Translation Mechanisms of Aruz Poetic Measure Bahr from Uzbek

into English

S. X. Muhamedova and

K. B. Mamurov

Tashkent State University of Uzbek Language and Literature named after Alisher Navoi, Tashkent, Uzbekistan

Keywords: Translation Mechanisms, Aruz, Poetic Measure, Ghazal, Bahr, Syntaxeme, Translation Unit, Vocabulary

Study, Comments, Prose Description, Classic Literature, Source and Target Languages, Translation Theory

and Methodology, Adequacy to the Original.

Abstract: This article is specifically devoted to the translation mechanisms of the aruz poetic measure [bahr] in the

ghazals of Alisher Navoi from classic Uzbek into Modern English. As demonstrated in this article, the

translation mechanisms of classic literature, including classic poetry, involve the study of the vocabulary of

the ghazal, expert comments in the form of prose description, analysis of the ghazal, consultation with a

classic literature scholar, especially a scholar of Alisher Navoi studies, and a good knowledge of source and

target languages. Additionally, the translator must employ an appropriate translation theory and methodology

to demonstrate the adequacy of their translation to the original. The article showcases how the translation

mechanisms of the aruz poetic measure [bahr] are applied to translations using the examples of ghazal No. 94

and No. 103 by Alisher Navoi from Uzbek into English.

1 INTRODUCTION

It has already become a tradition to research and study

the works of the outstandingly great Uzbek poet

Alisher Navoi in Uzbek and world literature. A

number of interpretation dictionaries [Explanatory

dictionary of the language of Alisher Navoi's works.

(1983)] of Alisher Navoi’s works have been

published, vocabularies, prose descriptions,

commentaries, and poetic analyses for poetic ghazals

[Nusratillo Jumahoja. (2018)] and his epic poem

“Khamsa” [Alisher Navoi. Hamsa. (2019).] have

been prepared and published for public usage. All this

has created favorable conditions and possibilities for

translators to apply to the translation of Alisher

Navoi's works into many world languages, including

English, Russian [Alisher Navoi. (2016)], French,

German [Alisher Navoi. (2000).], etc.

This article is specifically devoted to the

translation mechanisms of the aruz poetic measure

bahr in the ghazals of Alisher Navoi from classic

Uzbek into Modern English. The ghazal is a poem

consisting of six to nine couplets (baits). Bahr is a

rhyming of the same sound (phoneme), syllable, or

word at the end of both lines of the first couplet (bait)

and also at the end of each second line of the

following six, seven, or eight couplets.

2 OBSERVATIONS AND

DISCUSSION

Now let's move on to the discussion of the process of

how Ghazal No.94 from the work "Wonders of

Childhood" by Alisher Navoi was translated from

Alisher Navoi's classic Uzbek (Chagatay dialect of

the Turkic language of the 24th century) into Modern

Uzbek and then into Modern English [Davlatov O.

(2022).].

Alisher Navoi had a special love for Muhammad

Mustafa (pbuh), the master of the universe among the

people of mankind, and with every breath, he always

expressed his love and faith to Him. In the history of

classic ghazal writing, Navoi is one of the poets who

wrote the most ghazals on the theme of naat (praises

of Allah and his prophet Muhammad (s.a.v).

Although the ghazals by master poets of Persian

literature contain many stanzas and verses in praise of

our prophet, Alisher Navoi began the tradition of

creating a whole work on the theme of praises of the

1696

Muhamedova, S. and Mamurov, K.

Translation Mechanisms of Aruz Poetic Measure Bahr from Uzbek into English.

DOI: 10.5220/0012992500003882

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 1696-1702

ISBN: 978-989-758-723-8

Prophet and systematically placing ghazals written on

this topic with almost every Arabic ABC letter.

On whatever subject Great Navoi writes, he

approaches the topic, first of all, from the point of

view of poetic artistry. The poet treats all topics with

thoughtful insight and a poetic soul, applies new

poetic tools and methodological experiments to the

subject of poetic praises (naat). In particular, by using

the radif "xarj" in the ghazal 94 to express Bahr,

Navoi succeeded in endowing pure Islamic ideas in

the ghazal.

We think that the word "xarj" (expenses,

spending) is used as radif (rhyming device) of bahr on

the ground of the factors that (1) the profession of our

Prophet was commerce, trade which presupposes the

use of historical evidence expressed by the word

"xarj" (expense, spending), (2) for the sake of

immortality, he gave up material wealth, instead, the

messenger profited from the trades of life to which

belong lots of his hadiths, so, the word "xarj" testifies

to those hadiths.

From the content of the ghazal, it becomes clear

that the ghazal is dedicated to the phenomenon of

Miraj (Journey of Muhammad s.a.v to Heaven to

meet with Allah). The miracle of Miraj was the

greatest event not only for mankind but for all

existing animate and inanimate beings in the world.

That's why the heavens considered the dust spreading

from the steps of the Prophet as holy, sacred, and

threw uncountable stars on his path, which is likened

to a rich man who gives up his gold and silver to buy

a small pearl. The poetic words used in the ghazal

incorporate features of talmih bahr, indicating that the

event of Miraj happened at night.

To start the translation, first, we must study the

vocabulary of the ghazal prepared by the scholar of

Navoi studies, Olim Dalatov. Here, our task is to

translate each word from modern Uzbek into modern

English.

Vocabulary:

1. Kavkab – yulduz - star;

2. Javhar – gavhar, durdona – pearl;

3. G’aniy – boy, badavlat - rich;

4. Soyiru sobit – sayyoralar va turg’un burjlar –

planets;

5. Nisor – sochish – throw, spend;

6. Tong yo’q – ajabmas - alas, wonder;

7. Naqd – mablag’, oltin – money, resource, gold;

8. Daxl – bu yerda: kirim - benefit, income;

9. Ganj – xazina – treasure;

10. Tamlik – mulkka egalik – proprietor, property

owner;

11. Nukta – hikmatli so’z - wisdom, wise word.

After finishing the translation of each word in the

vocabulary, we search for them in the text of the

ghazal and read it again and again, trying to

comprehend the whole text. If it still seems difficult

to perceive the entire ghazal, we resort to the prose

description of the ghazal, again prepared by the

scholar of Navoi studies, Olim Dalatov. We read the

prose description couplet by couplet, comparing each

with the original text of the ghazal, focusing

especially on the same words that express the stylistic

poetic device bahr used at the end of both lines of the

first couplet and at the end of each second line of the

following six couplets, until the whole ghazal

becomes quite clear and understandable. In this

process, while reading the prose description of each

couplet, we mindfully enter the poetic world of

Alisher Navoi and try to understand what he intended

to convey through each couplet. For example, as

commented by the literature scholar Olim Davlatov,

Alisher Navoi had in mind to convey the following in

the first couplet: "A rich man spends a lot of gold

dinars to buy a pearl, but he saw a lot of stars in the

garden of his life, that is, he saw a lot of stars."

Using the theory and technology of syntactic-

semantic analysis, we will discover that the rhyming

word in the source language "xarj" - in the word

combination "qildi kharj" - is used in the position of

the predicate and denotes the syntactic-semantic

meaning of "process" or "action." Therefore, to make

our translation close to and harmonious with the

original couplet, we must try to express the same

syntactic-semantic meaning of "process" or "action"

in the same position in the target (English) language

too. Based on the vocabulary study, the prose

description of the first couplet, and the syntactic-

semantics of the radiff of bahr "xarj," we will proceed

with the translation.

Thus, in the first couplet of both languages, we

find out that the bahr, as an aruz poetic rhyming

device, is expressed by the same active syntaxeme

(qildi xarj, …xarj - would spend, could spend)

belonging to the processual syntactic-semantic

category as translation variants of the bahr in Uzbek

and in English. To have the same infinitive form of

the verb "spend," we add the modal verb "can" or the

auxiliary verb "would" in an appropriate form, as

"would send" and "could send." Their linguistic

models would be like this: "would send - PrAc; could

send - PrMdAc." According to the combinability, the

active syntaxeme can combine with the syntaxeme

substantial agent (Ag) in the position of the subject

("man") on the basis of the predicative connection

between the subject and the predicate of the sentence

("a rich man could spend").

Translation Mechanisms of Aruz Poetic Measure Bahr from Uzbek into English

1697

The prose description comments that: "It is no

wonder that the sky has scattered the fixed planets at

your step. After all, if a king suddenly comes to

someone's house in the evening as a guest, it will cost

a lot."

In the second line of the second couplet, the poet

uses the same radiff "xarj" as bahr in Uzbek in the

word combination "bo'lur xarj." So, as we have done

in the first couplet, we must also use the same

rhyming word "spend" with the modal verb "must"

("must send") as bahr at the end of the second line of

the second couplet, where the syntaxeme "must

spend" denotes the syntactic-semantics of action and

modality, and its linguistic model looks like this:

"PrMdAc." According to the combinability, the

active syntaxeme in the second line can combine with

the syntaxeme substantial agent (SbAg) in the

position of the subject ("he") on the basis of the

predicative connection between the subject and the

predicate of the sentence ("he must spend").

Now, we have the translation of the line, which is

quite adequate to the meaning and form of the source

language.

After studying the vocabulary and the prose

description of the third couplet in the original source

language, we read it, trying to perceive what the poet

is going to tell us. It becomes quite clear from the

prose description of the third couplet as is given here:

"It is not surprising if the truth spends the treasure of

mercy for you, because if someone like you reaches

the guardianship of his beloved, the needy's expenses

will increase."

As seen from the translation, at the end of the

second line of the third couplet, the poet uses the same

radiff "xarj" as bahr in Uzbek in the word

combination "айлагай … харж" (xarj aylamoq, xarj

qilmoq). So, as we have done in the first and second

couplets, we must also use the same rhyming radiff

"spend" with the modal verb "must" ("must send") as

bahr at the end of the second line of the third couplet,

where the syntaxeme expressed by the modal verb

combination "must spend" denotes syntactic-

semantics of action and modality from the processual

category, and its linguistic model looks like this:

"PrMdAc." According to the combinability, the

active syntaxeme in the second line "must spend" can

combine with the syntaxeme substantial agent (SbAg)

in the position of the subject ("he") on the basis of the

predicative connection between the subject and the

predicate of the sentence ("he must spend").

In order to comprehend the given couplet, we

study the vocabulary, translate the new words into

English, and then also read and try to understand the

couplet in the source language, comparing it with its

prose description as given here: "You saved the

community by revealing the treasure of intercession,

just as a man from the market spends all his money."

Now, when the meaning of the couplet becomes

quite understandable, we can proceed to the

translation of the couplet, especially focusing on

ensuring the translation of the radiff "xarj" in the

word combination "aylagandek…xarj" into English.

As seen from the translation, the second line

begins with the phrase "like a tradesman," which

expresses the stylistic device simile as in the original

phrase "Aylagandek…. xarj," which is transformed

into English as "Like a tradesman…. much wealth he

must spend," where simile is expressed with the

phrase "like a tradesman," and the radiff of bahr is

expressed with the modal verb combination "must

spend," as in each second line of the couplets in the

whole ghazal. According to the combinability, the

active syntaxeme in the second line can combine with

the syntaxeme substantial agent ("he") in the position

of the subject on the basis of the predicative

connection between the subject and the predicate of

the sentence ("he must spend").

In the fifth and sixth couplets, the prophet is

described as a sea of mercy and a treasure of

forgiveness. According to Navoi's praising

description, due to the mercy of the Lord and the

grace of the universe, the grace of the Supreme God

is so wide that forgiving the sins of the entire ummah

(people) is like a drop from the sea. Since the treasure

of forgiveness was given as property to the prophet

Muhammad (s.a.v), no matter how much is spent

from the inexhaustible treasure, the Almighty God

will not be against it. These artistic devices are not

just poetic expression and exaggerated images, but

there is the sacred meaning and essence under each

simile, each artistic device of the blessed verses and

hadiths. Navoi, who deeply studied such verses in the

Holy Qur’an and hadiths in convincing sources about

the Prophet's character, described the wonderful

qualities and qualities of this unique personality with

the help of various symbols and images. The fifth

couplet of the ghazal sounds in the source language

as follows: [Mukhin A.M. (1980)].

As shown in the translation of the second line of

the couplet, which ends with the radiff "xarj" in the

word combination "izhori xarj" in the source

language, is transformed into the modal verb

combination "must spend," displaying the bahr as in

the second line of the fifth couplet. According to the

combinability, the active syntaxeme in the second

line can combine with the syntaxeme substantial

agent in the position of the subject ("one") on the

basis of the predicative connection between the

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subject and the predicate of the sentence ("one must

spend").

Based on the interpretation of the second line of

the sixth couplet in the prose description (6. The

treasure of forgiveness has been given to you as a

property, so no matter how much you spend from this

treasure on the rebellion of many ummah (people),

you will not be hindered), it was translated into

English as follows:

"Enlightening treasure is provided for you as

property,

Don't mind if you must spend too much on your

people."

In this case too, the active syntaxeme in the

second line can combine with the syntaxeme

substantial agent in the position of the subject (he) on

the basis of the predicative connection between the

subject and the predicate of the sentence (he must

spend), which is proved by its combinability as one

of the formal distributive distinctions of the

syntaxeme as its translation variant.

In accordance with the prose description of this

couplet, Alisher Navoi wants to say: "O Navoi, it is

customary to recite the Prophet's name like you. If

you are enlightened, don't spend too much on words

of wisdom."

In the last line of the ghazal, Alisher Navoi uses

the same word "xarj" to express bahr in the structure

of the verb "qilma xarj" in the negative form, which

is expressed by the inflection – ma, which is

translated into English in the negative form as "don't

spend". In both languages, the verb forms "qilma

xarj" in Uzbek and "don't spend" in English denote

the syntactic semantics of action and negativity, that

is, an active negative syntaxeme, which combines

with the agentive syntaxeme "you" in the position of

the subject of the sentence, based on the predicative

connection between the main parts of the sentence.

It is interesting to note that when in the ghazal the

bahr is expressed not with the same notional word,

but with a suffix or inflection, then it becomes too

difficult or almost impossible to express the rhyming

element at the end of the line because of the difference

in the linguistic system and word order of Uzbek and

English. In this case, the translator has to select

another word to express bahr in the same line or add

a word, which may somehow help to clarify the

general content of the ghazal. For example, in ghazal

No.103 of the source language, the bahr is expressed

with different words, but with the same ending – oh

(aqdoh, saloh, aqdoh, muboh, roh, aqvoh, Fattoh,

nikoh).

In this case, the translator found a way out by

adding an introductory phrase "I believe" and using it

at the end of the second line of each couplet of the

ghazal to express the end rhyming as bahr in the

source language [8,7].

For example, for the translation of ghazal 103

"Halol boldi… ishq ahliga may" ("A wine lad seized

my soul…") from the work "Gharoyib us-sighar" by

Alisher Navoi, the expert on Navoi's work, professor

Dilnavoz Yusupova provided translations and

definitions of more than ten special words such as

mugbach – wine delivering boy, fire worshipper guy;

mugona – related to wine delivers; Аqdoh – goblets,

cups; saloh – goodness, benefit, interest; Аflok jirmi

– celestial matters; bekhudlik – loss of consciousness,

unconscious; roh – wine; Вvara– faith, diet, ilol –

changing; Аjzo – a part, parts, divisions; saboh –

dawn, morning; Тund – quick, firm, hurrying; roz –

grape; Маykada – tavern, wine-shop; dayr – idol's

house, temple, chapel.

Based on this vocabulary study, let's start learning

the prose description, comments, and literary

analysis. According to the view of scholar D.

Yusupova, this ghazal #103 of Alisher Navoi is a

rindona content, in which the widely used literary

symbols and images have served to produce the

artistic effect of the ghazal, the expression of

imagination, and the smooth depiction of a person's

emotion. Such notions as goblet, mug, wine lad, wine

pourer, drunkard, temple, used in the verses, are

aimed at expressing the power of divine love.

Through these concepts, the power of love for God

(Truth) is expressed in the ghazal, meaning that the

possessors of this love are above all the troubles of

the world, and their only purpose is to see the face of

God.

The words with rhyming sound combinations "-

oh" (aqdoh, saloh) in this couplet, as well as in the

following couplets, the sound combination "...oh" is

repeated in each second line of the couplet: aqdoh,

muboh, roh, arvoh, Fattoh, nikoh. They all express the

poetic art radiff, which we tried to express with the

word "believe," though it does not exactly convey the

meanings of all radiffs in the original. In this couplet,

the radif aqdoh (goblet, wine cup, mug) expresses the

syntactic semantics of an object of the sentence, and

the radif saloh also expresses a syntactic object in

relation to the predicative center of the sentence,

represented by the verbs oldi (seize) and tut (hand

me), and accordingly, in the second line, the

predicative center is presented by the nominal phrase

"saloh ila bo`lmoqlik emdi," accordingly, we are

drunk, and we believe. So, here "believe" expresses

the radiff in the second line of the couplet, which

Translation Mechanisms of Aruz Poetic Measure Bahr from Uzbek into English

1699

exactly fits the content of the line and the whole

couplet.

As it is known that mug (aqdoh) is a priest of the

fire worshippers. The task of the priest is to light fires,

perform religious rituals and prayers. It is no

coincidence that in this ghazal Navoi chose the image

of priest and wine lad, who are directly related to the

ideological content of the poem. Through the image

of priest, Navoi refers to the piri murshid (wise man,

mentor), who lights on fire in the heart out of love for

God (Allah). The worldly affairs have no significance

for a lover after drinking wine, i.e. from the mug like

fiery glass of wine. This is what is meant in the second

verse when it is said, "No, we have not been blessed."

In this byte the radiff “aqdoh” also denotes the

so called literary art “simile” expressed by aflok

jirmidin aqdoh (Fill my mug, it is as big as a planet in

the sky).

In the second byte the lover suffers from the

missing of the beloved, to forget this grief he wants

to drink wine, so he decided to drink it, even if they

give wine in a glass as big as a planet in the sky. The

emphasis laid on the universe is not accidental, and

the poet points out that bir oy ("one moon") also

means a celestial body through literary art of pun.

Here the radiff is also provided with the word

combination “we believe” which fits to the content

and form of the byte.

Again to provide radiff of the line the word

believe is used in this byte too.

According to Alisher Navoi’s view in

mysticism, when we say poor people, we mean pure

people dedicated to the way of true love. Why exactly

"poor people"? First of all, a person who has attained

the Truth, God, understands himself, feels and

understands well that both the heart and the mind in

this condition are striving to meet with God. They

know that they are the poor left in this ruin, and they

strive to reach God. Furthermore, because they do not

really understand the world, they do not pay any

attention to richness, wealth, which means that they

are the poor people who used to live in ruins. Why

was it sinless for them to drink wine? Of course, when

we say wine, we mean the love for God, because a

person who is well aware of himself naturally enters

the path of divine love. The poor people consider

those who believe that it is possible to drink wine, that

is, those who feel and know the love for God, to be

the people of Vara`, that is, the pure sinless people,

faithful to God.

In the original, the radif is expressed with the

word "roh" (wine), and again, the verb "believe" is

used to provide the radif in this translation of the

couplet.

n this couplet, the poet addresses the wine pourer

- the mentor pir. The wine pourer's lips are life-giving,

able to resurrect the dead. Why is it exactly "lip"?

Because only the word of love flows through this lip,

as it speaks only about the truth, about God, about the

supreme and perfect mind, which the only human

mind is capable of possessing. These words revive the

soul. The poet proves his point in the first line by

using the art of problem-solving in the second line: in

the Arabic alphabet, the word "spirit" is written as ruḥ

(ﺭﻮﺡ - spirit), and if the letter "u" is replaced by alif,

it becomes r / ḥ, and denotes "wine." It is no

coincidence, then, that the lips of the drinker are like

spirits, for it is through these lips that love can be

gained.

At this point, we witness that the problem arises

in the structure of the poem. The problem is the

changing of Arabic letters in different ways: by

removing, adding, to hide a word within

combinations. In this case, the problem comes here as

a literary art. As it is impossible to transform Arabic

letters expressed in the original poetic line, the use of

the verb "believe" is preferable to provide radif in this

couplet.

In this couplet, the poet continues to prove his

previous opinion. Why does the drinker's lip cause

bleeding in the body? Because this life-giving word

produced by the lips means God for the lover, and the

lover who perceives God will now begin to be restless

in the desire to meet his beloved, and will be subject

to suffering from the pain of separation. So, now his

heart is filled with the blood of separation, which

means the resurrection of the soul. Because a dead

soul does not suffer. The stains of the blood that

appear in the body are the spirits presented by faces

and drops of blood. For every drop of blood mentions

His name in the separation. At this point, Navoi also

meant that the redness of the lips is in harmony with

the color of blood.

In this case, the translator also used the

introductory word "believe" to express the radif in the

translation, instead of the vocative "Fattoh" applied in

the original.

As is clear from the couplet, the tavern is locked.

It is a sign that the human soul is sometimes saddened

and darkened by the troubles of life. When it is said

"dawn," it means the youthful period of life. As long

as a man lives, from the moment he recognizes

himself, he wants to fall in love with God, and he feels

that he is infinitely sinful. So, he pleads with God to

open his heart. He begs to be saved from ignorance.

In this couplet, the poet is referring to this situation,

asking God to open his heart by addressing God as "O

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Fattah," one of the attributes of Allah. He is

expressing his prayers to God.

In the last couplet, the temple's priest (pir)

wedlocks Grape's daughter to Navoi. The word

"nikoh" is the radif which expresses an object to the

verb "to wedlock" in the original, but in order to

express radif, we considered it better, as in all the

above cases, to use the verb "believe" as radif, which

is perfectly consistent with the content and form of

each couplet and the whole ghazal in general.

In the dawn, the lyrical protagonist was suffering

from the fact that the tavern was locked - a bond, but

when he went in the evening, he saw his condition -

the priest of the temple married Grape's daughter,

wine, to him. Here, wine is understood as the

daughter of grape. That is, what the poet informs him

in the evening - after spending most of his life, after

seeing the truth - it becomes quite clear that the

mentor pir has taught him the secrets of love. So, in

the morning, when he was young, he did not

understand the secret of love; he was enjoying the

tavern's ado, and then, he perceived the truth, he

married Grape's daughter, that is, he achieved his love

at last.

As is seen from the translations of the ghazal's

meaning couplet by couplet based on vocabulary

definitions, prose descriptions, comments, and

literary analysis, it proved very practical, and

especially the use of the introductory word "believe"

to compensate radif in the translation which fits

perfectly well to the form and content of not only each

couplet but also the whole ghazal itself.

3 CONCLUSION

Thus, as we have studied the translation

mechanisms of classic literature, including classic

poetry, it involves the study of the vocabulary of the

ghazal, expert comments in the form of prose

descriptions, analysis of the ghazal, as well as

consultation with a classic literature scholar,

especially a scholar of Alisher Navoi studies, and a

good knowledge of the source and target languages.

In addition, the translator must use an appropriate

translation theory and methodology to prove the

adequacy of his/her translation to the original. So, we

have analyzed the translation mechanisms of aruz

poetic measure bahr on the example of ghazal No.94

by Alisher Navoi from Uzbek into English.

In both lines of the first couplet of the ghazal, bahr

is expressed by the same word "xarj," which is

repeated as the rhyming element (radif of bahr) in the

second line of each following couplet of the ghazal. It

is transformed into English with the same verb

"spend" in combination with modal verbs "would"

and "could" in both lines of the first couplet and in the

second line of each following couplet of the ghazal in

combination with the modal verb "must" (must send)

as an active modal syntaxeme in the position of the

predicate. In the last line of the ghazal, it is in the

negative form "don't spend" as an active negative

syntaxeme. Each of them can combine with an agent

syntaxeme (heaven, man, he, one, you) in the position

of the subject, which proves the syntactic semantics

of action as a translation unit.

For example, in ghazal No. 333 ("He who is in

love..."), the bahr is expressed by the word "kerak" in

Uzbek and in English "must," in ghazal No. 342 - with

the words "qilmading" in Uzbek and "did not" in

English, in ghazal No. 314 with the words "etgay

firoq" in Uzbek and "separation attempts" in English,

and in ghazal No. 19, "balo - evil," in gazal No. 332

– "muhtoj - need."

It is interesting to note that when in the ghazal the

bahr is expressed not with the same notional word,

but with a suffix or inflection, then it becomes too

difficult or almost impossible to express the rhyming

element at the end of the line because of the difference

in the linguistic system and word order of Uzbek and

English. In this case, the translator selected another

word in English "believe" to express bahr in the same

line, which clarifies the general content of ghazal No.

103 of the source language: - oh (aqdoh, saloh, aqdoh,

muboh, roh, aqvoh, Fattoh, nikoh).

REFERENCES

Explanatory dictionary of the language of Alisher Navoi's

works. (1983)4 volumes. - Tashkent,

Interpretations of Navoi's ghazals. Compiler and publisher:

Nusratillo Jumahoja. (2018). - Tashkent: Uzbekistan, -

380 p.

Alisher Navoi. Hamsa. (2019). - Tashkent: Navroz, -712 p.

Alisher Navoi. (2016). Cokrovishchnitsa mysley. -

Tashkent: New Century Generation, -318 p.

Alisher Navoi. (2000). Durlar from Oman. Die perlen aus

dem ozen. Pearls from the ocean. Artistic translation

(Uzbek, German, English). Translated by Yuldosh

Parda (German), K.Mamurov (English). - Tashkent:

Sharq, -142 p.

Davlatov O. (2022). Hey, Navoi, don't do enlightenment at

any cost // World literature. Journal. - Tashkent, - #10.

- B.3-7.

Mukhin A.M. (1980). Syntax analysis and problem level

language. - L.,–303 p.

Yusupova D. (2021). It's been honest... Ishq ahliga may //

World literature. journal. - Tashkent, - #2. - B.3-7.

Translation Mechanisms of Aruz Poetic Measure Bahr from Uzbek into English

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Alisher Navoi. (1997). A perfect collection of works.

Twenty roofs. Thirteenth roof. -Tashkent: Science, –

300 p.

Alisher Navoi. (1987) A perfect collection of works.

Twenty roofs. The first roof. - Tashkent: Science,. -689

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