziyo,

Tangri tole’ingiz etmasin nigun

- Service, Babur Mirza! As if Navoi

I am proud to be with you today.

Your poetry is pleasing to my eyes,

God bless you.

he prays. Babur wishes to Mirza Boygaro, “My God,

Mirza, may your words come true, and may our

kingdom not fall.” While the author of the saga

depicted the decline of the Timurid dynasty in the

form of Husayn Boykara, who was old and weak at

the end of his life, in the form of the optimistic and

optimistic Babur Mirza, he points to the existence of

a worthy successor who will mark the new pages of

this glorious kingdom in the history.

Writer Khairiddin Sultan: “...in a work of art, the

writer does not limit himself to the mere recording of

the historical fact “correctly”, on the contrary, he

analyses the essence of the historical fact... some facts

are interpreted in accordance with the artistic concept

of the work... the main thing is that the artistic image

corresponds not to the historical fact, but to the

essence of the historical fact”.

According to the author’s fantasy, through the scene

of the meeting between Husayn Boygaro and Babur

Mirza, the historical scene of the period, the dominant

political and social situation is so clearly and

impressively interpreted that it is the artistic concept

of the “Kun va tun” epic, as Khayriddin Sultan noted,

we can say that it fully corresponds to the essence of

the historical fact that has been interpreted (the night

is the crisis of the Timurid kingdom, the day is Babur,

who was able to show the survival of the honour of

the Timurids and the empire he founded).

Interpretation of Babur Mirza’s Character in the Epic “Kun Va Tun”

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3 CONCLUSION

Barot Boyqabilov’s epic “Kun va tun” is the first

major work in Uzbek literature dedicated to the

lyrical-epic interpretation of Babur Mirza’s royal and

poetic career.

While the title “Kun va tun” served as a semiotic key

to the artistic concept of the epic, the historical period

reflected in the work was able to concisely and clearly

express the essence of the life of the historical main

character.

Despite the ideological limitations of the Shura

period, Babur Mirza’s qualities as a charming human

figure, an unparalleled commander, a sensitive

creator, a creator and a just ruler are consistently

interpreted in the epic.

In the epic, the figurative interpretation of Babur

Mirza’s just, humane-based patriotism policy in the

Afghan and Indian lands was able to artistically

justify the fact that the accusation of “Babur is an

invading emperor” of the ideology of the Shura era is

completely wrong.

In the epic “Kun va tun” the priority trend in creating

the image of Babur Mirza in almost all genres of the

Uzbek literature of the Shura period, that is, the need

to pay more attention to the image of the poet Babur

and not the king Babur, is evident.

REFERENCES

Boyqabilov B. “Kun va tun” epic. Source: Uzbeknoma. -

Tashkent: “Sharq”, 1999. -p. 571. (After this, the page

numbers of the extracts taken from this edition are

given in parentheses.)

Shermuhammedov P. Spiritual problem of history.

Literature and time. - Tashkent: Literature and Art

Publishing House, 1981. -p. 205.

U. Azim. Afterwords. - Tashkent: “Ilm-ziyo-zakovat”,

2020. - P. 342.

Sultan Khairiddin. The beauty of truth. - Tashkent:

"MASHUR - PRESS" publishing house, 2019. - p. 142.

Zahiruddin Muhammad Babur. Kulliyat. Volume 5.

Boburnama. Events of the Kabul period. - Tashkent:

"Zilol bulak" publishing house, 2021. -p. 58.

M. Kenjabek. Z.M. Babur. Kulliyat. Volume 4.

Boburnama. Events of the Fergana period. - Tashkent:

“Zilol bulak” publishing house, 2021. - P. 108.

Sultan Khairiddin. The beauty of truth. - Tashkent:

‘MASHUR – PRESS” publishing house. - p. 138.

Alimbekov A. Five edges of a star. - Tashkent: “Teacher’

NMIU, 2020.

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