SHARE WITH FRIENDS:
The Uzbek people have an ancient history and a rich past. The history of the centuries-old nation is passed down from generation to generation through written monuments and oral traditions. From the first years of independence, attention to the national and spiritual heritage has been growing in our country. As in all fields, there is an opportunity to openly observe our repressed traditions in the field of literary criticism, religious and mystical literature, and its impact on fiction. It is thanks to our national independence that we have the opportunity to convey to our students a number of masterpieces that have an independent and stable place in our literary history.
Ancient written monuments. Avesto. Orkhon - Enasoy monuments
Ancient written monuments are important monuments of our fiction and are valuable as a source of information about ancient culture, language, writing, social life. Such written monuments include religious books such as the Avesta, Denkard, Bundaxishn, the ancient Sogdian calendar, the Bekhistun monument, and the Orkhon-Enasay monument. The Avesta, Denkard, and Bundakhishn are the sacred books of Zoroastrianism. The ancient Sogdian calendar is a monument of ancient astronomy. The written monument found in Dunhaun dates back to the 2nd century AD and consists of the correspondence of a mother and daughter. The Orkhon-Enasay monuments date back to the Turkish Khanate.
The Avesta is a collection of texts related to Zoroastrianism. The first scholar to introduce science to the Avesta was Anketil du Perron of France, who traveled to India in the mid-XNUMXth century to obtain the text of the Avesta.
He publishes when he returns to France. "Avesta" means "regulation", "rule". It is believed to have been created by Zoroaster, the founder of Zoroastrianism. Zoroastrianism was a religion that explained life on the basis of the struggle between good and evil. According to him, Ahura Mazda (Hormuz) is the supreme deity. The Avesta consists of 21 books. Zend Avesta is a commentary on it. The Avesta consists of the following parts:
1. Vendidod.
2. Visparad.
3. Yasna.
4. Ages.
In the Avesta, Angra Manyu (Ahriman) is portrayed as an evil, cruel spirit who opposes Ahura Mazda. Zoroastrianism teaches that human activity should focus on overcoming it. The Avesta is also important as a source of myths about Mitra, Anaxita, Jamshid (Yima). The Avesta is now a dead language, written in Aramaic.
The Orkhon-Enasay monuments are also an important part of the written monuments. They have their own discovery history. In 1691, N. Widzen, a representative of the Dutch embassy in Moscow, found unknown records near Verkhotur. In 1696, S. Remezov found similar records in Siberia. Finally, in 1930, Swedish officer FIStralenberg encounters unfamiliar inscriptions. These inscriptions are called runic "mysteries" in science. Scholars such as Messerschmidt, G. Spassky, Yadrintsev are conducting the first research on the teaching of these records. According to the places where these inscriptions were found (Orkhon in Mongolia, Enasoy in Siberia) are called Orkhon-Enasay monuments. The Danish scholar W. Thomsen was the first to read the unknown writings. The Russian scientist Radlov had also deciphered many letters by this time.
Putting an end to controversial ideas in the world of science, it is determined that the monument belongs to the Turkic peoples. They historically belong to the period of the Turkish Khanate. In the XNUMXth century, the Turkish Khanate united Altai, East Turkestan, Yettisuv, and Central Asia. The Bilkaqoon and Kultegins mentioned in the Orkhon-Enasay monuments were of Turkish khagans. The monuments are engraved on the tombstones of khagans and commanders. Among them the Kultegin, Bilkaqoon, Tunyuquq inscriptions are especially valuable. The monument "Race Bitig" differs from the monuments of Orkhon-Enasay in that it is written on paper, not on stone. It was created in the VIII century and is a commentary on various situations in life.
In conclusion, the Avesta and Orkhon-Enasay monuments are rare written monuments that show the ancient culture of our people.
Literature of X-XIII centuries
The Samanid state, Khorezmshahs, Jaloliddin Manguberdi, Temur Malik, the Mongol invasion, the Eastern Renaissance, the cultural crisis, the representatives of Persian-Tajik literature, Hamsachilik, M. Kashgari and his work "Devonu lug'atit-turk", mysticism main idea, sects.
The X-XIII centuries were a special period in the history of Uzbek literature. During these centuries, Central Asia became one of the centers of world culture and science.
It is known from history that in the early VIII century, Central Asia was conquered by the Arabs. Islam has become the official religion in Central Asia. The Arabic script remained the main script. In the IX-X centuries, cultural life developed in Central Asia during the Samanid state. In the second half of the tenth century, the Samanid state weakened, power was divided among the Karakhanids, Ghaznavids, Seljuks. In the XII century the dynasty of Khorezmshahs appeared. Scholars consider the rise in the life of the peoples of Central Asia in the X-XII centuries as the Eastern Renaissance. During this period, encyclopedic scholars such as al-Fargani, al-Khwarizmi, Beruni, Ibn Sina worked in various fields of science and were able to make many discoveries. During the reign of Muhammad Khorezmshah (2-1200) Central Asia was conquered by the Mongols. The war started in the city of Otrar due to the choice of Genghis's caravan. Jalaliddin and Temur Malik, the sons of Muhammad Khorezm Shah, fought valiantly against Genghis Khan. The Mongol invasion had a very negative effect on the cultural life in Central Asia. The flourishing culture was ignorantly destroyed. The Mongols also had a detrimental effect on literary life. Many talented pen owners have moved to other countries. For example, M.Avfiy from Bukhara, B.Chochiy from Tashkent, Z.Nahshabiy from Kashkadarya went to India, J.Rumi from Balkh went to Rum (Asia Minor). K.Khojandi from Khojand, N.Bukhari from Bukhara lived and worked in Iran, the homeland of Hafiz and Saadi.
In the tenth and thirteenth centuries, Persian-Tajik literature, which was always side by side with Turkish literature and had an effective creative influence on it, developed tremendously. During this period, such eloquent Persian poets as Rudaki, Firdavsi, Umar Khayyam, Nasir Khisrav, Amir Khisrav Dehlavi, Nizami, Saadi, Hafiz Sherozi, Farididdin Attar emerged. Firdavsi became famous all over the world after completing the work of the poet Dakiki - "Shokhnoma". Nizami established the tradition of hamsa with his hamsa called “Panj ganj”. H. Dehlavi's name also went down in history as a talented co-author. U. Khayyam's famous rabbis were created during this period. The works of Hafiz Sherozi, Saadi, F. Attor created during this period have been a source of literary influence not only for Persian-Tajik, but also for Uzbek literature for centuries.
A rare example of Turkic literature of the X-XIII centuries is the work of Mahmud Kashgari "Devonu lug'otit-turk". It was created in the XI century. The author of the work is M. Koshgari (he was from Kashgar) and studied in Samarkand, Bukhara, Merv and Baghdad. He was one of the most famous linguists of his time. It came to us only after M. Koshgari's "Javohirun-nahv fi lug'otit turk" ("Masterpieces of the syntax of Turkic languages") and "Devonu lug'otit-turk". It was found in Istanbul in the early twentieth century. Translated into Uzbek by scientist S. Mutallibov. The introduction provides information about the history, method and structure of M. Koshgari's work. The dictionary section explains the meaning of more than six thousand Turkish words in Arabic. In interpreting the words, the author used about three hundred poetic passages, proverbs and wise sayings as artistic examples. This determines the literary value of the work.
Sufism is a philosophical doctrine that has a history of several centuries and plays an important role in the literature of the East. Its first buds were formed in the VII-VIII centuries, and by the X-XII centuries it became a philosophical profession and movement, which developed, systematized and had several branches. Major Sufis such as Ibn al-Arabi, Ibrahim Adham, Hasan Basri, Bayazid Bastami, Abu Bakr Shibli, and Mansur Hallaj emerged. Oriental literature, including Uzbek classical literature, is deeply rooted in mystical ideas. Representatives of the literature of the past, to one degree or another, have previously asked for Sufi ideas in their works. Therefore, it is impossible to study Uzbek classical literature without knowing its mysticism. There are many streams of Sufism. Mn, kubraviya, mawlaviya, qodiriya, malomatiya, naqShbandiya. "Tariqat" means "Way". The unifying feature of all mystical teachings is that in all of them the main goal is to attain spiritual perfection through a certain Path. To do this, a person who enters the path of mysticism - the tax must go through the following stages:
1. Sharia.
2. sect.
3. enlightenment.
4. truth.
Formed in the late thirteenth and early fourteenth centuries, the doctrine of Naqshbandi is a stream of mysticism that promotes a socially active lifestyle. It is based on the principle of "dil ba Yoru dast bakor" (that is, the deal is with God and the hand is at work).
Sufi literature has produced dozens of famous figures such as Jalaliddin Rumi, Farididdin Attar, Ahmad Yassavi.
During its development, Uzbek literature developed in harmony with the written and oral literature of the Arab and Persian-Tajik peoples. The literature of these peoples differs only in terms of language. There are no sharp differences between the Persian-Tajik and Turkish literature in terms of the system of images and artistic means. E. Bertels, a scholar of Oriental literature, wrote: "In fact, we have a single literature whose subject matter, style, and appearance are the same, differing only in language."
The tenth and twelfth centuries were a new stage in the cultural development of the peoples of Central Asia. During this period, Central Asia became a major and central center of world cultural development. Central Asian scientists have enriched world science with their discoveries and immortal works. During this period, great achievements were made in the fields of cultural life, such as fine arts, architecture, music. Both the Russian scholar Nikondrat and the greatest Western Iranian scholar and literary critic, E. Brown, rightly called this period the "Eastern Awakening."
We see that our people, with its rich cultural and literary traditions, have been in close contact with many neighboring nations in the East. Uzbeks, Tajiks, Azerbaijanis, and a number of other peoples in the East, regardless of their ethnicity, have lived in almost the same political and social conditions for centuries and have risen together against oppression and violence. Cultural and literary ties between these peoples originated and developed on this soil.
The tenth to twelfth centuries were a period of considerable revival of relations between the peoples of the East. Among them, the study of the culture of mutual production, which has been going on since ancient times, has expanded to include the enjoyment of the achievements of the exact sciences, as well as philosophy, history, and logic. During the Samanid period, in Bukhara, Muhammad Balami translated into Arabic the work of the Arab historian Abu Ja'far Muhammad bin Jarir Tabari (838-923) "History of the Apostles and Property". In addition to the fact that the Arabs had a rich poetry before Islam, many of them also wrote poems in Persian.
From the ninth to the tenth centuries, that is, from the time of the establishment of the local Samanid state in Central Asia and Iran, Persian-Tajik literature developed extensively. During this period, literary life was revived in the political centers of the Samanid state, such as Khorasan, Herat, Balkh, Gurgan. "Human Shuaro" Abu Abdullah Rudaki, Persian-Tajik literature founded by the Ferdowsi, was very close to the peoples of Central Asia, including the Uzbeks. The works of Daqiqi, Unsuri, Asadi Tusi, Salmon Sovaji, Saadi, Hafiz, Umar Khayyam, and Zakani, who lived in Persian-Tajik literature during this period, were also popular among fans of Uzbek poetry.
Prof.Ye.Bertels, prof. Russian orientalists such as ISBraginsky, Uzbek scholars such as A. Fitrat and Sadriddin Aini have conducted research on the literature of this period, in particular, on the positive relations between the Uzbek and Tajik peoples.
In the Uzbek literature of the X-XII centuries there are roots of works written in the Persian-Tajik language. The same can be seen in the passages quoted by Mahmud Qashqari, a prominent scholar of the XNUMXth century, in his Devonu lug'atit turk. The play contains stories about Alexander's travels to various Eastern countries. In these stories, Alexander speaks Tajik from time to time (stories about the Chigil tribe and the Uyghurs). Yusuf Khos Hajib, the author of Qutadgu Bilig, was a profound scholar of Persian-Tajik literature and history. In expressing his political and moral views in Qutadg'u Bilig, the writer refers to Firdausi's Shahnameh. For example, the author speaks about the just and oppressive kings, citing the images of Faridun and Zahhok in the work of Ferdowsi. They are able to clarify their thoughts by contrasting them with each other. Yusuf Khas Hajib refers to Persian-Tajik sources when he mentions that AfrosiYob was one of the Turkish princes Tuga Alp Er (Alp Er Tunga). The Uzbek author considers the information "Tajiks are finished" as a reliable source.
In the X-XII centuries, the Persian-Tajik language, according to the requirements of the socio-political and spiritual life of that time, had a great position in a large area, first under the influence of the Samanids, then the Ghaznavids, Seljuks, Karakhanids . As a result, not only the Tajiks themselves, but also Uzbek, Azerbaijani, Turkmen and even representatives of Indian literature created their works in this language. Thus, the contribution of Uzbek, Azerbaijani and other peoples in the development of Persian-Tajik literature during this period. Importantly, in this general process, lyric poetry, epic poetry has embarked on a broad path of development. If we observe the formation and development of ghazalism as an independent genre in the works of Rudaki, Saadi, Hafiz, the first mature examples of heroism, didactic and romantic-romantic epics in the example of Firdavsi's "Shohnoma" and Nizami's "Panj ganj" we will see.
Thus, the Persian-Tajik literature, which developed during the XII-XIV centuries, formed a great period in the history of literary relations. The widespread use of Persian-Tajik language in art gave rise to the tradition of bilingualism.
Artists such as Sabir Termezi, Badriddin Chochi, Pahlavon Mahmud wrote their works mainly in Persian-Tajik language and made a worthy contribution to the development of literature in this language.
The epics "Kutadgu bilig" by Yu.Kh. Hajib and "Hibatul-haQoyik" by A.Yugnaki
The epic "Kutadg'u bilig" ("Knowledge that leads to happiness") is based on the following plot. Kuntugdi was a king who was famous for his justice. He was shown the way by the wise minister named Aituldi. His son UzgulmiSh will take over the ministry after his father. One day, the king finds out about a man named Uzgurmish, who has passed away, and calls him and talks to him. Their questions and answers, discussions are given in the form of a story in the play. In the epic, Kuntugdi is a symbol of justice, Aituldi is a state, Ugdurmi is wisdom, Uzgurmi is satisfaction.
Qutadg'u Bilig consists of 65000 bytes, which raises social, philosophical and moral issues. Each chapter is dedicated to a specific topic. For example, "Language Etiquette" or "About Becks". Special attention is paid to science and enlightenment in the play. Yui.H.Hajib considers science as the key to happiness, glorifies scientists, and promotes science-based in everything he does. Regarding the appreciation of scientists He says:
Strictly rebuke them,
Permission to steal knowledge.
that is: love them dearly, cherish their words,
Learn more or less knowledge.
Qutadg'u Bilig is a valuable work on manners and ethics. Yu.H. Hajib gives exemplary views on issues such as language etiquette, honesty, truthfulness. He prefers the word good to any material wealth. He says that both happiness and unhappiness are due to language:
Blessed is the man whose tongue is heavy,
KiShing til ojuzlar: yarir ar baShi.
that is, the tongue is revered by man, and man is blessed because of it,
The tongue despises man: (he) makes the earth headless.
The play deals with various social strata - scientists, farmers, artisans, merchants, ambassadors, astrologers, doctors and other professionals, their role in society, responsibilities and duties, behavior, behavior. advice on how to do it.
Qutadg'u Bilig is a valuable monument of XNUMXth century Turkish literature. It is the first major written work of art in the Turkish language. Many folk proverbs and wise sayings were used in the epic, which enriched the ideological content of the work and increased its artistic value. The play contains original symbols, similes, artistic expressions. It is created in the masnavi form (rhyme aa, bb, vv…) in the weight of musammani mahzuf (maksur). Pillars: fauvlun, fauvlun, fauvlun, faul (fauvl).
Another rare monument of Turkish written literature is A. Yugnaki's work "Hibatul-haqayiq". Very little is known about the life and work of A. Yugnaki. It is believed that Hibat al-Haqqiq was created in the late twelfth and early thirteenth centuries. It is dedicated to a ruler named Dod-Sipohsolar. It is clear from the work itself that the poet's name was Ahmad, his father's name was Mahmud, and his birthplace was Yugnak. It is narrated in Hibat al-Haqqiq that he was born blind.
The writer's eyes could not see,
Corrected the word in these fourteen chapters.
A.Navoi mentioned A.Yugnaki in his book “Nasoyimul-muhabbat” and said that although his eyes are weak, the eyes of the heart are brighter than those of healthy people.
The issues raised in the epic "Hibatul-haqayiq" are related to the following areas:
1. Science and enlightenment.
2. Ethics.
3. Religion and Sharia.
One of the central themes of the epic is science and enlightenment. According to the poet, happiness can be achieved through knowledge.
Knowledge is the Way to Happiness,
Know knowledge, find the Way of Happiness (seek).
A. Yugnakiy glorifies sweetness, generosity, humility, kindness, and condemns lying, greed and arrogance. He calls us not to give in to the lusts of the world, but to make a good name in the world with good deeds.
In Hibat al-Haqqiq, the means of artistic language were used effectively. Examples of art such as tasbih, tazod, istiora, taShxis have been created. Folklore was used effectively. The epic, like Qutadg'u Bilig, is written in the weight of musammani mahzuf (maksur).
Works by Ahmad Yassavi and Suleiman Bagirgani
The year of Ahmad Yassavi's birth is unknown. He was born in Yassi (Sayram) in the house of Sheikh Ibrahim. At the age of seven, he was orphaned by his father. Arriving in Bukhara, he studied mysticism from Yusuf Hamadoni. Ahmad Yassavi is the founder of the Yassavi (Jahriya) sect in mysticism. According to the narrations, the Prophet Yassavi, at the age of 63, considered it undesirable to live more than 130 years, chose to live in the basement and lived for 1166 years. Scientific literature states that he died in XNUMX.
A. Yassavi's literary heritage consists of "Hikmat", and the collection of poems is called "Devoni Hikmat". Devon has many manuscripts and manuscripts.
Sufism is the ideological basis of Yassavi's work. The poet calls to live with the pain of true love, to overcome the desires of the self and to achieve spiritual perfection. Repentance, patience, perseverance and risk are human qualities that are glorified in Yassavi's poetry. According to him, divine pain educates man and saves him from ignorance.
A man without pain is not a man, understand this,
Loveless man animal sex, listen to this.
He who listens to the word of lust will eventually lose his human form. Dinu engages in anti-religious activities:
He who enters the path of lust will be disgraced,
He will be lost, slipped, and lost.
Yassavi calls us to abstain from sin, to be content with the food we earn through honest work, not to be greedy for wealth, and not to be "worldly nonsense." Yassavi calls for divine enlightenment, and considers it foolish not to seek knowledge.
Bless the fools without seeing their faces,
If the Almighty is a wife, he will not stand still.
If the patient does not ask the ignorant,
I have suffered a hundred thousand ignorant people, ”he said in one of his proverbs.
The wisdom of Yassavi has not exactly reached us. Copies of Devoni Hikmat also differ significantly. The poems in it are partly composed of ghazals, mostly square-shaped poems resembling quartets spread among the people. They are more a a a b vvvb Shaped enough. The main part of the proverbs is created in the weight of a finger and consists of 7 and 12 syllables. Proverbs are written in a fluent, simple, comprehensible, vernacular. Yassavi’s tradition of wisdom was continued by his disciples, his fans. Among them, the work of Suleiman Bagirgani is especially noteworthy.
Suleiman Baqirgani was born in the Baqirgan settlement of Khorezm, one of the centers of science, literature and social development. The year of birth is not clear, and the date of death is set to be about 1186. He was also known as Hakim's father. His poems were loved and read among the peoples of Turkestan. Hussein Voiz KoShifi and Alisher Navoi mentioned S. Bakirgani in their works.
S. Bagirgani continued the Yassavi traditions in both mysticism and poetry. His poems have been collected under the title The Book of Screams. The poet's literary heritage includes two poetic epics, The End Times and The Book of the Virgin Mary. As noted, the Poems of Bagirgan are both ideologically and artistically in sync with the wisdom of Yassavi. The purpose of the poet's lyrical hero's life is to enjoy enlightenment. He is ready to suffer and suffer in the way of this intention. He is the One who has given up his worldly possessions and given his heart to the One Truth, and who has sacrificed his life in this way.
Don't fall in love with the world,
A lover is always dead for a lover.
The fire of love burns,
Lovers are exposed to the fire of love.
The poet calls not to discriminate against the human child, to respect him. "Whoever sees it, know Hizr, and whoever sees it every night, appreciate it," he said.
ABULQOSIM FIRDAVSIY
The name of Abulqasim Firdavsi is world-famous and has aroused the interest of people in the East for a thousand years. It has been two centuries since it captured the hearts of European readers. The work that immortalized the poet is "Shohnoma". This work is called "Shohnoma" - "Book of Kings". The Shahnameh is not a book about kings, but a dream of the people. He became famous as the "King's Book". He became famous not only among the Persian-speaking people, but also in all the countries of the Middle East. Times have changed, but the fame of the "Shohnoma" has not faded. On the contrary, this fame has been growing over the years. "Shohnoma" has been translated into various languages of the world and serves as a source of inspiration for the works of art.
Abulqasim Firdavsi was born around 940-941 in the village of Boj near the city of Tus, the capital of the Khorasan region. "His ancestors were peasants who lost their land and became poor" (Sh. Shomuhammedov. King's book. Introduction to the work "Shohnoma". T.1975). was a representative of the aristocratic class that gave.
Ferdowsi writes about the period of crisis of the Samanid kingdom:
The world was in turmoil,
The world was in turmoil over the crown.
On the one hand, the internal conflicts of the Samanid state intensified, and on the other hand, the nomads' attacks on agricultural lands intensified. Having served in the military for many years, the poet also studied in depth the folklore. He has been writing the Shahnameh for 35 years. But he can't find someone worthy of the gift. He then chooses Mahmud Ghaznavi, who is gathering scholars and writers in his palace in the Treasury, writes a tribute to the King, and presents the epic.
The great poet, Mahmud Ghaznavi, who devoted his entire life to writing the work, gave silver coins instead of the promised gold. Outraged by this, the poet wrote a joke, accusing the king of inferiority. The poet gave the coins given by Mahmud to a salesman and a bathroom worker. According to legend, the King ordered him to be thrown under the feet of an elephant, but Fidavsi fled to distant lands. Even in old age, he suffers from persecution. He swears not to mention the names of the kings and writes the epic "Joseph and Zulayha." The weary poet in his 80s, living with the dream of returning to his homeland, lived in Baghdad. Based on a plot taken from the Qur'an, he emphasizes that he was forced to write this epic. At the end of his life, the old poet returned to his homeland and died in Tus. But the priests accuse him of blasphemy and do not allow him to be buried in the Muslim cemetery. In 1025, Firdausi's body was buried on the edge of the garden left by his father.
From Abulqasim Firdavsi we have the epic "Yusuf and Zulayha" based on the work "Shohnama" and the stories of the Qur'an, which have a history of four thousand years. Very little is known about the life and work of the poet. In writing the Shahnameh, which contains sixty thousand bytes, the poet aims to create a work that deeply explores the epics of the peoples of Central Asia and Iran, and incorporates four thousand years of mythical and real history. was eaten. Ferdowsi fulfilled this task with a talent unique to artists, creating a masterpiece. The great German poet Goethe wrote: "After Ferdowsi wrote the legendary and historical past of Iran, the next generation was left with nothing but general statements and some interpretations," writes his "West-East Devon." In his comments.
As Professor EEBertels of the Shahnameh points out, "Poetry in the early tenth and eleventh centuries, no matter how brilliant, is obscured by the genius poet Firdavsi's epic Shahnameh."
The horizon of this great epic is so wide, the depth is so deep, that it is impossible to describe its richness, all its jewels.
The tradition of compiling the Iranian heroic epic into one book dates back to the Sassanid period in the III-VII centuries. In the tenth century, the legends of the heroic epics of Central Asia and Khorasan were collected and published in Persian.
The Prose Shahnamehs (written in 957) by Abul Muayyad Balkhi (966th century), written by four scholars and known as the Shahnameh Mansuri, and the Poetic Shahnameh by Abu Ali Muhammad ibn Ahmad Balkhi and Masudi Marwazi (Created before 977). But they did not reach us. The Shahnameh of Abu Mansur Daqiqi, who was killed in XNUMX, has reached us. Because Firdausi had included a thousand bytes in his work.
"Shohnoma" is an immortal work, a unique masterpiece. Created in a poetic form, this work is simple, concise, close to the vernacular, and amazes with its profound philosophical insights. The play depicts 50 podSholik. Examples of folklore are widely used in legends and myths. Being one of the sages of his time, the poet received the nickname "judge". Ferdowsi also shows a great talent and unparalleled ability to take from the myths and legends created by the people, which serve to reveal the idea of the work, when the "Shohnoma" became a complete work. The play reflects the struggle of the peoples of Central Asia and Iran against the invaders for the happy fate of the country. As the President said, it is impossible to imagine the future without studying the past. Through the study of this work, we learn the culture of our ancestors, who lived in the past.
Another reason why Fidavsi's "Shohnoma" is an immortal masterpiece is its popularity. Although it is a book about kings, it reflects the dreams of the people. Some of the 50 Kings described in the Shahnameh are thousands of bytes, some 10-20 bytes. The epic is legitimized for the Shahnameh, and the description of each Kingdom period consists of a preface, a main part, and an introduction. Rustam, Sukhrob, Kova, IsfandiYor, Bahrom, Siyovush, Mazdak and others are the heroes of the work.
The main character in "Shohnoma" is a hero from Seystan Rustami. Rustam is a famous Iranian hero, a pillar of the military, an invincible and proud hero, loyal to his country, the King. The main idea of the work is to glorify the homeland, to show the power of the people.
At the beginning of the XNUMXth century, the epic "SiYovuSh" from the "Shohnoma" was translated into Uzbek. In the XNUMXth century, the book was translated by Shah Hijran, Mulla Khomeini, and Nurmuhammad Bahodiri. Prof. Sh. Shomuhammedov perfectly translated "Shohnoma" into Uzbek. The Persian-Tajik poet Tusi (XNUMXth century) wrote GerShaspnoma and Lutfi (XNUMXth century) wrote Zafarnoma inspired by Shohnoma.
"Shohnoma" is written in the mazhuf and maksur network of the mutaqarib bahri. Its corners are marked as foul, foul, foul, foul Or foul (V - - V - - V - - (Or V -)). The weight of the "Shohnoma" is created in the folklore, which is performed on the 11th finger.
In short, Firdavsi's great epic "Shohnoma" will live forever in the memory of generations. Because the poet describes man, the whole being, as the most perfect, the peak of progress.
The last link in the chain is man,
It is a key, easy to open the bands.
Standing up like a cypress, proud to raise his head,
Existence is a good word, spirit is contemplation.
Comprehension with the mind only helps him,
The whole dumb world is hard to command.
ABU ABDULLAH JAFAR ROADAKI
In the 11th and XNUMXth centuries, Persian-Tajik literature achieved great success. From the Tajik, Iranian and Azerbaijani peoples, such eloquent artists as Rudaki, Daqiqi, Firdavsi, Robia, Mahastikhanim, Asadi Tusi, Nasir Khusrav, Nizami Ganjavi came out. These writers, who lived and worked in Bukhara, Termez, Samarkand, Merv, Khorezm, NiShopur, as well as in Balkh and Shirvan, enriched the treasury of world literature with rare works.
The Uzbek and Tajik peoples have long lived side by side. It is said in the wisdom of the ancestors that the Uzbek and the Tajik sing the same instrument and cry the same grief. “Both peoples, like the heritage of our great ancestors, are spiritually nourished and drink water from the same spring. Ensuring the equality of the two nations is both a duty and an obligation for all of us, ”said President Islam Karimov. (I. Karimov. We will build our future with our own hands. , 1999. p. 104)
"OdamuSh-Shuaro" - Famous for the name of the poet's father Adam
Abu Abdullah Ja'far Rudaki was born in about 860 in the village of Panjrudak near Samarkand in a peasant family. Rudaki receives primary education in his village. Abul Abbas Bakhtiyor, a famous musician of his time, studied music. From an early age he became famous for dusting and singing. Then he continued his education at the Samarkand Madrasa. Dedicated to poetry, Rudaki gained in-depth knowledge and became famous in the field of literature and art.
During the reign of the ruler of Bukhara Nasr 11 ibn Ahmad Somoni (914-943) the poet
His fame spread to the East, including Bukhara. Rudaki's poetry is characterized by free imagery, love of nature, vivid imagination and depiction of it, international simplicity and musicality, a tendency to poetic images of pre-Islamic times.
Abufazl Balami, a prominent representative of the Samanid state of his time, gives the following information about Rudaki: "He was not only a famous poet, but also a leading scholar of his time." Rudaki was respected by the Samanid rulers and was financially supported by the state authorities. Because of this he had great wealth. But Rudaki focused all his attention on Poetry and Science. Ancient sources contain information about his epics “The Age of the Sun”, “Arois an- nafois” (“Elegant buds”), and “Sindbandnoma”.
It is believed that the first creator of the Quartet and the Rubaiyat was also Rudaki. There is life in these thoughts, of course. It is obvious that Rudaki had a great contribution to the development of the Rubaiyat in Persian-Tajik poetry. Only the author's poem "About old age", the poem "Mother May" (Mother of May), the ghazal "Boyi joi Moliyon" and a few rubais have reached us in full. His other works have been preserved only in the form of fragments. For example, the epic “Kalila and Dimna” shows that the sources were more than 12 bytes in size. We only know 1000 of his lines.
But the existing parts themselves testify to his thinking and strong poetic skill. In any case, it plays a special role in the emergence, formation and development of the ghazal genre in Persian-Tajik literature.
All the works of Rudaki reflect the dreams and interests of the people. He sang the beauties of man and nature from his earliest poems. He praised labor and profession on the basis of wisdom. In his poems, he preached to the Kings the place of justice and generosity in the destiny of the country.
When it comes to the poet's works, his poem "Boyi Joyi MoliYon" is especially significant. The following narration is also spread about this.
The Samanid emir Nasr walks among the banquets in Herat. The women, who missed the country, asked Rudaki to influence the emir. Then, at a banquet, Rudaki sang in the dust his famous song "Boyi joi Moliyon oyad hami" ("The smell of Moliyon bee hit my heart"). . The Emir was so moved by the song that he rode barefoot and headed for the Amudarya Pass. The expression of human emotions in the ghazal is distinguished by its deep singing.
The poem begins as follows:
All over the place MoliYon oyad hame,
Yodi Yori is a kind verse.
(The scent of the Moliyon stream comes to my breath. In it also comes the kind Yor Yodi.)
These verses evoke in the eyes of the Emir the diamond gardens, the waters of the Moliyon stream, and at the same time the memory of the distant Yor and DiYor. Subsequent verses provide more subtle and moving images related to the homeland.
“Rodaki has repeatedly told the man that the first teacher is life. If a person does not remember the teachings of life, he will show that no one and nothing can teach him "(Sh. Shomuhamedov. The Flame of Eternity. Vol. 1974, pp. 92-93).
Iodine if life lessons fail
No master can teach him.
The dictionary shows the thinker as a shield that protects man from various calamities:
The light of people's hearts is knowledge,
Balodin storage weapon knowledge.
People who live a light life in the shadow of the labor of others do not gain experience in life, nor do their intellects develop:
He has endured hardships
The future is glorious and glorious.
The poet stressed the importance of friendship and cooperation between people for society. He believes that people of different religions do not interfere with true friendship.
In Rudaki's works, the intellect of the human mind is glorified. The language of his works, the means of artistic expression are simple and popular. Professor Sayyid Nafisi, an Iranian scholar, was the first to have a significant influence on Persian classical literature. He considered Movarounnahr to be the birthplace of Persian poetry. It is a tradition left by Rudaki to describe nature, the homeland, and adorn the work with moral advice.
Rudaki's work still enriches the world of human spirituality with its great spirit of humanity and vitality. The author's poems have also been translated into Uzbek.
UMAR KHAYYOM
The poet, philosopher, mathematician and astronomer, as well as the master craftsman Umar Khayyam, who raised the development of the rubai genre to a new level, was born in 1040 in Nishapur, Iran. His real name is Abulfath Umar bin Ibrahim and his nickname is Khayyam. Khayyom - "tent" - is derived from the word tent, which means tent.
Omar Khayyam, who had a great talent from a young age, diligently studied sciences such as arithmetic, handasa, philosophy, geography, jurisprudence, nujum, interpretation of the Qur'an, history, poetry, Persian and Arabic literature. learns how. He also became acquainted with ancient Greek philosophy and other sciences. He goes to the scientific centers of that time for the purpose of studying science. He studies in Balkh, Bukhara and Samarkand.
The governor of Bukhara, Shamsulmulk, invited Khayyam, who had gained fame as a scholar, to his palace. The famous historian Bayhaqi says: "Haqqan Shamsulmulk Bukhari welcomed Imam Umar with great prestige and placed him on the throne - next to him." (See Sh. Shomuhamedov. Treasures. T., 1981, p. 123) Khayyam continues to study science in Bukhara.
At the invitation of Malik Shah's minister Nizamulmulk, the scholar came to Isfahan, the capital of the Seljuks, in 1074. Omar Khayyam, who has an encyclopedic knowledge, works as an astrologer and doctor at the Sultan's palace. The historian Bayhaqi equates Abu Ali ibn Sina in the chapter on philosophical knowledge and notes that he was a man of great talent.
Omar Khayyam was better known in his time as a scholar and mathematician of astronomy. Therefore, for many years he managed the Isfahan Observatory and achieved significant scientific results in this area. He also developed a calendar in 1079 that was more accurate than the current calendar.
Finding the roots of whole numbers was first developed by Khayyam and introduced into science.
Umar Khayyam, of course, was also concerned with eternity with his scientific discoveries. But what made his name known to the East and the West was his poetry, that is, his rubai.
Height and depth play an important role in the artistic skills of Umar Khayyam. The poet was able to achieve artistic heights and logical depth with the help of simple and profound symbols, allegories and allegories. He was able to fit very philosophical ideas into four verses. The poet's style is extremely simple, natural, understandable to all. His rubai are not only Persian-Tajik, but also rare pearls of world literature. They have been translated into several world languages.
For the first time, the English poet Herald Fitzgerald translated and published his rubai.
Umar Khayyam's literary legacy is not limited to the Rubaiyat, he also wrote poems in Arabic, only a few of which have survived. After its translation into European languages in 1859, it gained great fame. It was published 25 times in the second half of the XNUMXth century. Since then, many works dedicated to the work of the poet have appeared.
According to the collection "Real Studies on Khayyam" by the Iranian scholar Mujtahab Minawi, in 1929 alone, the number of books and articles written about the poet Omar Khayyam in Europe and America was more than 1500. , 32 times translated into French, 16 times into Urdu, 11 times into German, 12 times into Arabic, 8 times into Italian, 5 times into Turkish and 4 times into Russian. Russian scholars V. Zhukovsky, K. Smirnov, A. Bolotnikov, S. Mornchik, M. Zand, French scholar Nicholas, Danish A. Christensen, German scholars F. Rosen and G. Remnis, Hungarian, studied the literary heritage of Umar Khayyam. The research of Silik, Indian scholar Swami Govinda Tirtha and Iranian scholars Muhammad Ali Furughi, Dr. Ghani, Sadiq Hidayat, Sayyid Nasafi is noteworthy.
A number of Uzbek scholars, such as Fitrat, Sh. Shomuhamedov and J. Kamol, conducted research on Khayyam's work and published his works translated into Uzbek.
In the rubai of Khayyam, the poet's vision of reality, his feelings, his thoughts and reflections on world events are expressed in a very concise and concise form. It is impossible to understand the idea in the poet's rubai without understanding the original meaning of the images and parables. The ancient poets expressed their views mainly through symbols. To say the least is not an art in the East. Poetic images are often created based on the Qur’an and the hadiths of the Prophet Muhammad. In this sense, the images of "may", "maykhor", "saqi" in the rubai of Khayyam also have a figurative meaning.
In short, in the field of encyclopedic knowledge, he became famous for his "Risolat ul kavn-wat-taqlib" ("The Universe and its Duties"), "Risala fil vujud" ("Risala about Existence"), "Risola fi-kulliYotu vujud" ("The Existence of Existence"). The work of Umar Khayyam, the author of such works as "Risolai Jabr" and "Navruznoma", is significant not only as a literary work, but also as a worthy contribution to the development of world science.
SAUDI SHEROZIY
He traveled the world in search of life lessons, studied the hearts of people from country to country, from country to country, from city to city, from village to village, collected the masterpieces of wisdom of life, and then embroidered them on a string of poems. diy Sheroziydir.
Muslihiddin Abu Muhammad Abdullah ibn Musrif ibn Muslih ibn Mushrif Saadi Shirazi was born in 1203-1208 in southern Iran, in Shiraz to a priestly family. He became famous in the East under the name of Sheikh Saadi. The city of Sheroz was inhabited by two gazelles of Persian-Tajik literature. One is Saadi Shirazi and the other is Hafiz Shirazi.
In the 10th century, the country was ruled by Persian nobles of the Solguni dynasty. Sheroz survived the invasion of the Khorezm kings and the Mongol invasion. The reason was that Sheroz was a bit remote and the peace policy of the Sheroz governors. Born during this period, Saadi grew up in Sheroz. The poet's father, Muhrif Shirazi, was one of the priests of the Middle Ages and served under Sa'd bin Zanji, the governor of Shiraz. The father also prepared his son for the priesthood and began to teach him. Saadi describes his father as a gentle, kind man and remembers his lessons and will. When the poet reaches the age of 11-1226, his father dies. Although Saadi and his brother were granted a palace pension, their marital status was dire. When the struggle for the throne intensified, he went to Baghdad. In 50, Saadi Sherazi studied at the Nizamiya and Mustansiriya madrasas in Baghdad. He traveled the world until he was XNUMX years old.
Saadi's position in the history of Persian-Tajik literature is very high. He was brought up by the famous scholars and writers of his time: the famous Sufi scholars Shahobiddin Suhrawardi and Abulfaraj Abdurahman ibn Jazvin.
The poet, who graduated from the Baghdad madrasah, did not return to his homeland. "The earth will be wise and prudent," said Sa'di. He has traveled for 30 years in Iran, Southern Europe, Asia Minor, Arabia, Central Asia, India and China. He died in 1292.
When he was taken to the wilderness of Jerusalem, he was taken prisoner by the French. A friend from Aleppo saw him digging a trench with the Jews and paid 10 dinars to free him from captivity. Mahri adds a hundred dinars to his wealth and marries his daughter. But the Poet escapes from this wicked woman. While he was in Yemen, his only son died. Rustam Aliyev, who conducted research on Saadi Sherozi, noted that his works provide valuable information in studying the life and work of the poet.
Saadi Sherazi is one of the writers who raised Persian-Tajik literature to the highest level. He was the first to elevate the ghazal form to the level of an independent genre. Saadi is the author of many works in various genres. His collection consists of 19 chapters by genre, which includes prose and poetic works. Saadi's KulliYoti includes 4 devons (collections of ghazals). The most famous works of art included in "KulliYot" are "Boston" written in 1257 and "Gulistan" written in 1258, which are masterpieces of world culture. "Guliston" consists of 8 chapters. The work is a collection of unique didactic stories and poetic aphorisms. According to literary critics, the most brilliant work of Persian classical poetry is Firdavsi's "Shohnoma", and the most outstanding work of prose is "Gulistan" (Sh. Shomuhammedov. For the sake of human peace. T.1981.122 p.). The poet writes that he divided the work "Gulistan" into 8 chapters in order to "be worthy, like the window of paradise and the reader should not be bored." Chapter 1 is entitled "On the nature of kings" and gives advice to kings through various stories and legends. Chapter 2 deals with the morals of dervishes, Chapter 3 the virtue of contentment, Chapter 4 the benefits of not speaking, Chapter 5 about youth and love, Chapter 6 about old age and weakness, Chapter 7 about the influence of upbringing, Chapter 8 about conversation etiquette. referred to as
The ten-chapter "Boston" is similar to "Gulistan", but written in verse. There is a section of poems in Saadi's KulliYoti, where he also wrote poetry in the genre of poems. Saadi emphasizes the importance of learning the profession and emphasizes that one should not avoid any difficulties on this path.
Bani adam ilmdin topmiSh kamal,
Cancel this career, wealth mol.
Or:
Istar esang otangdan meros,
Connect with your father's knowledge.
The poet teaches that science should be studied and practiced.
Although you are a scholar by reading,
If you don’t follow, you’re ignorant.
A donkey with a book on it -
He is neither a scientist nor a sage.
The Iranian scholar ISBraginsky assesses Saadi's work as follows: "Saadi wrote his sermons not only in old age, but also in old age" (I.S. Braginsky. Iz istorii tadjikiskoy narodnoy poezii.M.1956). Edward Brown, an English Orientalist, also commented on the poet's moral thinking. The poet argues that it is really better to tell a lie-Evil aimed at good. E. Brown writes: “Saadi is usually a poet who teaches morality. His ethics are different from the general morality of Western Europe. ” By this, E. Brown is trying to say that it is possible to lie in the East (for goodness sake), but not in the West. Saadi's moral views extend beyond his environment and time, and his sphere of influence extends beyond his own country and period. His progressive dreams are in harmony with the dreams of the whole Shari'a. That is why this work has been loved and read among the masterpieces of world literature for 700 years.
KulliYot consists of several parts. He wrote "Shash Risola", "Gulistan", "Boston", "Qasoidi arabiy" (Arabic poems), "Qasoidi forsiy" (Persian poems), "GhazaliYoti qadim" (Ancient ghazals office), Badoe '”(Office of Art Gazelles),“ Havotim ”(End Gazelle Office),“ Sahibiya ”,“ MasnaviYot ”,“ Qitaaot ”,“ Mulammaot ”(Poems and Sugar Poems),“ Mufradot ”( Individuals) and a number of other works. Saadi wrote in Persian, Arabic and Urdu.
Saadi Sherozi is a master of passionate ghazals. Prof. Bertels notes that in Movaraunnahr, Saadi laid the groundwork for ghazalism. Abdulgani Mirzayev, a scholar who studied the development of ghazal in Persian-Tajik literature, also praised the poet's role in the history of ghazal. "Indeed, one of Saadi's greatest contributions was to develop the language of ghazal," he said. He should be fluent, delicate, delicate, sweet, and different from other forms of poetry. 'Saadi's services in this field are great.
Saadi Sufi (Orifona), Oshiqona, that is, he wrote secular ghazals. His fatherly poems glorify the joy of youth, the breath of spring, the beauty of nature, the love of man.
O Sarbon, gently ron, my soul rests,
On dilki, bo khud doShtam bo dilistonam meravad.
(O Sarbon, walk slowly, my soul is at rest,
Tandin dilu becomes my soul, and my diliston is gone).
The greatness of Sadi, the immortality of his creation, is that he fought for noble human qualities, for the value of the human word, for peace and prosperity, for friendship between people. He also dedicated his poems to the people, to the happiness of the people. That is why his works have become proverbs and have become a favorite spiritual property of the people.
NIZAMIY GANJAVIY
Nizami Ganjavi (pseudonym; real name Sharifi Abu Muhammad Ilyas ibn Yusuf ibn Zaki Muayyad) is an Azerbaijani poet and enlightener. Nizami's ancestors were from the Iranian city of Qom, and his mother (in the villages around Ganja) was the daughter of one of the Kurdish commanders. Nizami's hometown of Ganja was one of the local political, economic and cultural centers of Azerbaijan in the XI-XII centuries, the capital of the Arron state.
Nizami has a very early love of science and fiction. He diligently studies folk art, written literature, works of great artists such as Rudaki and Firdavsi, contemporary artists, draws inspiration and education from them. At the same time, he is fluent in Arabic and Persian. Engaged in philosophy, logic, history and astronomy.
In the twelfth century, in many cities of Khorasan and Movaraunnahr, including Ganja, the movement famous for bravery or ahiism was widespread. The members of the movement were mainly artisans and craftsmen, who fought against tyrannical rulers and officials, and defended the interests of the broad masses of the people. This category, which has made goodness, justice and mercy its motto, has attached great importance to science and enlightenment. Nizami Ganjavi respected the rules of this movement and was inclined to them. He sang these ideas in his works, dedicating his epics to the Kings and Princes of that time, but he did not want to be a court poet, and rejected the offer.
Nizami's literary legacy consists of lyrical and epic works. He had a 20-byte Poetry Office. The poet's lyrical poems are composed of various poems and collections. But only fragments of it: 16 verses, 192 ghazals, 5 continents, 68 rubais and 17 bytes have survived.
His "Khamsa" has a special place in the literary heritage of the poet. Nizami was also the first person in Eastern literature to write "Khamsa". The work includes the following epics:
1. “Mahzan ul-asror” (“Treasure of Secrets”, 1173-1179) is dedicated to Fakhriddin Bahrom Shah, the governor of Arzinjan. In addition to the introduction and conclusion, there are 20 articles, each with 20 stories. The play reflects the important socio-political and moral-educational issues of the poet's life. Later, in response to this work, more than 40 epics (Navoi "Hayrat ul-abror") were written in Persian and Turkish literature.
2. "Khisrav and Shirin" (1180-81) was about love and devotion and was created at the request of the ruler of Iraq Turgul II.
3. “Layli and Majnun” (1181) was written by the order and command of Akhsatan I from the Kings of Shirvan and was based on Arabic legends.
4. “Haft Paykar” is a work based on the events related to Bahrom Gor and his name in 1196 by the ruler Alovuddin Korpa Arslan. The epic is written in the form of a story within a story, in which ideas related to human upbringing, behavior are put forward. The influence of folk tales can be felt in his stories.
5. In the epic "Iskandarnoma" (1190-1200) Nizami Ganjavi expressed his dreams of a just and enlightened king, a perfect man, an ideal society through the image of Alexander and imaginary images.
Thus, between 1173 and 1200, for 28 years, the five epics saw the light of day, and they became famous as the Panj Ganj (Five Treasures).
From Navoi, all Uzbek poets considered Nizami as their teacher. Navoi mentions him among the sheikhs in Nasayim ul-muhabbat, and in previous chapters of his epics he describes him with pride and considers himself a teacher. In the middle of the XNUMXth century, Qutb Khorezmi translated the epic "Khisrav and Shirin" into Turkish. Haydar Khorezmi created the epic “GulShan ul-asror” in response to the poet's work “Mahzan ul-asror”. In one of the poems of Mawlana Gadoi, Nizami writes that the main purpose of writing the epic "Khisrav and Shirin" is to tell the story of Farhod:
Needless to say, Gado, the lover of the harbul havas,
Hadith "Khisravu Shirin" was found by Farhod EmiSh.
In the field of Uzbek literature, a number of works have been carried out to study the works of Nizami Ganjavi and to publish his works. The collection "From Nizami's Poetry" was translated by Shoislom Shomuhammedov. It contains samples of the poet's poems, ghazals, continents, rubais and wisdoms, as well as fragments from the epics "Mahzan ul-asror" and "Haft paykar". In addition, Ye on the scientific study of the poet's work. The researches of Bertels, S. Erkinov, M. Ganikhanov, H. Homidiy, A. Hayetmetov and E. Ojihlov can be recognized.
The great poet and thinker Nizami Ganjavi prophesied about himself and said:
Nihon, kay boShad az tu jilvasoze,
That narrow every byte is as good as it gets.
Pas az sad sol agar goyi: kujo o '?
Z-har byte nido xezadki: ho, o '!
(How can a ghost who tells you a secret in every byte be hidden from you? A hundred years later, if you ask where he is, he will call out from every byte: yes, he is here!)
Nizami was wrong. His word and voice have not lost their status not only for a hundred years, but to this day.
PAHLAVON MAHMUD
Pahlavon Mahmud is one of the most famous representatives of Khorezmian culture, which emerged after the Mongol invasion. Growing up among the artisans of the city, this multifaceted talent gained wide fame for his personal qualities and artistic creativity, which later led to the emergence of many legends.
Several rubai of Pahlavon Mahmud were painted on the walls of the mausoleum. The inscriptions in this mausoleum play an important role in their coming to us. Although the author's works have come through various manuscripts, they were mostly copied in the XNUMXth century. Ancient sources have not yet been found.
Some information about the poet and his nicknames can be found in such works as "Charogi hidoyat", "Bahori ajam" and "Giyos ul-lugat". The famous Oriental treatise OtaShkadai Azari, published in Bombay in 1881, contains the following information about Pahlavon Mahmud: “His name is Pahlavon Mahmud. He became famous by the nickname PurYoyvali, his heroic voice captured the world, he was the only one of his age. He was powerful in poetry; There is a masnavi called "Kanzul haqoyiq". In recent times, the rubai he wrote on the subject of mysticism have come out much better. ”(See: T. Jalolov. In the world of sophistication. T., 1974. p. 105)
All the Tazkiranavis who have mentioned the name of Pahlavon Mahmud, starting with Fanoi of Kamoliddin Husayn, note that he wrote a masnavi called "Kanzul-haqayiq". Majolis ul-Ushhoq (Kamoliddin Husayni Fanoyi) contains six verses from this work. However, a complete copy of this work has not yet been found.
The famous Turkish scholar Shamsiddin Somibek also gave some information about Pahlavon Mahmud in volumes 5 and 6 of Qomus ul-Aalam. Manuscripts written in Khorezm contain information about the life of the poet. It was introduced in the twentieth century based on the study of the poet's life and literary heritage. Sadriddin Ayni studied the literary heritage of Pahlavon Mahmud in his work "Namunai adabiYoti tojik", in the historical monograph of Yahyo Gulyamov "Pamyatniki goroda Khiva", as well as in a number of researches of literary critic Tokhtasin Jalolov. His rubai were translated by Ulfat (Imomiddin Kasimov), Bokir (Omonulla Valikhanov), Muinzoda, Shoislom Shomuhamedov, Tukhtasin Jalolov, Vasfiy, Matnazar Abdulhakim, ErgaSh Ochilov.
Pahlavon Mahmud's lyrical heritage consists mainly of works in Persian. In the literature of Persian and Turkic peoples, after Umar Khayyam, the only poet who wrote rubai was Pahlavon Mahmud. He was not an ordinary imitator of Khayyam, but was equal to him in power in observation.
Pahlavon Mahmud was the organizer and spiritual leader of the Futuvvat-Javonmard movement (XII-XV centuries) of the city craftsmen. Many rabbis are courageous, blessed and merciful, generous and
Written on the principles of bravery such as nobility. In his works, the theoretical ideas of mysticism and the practical rules of the sect of heroism are described in a mixed way. According to him, the presence of Allah is reflected in all beings in the universe.
Pahlavon Mahmud also wrote under the pseudonym "Qitoliy". His nickname is also associated with heroism, and "killer" means "to fight with each other." "Kanzul-haqayiq" is a poetic work devoted to the interpretation and discussion of the issues of mysticism and its essence. In it, the author tries to base his comments on legends, short stories. In this sense, it is a unique philosophical and didactic work created on the basis of the traditions of the famous representatives of mystical poetry Jalaliddin Rumi and Farididdin Attar.
The works that spread among the people and brought fame to Pahlavon Mahmud as a Poet are his rubai. The total number of the poet's rubai is not clear. For, so far, no ancient manuscript containing the Poet's rubai has been found. In the rubai of Pahlavon Mahmud, his philosophical and social views found their brilliant expression. The image in the rubai is clear, concise and impressive everywhere. Pahlavon Mahmud thinks about the eternity of material existence, man and nature, Yor vasli and its taste.
His rubai are distinguished by the clarity of thought, the depth of their content, and the variety of their images.
The world is like a jar of gold,
The juice is sometimes sweet, sometimes bitter,
O heedless one, do not build your life too much.
The case is suspended.
The poet's poetry is full of life philosophy. By reading them, we come across an analysis of the relationship between cause and effect in life, the whole and the part, chance and law:
Burning Fire - My Soul Comrade,
My eyes are YOUNG.
Every jug you make
The hockey of old friends is the hand of the head.
In this rubai, Khayyamona encourages Pahlavon Mahmud to look at the events of life with an open eye, not with pessimism and depression.
If we look at the rubai of Pahlavon Mahmud, the general features of their style become clear. In particular, as we have seen in these rubai, they mainly reflect the philosophy of life, the meaning of human life, the concepts associated with courage and cowardice. These events, which are inextricably linked with the content of the poem and the Poet's Social Poetry, are one of the important features of Pahlavon Mahmud's poetic style.
In general, Pahlavon Mahmud's rubai are not the poet's mood in a certain situation, a random expression of transient experiences, but a bright poetic expression of the philosopher's deep observations and philosophical-moral views, which are the result of impressions from social events and human relations.
Pahlavon Mahmud is a thinker-philosopher-poet who lived and worked in the second half of the XIII century and the beginning of the XIV century. Mahmud was born near Khiva in 645 (1248) when his parents were moving from Old Urgench to Khiva. Mahmoud grows up to be a very strong young man, he is a wrestler. He goes to many cities of Khorezm and India, and always wins. Pahlavon Mahmud is engaged in science and literature. Following in the footsteps of Umar Khayyam, he created many original Persian-Tajik rubai: Shamsiddin Samibek's Qomusul-alam (The Encyclopedia of Famous People) and Lutf Alibek Ozar's OtaShkadai Ozariy. ”(“ Treasure of Truths ”). Pahlavon Mahmud died in Khiva in 725 (1326).
Several hundred rubai of Pahlavon Mahmud have reached us. In some of these, Pahlavon Mahmud is a talented philosopher and poet. In the last years of his life, he thinks in his rubai about the eternity of material existence and man and nature, about morality, patriotism, the pleasures of love, and so on, and exposes the hypocritical priests. Therefore, we call it Khorezm Khayyomi. Here is the rubai of Pahlavon Mahmud:
OtaShki alanga mezanad sinai most,
DarYoki chu mavj mezanad didai most.
In the mesozand,
Az xoki barodaroni dirinai most.
SOLOMON CRY
The first rise of Uzbek written literature took place in the XI-XII centuries. During this period, the high poetic talent of Yusuf Khas Hajib, Ahmad Yugnaki, Ahmad Yassavi was brilliantly demonstrated. Suleiman the Magnificent has a special place in the literature of these centuries.
He was a disciple of Ahmad Yassavi, the most loyal follower of the pen. His poems are in harmony with Yassavi's famous proverbs in all respects - both in terms of content and artistic style. Unlike Yassavi, Suleiman the Magnificent filled and expanded Uzbek poetry with new genres, especially epic poetry. Consequently, he wrote a bold pen in Poetry in the narrative style, as well as in the Narrative Form.
Suleiman the Magnificent has a much richer and more artistically mature literary heritage. In addition to the poems (quartets), Suleiman the Magnificent also wrote two epics, The End Times and The Book of the Virgin Mary. A. Hayitmetov, a literary critic, writes about the poet's legacy: "The story of Ismail", "Me'rojnoma", "Bibi Maryam", "Sabit qissasi", "The story of Noman", "The end of time" can be included in the list of epics.
"The Story of Ishmael" consists of 37, "The End Times" 49, "Me'rojnoma" 57, "Bibi Maryam" 53, "The Story of Sabit" 34. If we add the story of our Prophet, it is 245 quatrains, or about 1000 verses. ” (A. Hayitmetov. Hakim ota dostonlari. Tafakkur zhurnal. 2003, № 2.36-39.). This is much larger than the volume of his lyrical poetry. So, Suleiman the Magnificent is a more epic, that is, a short story, a poet.
However, this rich literary heritage has not been seriously studied in our literature in terms of historical-literary, textual or poetic. Moreover, for a long time, the poetry of Suleiman the Magnificent remained in the shadow of Ahmad Yassavi. This is stated, for example, in textbooks for higher education institutions. “The Book of Bagirgan, the idea, style and language of the poems in it are so close and similar to A. Yassavi's Poems that sometimes they are separated from each other. It is also difficult to distinguish, and the poet's legacy seems to have been strongly influenced by time. ”
The proverbs of the Blessed One warn the reader more broadly, especially of the contradictions of lust and spirit. "In this five-day life, move, spread the body," says nafs. Against this, the Spirit says, "Know the way of the sect with knowledge, and make it a habit to wake up in the morning."
Suleiman the Magnificent's poems have been published several times in Kazan under the title The Book of the Magnificent. In recent years, literary critics I. Hakkulov and S. Rafiddinov prepared a publication with forewords and comments on the basis of books kept at the Institute of Oriental Studies (Inv. № 12646, № 289). (Sulaymon Boqirgani. Boqirgani book. ”, 1991).
The work of Suleiman Baqirgani is not an accident in the history of Uzbek literature. The study of it, the study of lyrical-epic works is one of the urgent tasks of our literary criticism.
KHOJANDIY
Khojandi is one of the poets who lived in the second half of the XNUMXth century and the first quarter of the XNUMXth century and made a great contribution to the development of Uzbek literature with his work Latofatnoma. There is no information about the year of birth and death of the poet. It is known from his nickname that he is from Khojand.
Khojandi's Latofatnoma is dedicated to Sultan Mahmud, one of the descendants of Amir Temur, who ruled in Khorezm in the early 1411th century (XNUMX).
It should be noted that in this play, as in Khorezmi's "Love Letter", there is no ghazal after each letter, no individual, continent and prayers. "Latofatnoma" is written and rhymed in the masnavi form (aa, bb,…). The means and methods of artistic depiction used in the play have a traditional look. In these verses, the Lord describes the Beloved as follows, using the name of the book:
Aliftek straight long eyebrows nun,
The Lilies of the World are mad at Husning.
Your narrow mouth mimu fatton your eyes sod,
In the world you bikini No man.
The art of Husni analysis:
If Zuhra sees your eyes,
If the full moon sees you, it will be half dead.
Art and visual aids such as can be found in many of the plays.
We have received four copies of Latofatnoma. Two of them are in the Kabul Library Museum, one in Istanbul and the other in the British Museum. The manuscript was copied in 2 AH (893 AD) and consists of 1488 bytes.
Based on a photocopy of the text of Latofatnoma in Uyghur script preserved in Kabul and using photocopies of texts in Istanbul and London, its transcription was prepared and published in 1980 in Tashkent by turkologist E. Fozilov. Also, some excerpts from the British photocopy of this work were published in the 4st book of the 1-volume "Uzbek literature". Later, the work was published in collections such as "Blessed Letters", "Navoi's eyes fell".
Yusuf Amiriy
The poet Yusuf Amir lived in the XNUMXth century, and his works “Divan, Dahnoma”, “Bang and Chogir” (full name “Discussion between Bang and Chogir”) have come down to us.
We do not have a source that provides more accurate information about the life and work of Yusuf Amir. The date of writing of these works is also not clear. Some information about the poet can be found in AliSher Navoi's Majlis un-nafois. Navoi writes: “Mawlana Amir was a Turk and Turkish poetry was a good event, but he did not gain fame. And this byte is his "Dahnoma":
What did you eat, what did you sleep,
Emakdin felt, slept and closed his eyes.
And in Persian, Sheikh Kemal performed the taboo. This matla 'aningdurkim:
Good luck to everyone,
G'ayri zohid ku riYozatho kaShidu xuShk mand.
His grave is in the palace of Arkhang to Badakhshan… »(Alisher Navoi. Works. Fifteen volumes, twelfth volume. Tashkent, 1966, p. 22)
Yusuf Amiri is also briefly mentioned in the work of ShahSar Samarkandi "Tazkirat ush-Shuaro". According to his writings, Yusuf Amir was one of the most famous poets in the time of Shahrukh Mirza, who dedicated poems to Shahrukh and his descendants, including Sultan Boysung'ur. According to E.Rustamov, the information about Yusuf Amiri may have been obtained from the commentary of the State Shah of Samarkand Alisher Navoi "Majlis un-nafois". (See: Rustamov E. Uzbek poetry in the first half of the XV century. 1963. S.204.)
Amir's work "Dahnoma" was written in strict accordance with the traditions of nomadism. However, unlike Khorezmi, Khojandi and Sayyid Ahmad, he tries to cover the theme of love in his work on the basis of a certain plot. In "Dahnoma", in addition to the image of the lover, there is also a direct image of the mistress. Lovers Send letters to each other, meet and argue. (Discussion is given in the form of a dialogue). In this way, Yusuf Amir brought the genre of noma closer to epics, giving it a lyrical-epic tone. Amir dedicated this work to Ulugbek's brother Mirzo Boysungur, because the poet emphasizes that he lived under his protection.
"Dahnoma" Khorezmi's "Muhabbatnoma" is a bit like the style of writing, but it differs from it by the fluency of the language and the sharpness of the plot. Amiriy used a unique original style.
Yusuf Amir's work "Bang and Chogir Munozarasi" was first studied in Uzbek literature as an example of an independent literary genre by literary critic E. Rustamov. In recent years, these debates have been extensively and comparatively analyzed in the research of the literary scholar M. Abduvahidova on the development of the debate genre in Uzbek literature. In his discussion of Bang and Chogir, which he wrote in Amir's prose, he figuratively criticizes boastfulness and arrogance, and condemns idolatry. Bang and Chogir boast about their ‘qualities’ and ‘attributes’, sometimes one comes first and sometimes the other ‘superior’. We can see this in the following passage in the play: A heavy doer of understanding and a visible doer of panic. Misra ':
Who will land you more eShak.
Poetry:
Every helmet is grassy.
And the shape of the tag is similar to that of a donkey's dung
and if you want to know, byte:
Quickly squeezing the new well,
If you walk the same path with the bird riders.
And you are very shum giYohedursan.Nazm:
My little one saw your face,
He sees no other face of goodness. "
In the end, the ball falls in the middle and separates the opponents. Bol Bangi also defeats Chogir. As M. Abduvahidova noted in the discussion, epic genres such as parables, askiya, lof are also covered, which allows the language of discussion to be close to the vernacular, which reflects a wide range of features of the vernacular.
The life and literary legacy of Yusuf Amir began to be studied in the 1960s. In this regard, we can list the research conducted by literary critics E. Rustamov, H. Bektemirov, Abduvahidova, H. Mukhtorova.
In general, Yusuf Amir was one of the greatest representatives of classical literature up to Navoi, and his work made a significant contribution to the development of Uzbek classical literature.
CLOSE
It is known that in the XV century in Uzbek literature three works of the genre of debate were created. These are Yusuf Amiri's "Debate between Bang and Chogir", Yaqini's "Debate between Arrow and Bow", and Ahmadi's "Debate and Debate between Rudjama".
The roots of the debate genre in Uzbek literature go back to the Devonu lug'otit-turk Monuments, including the Winter and Summer Debate. This genre, which has a long history in folk art, has developed significantly in the Uzbek literature of the XV century. The transition of the genre of folklore to written literature and the creative use of the experience of the genre of debate in the Persian-Tajik language (Asadi Tusi) are typical of the literature of this period. The poet Ahmadi in his "Discussion of Words" figuratively criticizes selfish and boastful people. In his prose discussion "Arrow and Bow", Yakin criticized the arrogant and bureaucratic people, saying, "The purpose of this discussion is great. In the face of the twists and turns of this age, everyone is as crooked as a bow. whoever is as truthful as an arrow, and who walks in the dust will be as far away as his neighbor. ”He quotes the rulers of his time and quotes the following continent of the poet Asi:
Any Shut true andrin area,
Every raft fell unnoticed.
Az kaji Shut kamon ba taxliyi Shah
Tir az rosti ba dur uftod.
(Whoever is true in this field will be blessed wherever he goes. Due to the curvature of the bow, he took a seat next to the King, and the bullet went far from the truth.)
Excerpts from the Poems of Hafiz, Khisraf Dehlavi, Qasim Anwar, Yusuf Amiri, Atoi, Sakkoki, Lutfi and other poets about arrows and bows will be included in the discussion.
It is the arrowhead of the Personal Trailer
Jam is the living wing of the bird of prey.
From the poem of Sakkoki:
How many will read your grief,
Every bird's bow makes the arrow Yo.
Here is an excerpt from Lutfi's byte:
When I saw Khadangi's grief, I said:
"You set fire to my soul - you shoot!"
Very little is known about his work in the near future. Sources, in particular, in the works of Alisher Navoi "Majlis un-nafois", "Muhokamatul-lug'atayn" say about the poet: "Until the end of the reign of Shahrukh Sultan, the son of the son of Sultan Huragikhan Temur Temur Kuragon, Shuaro appeared in Turkish. l Shuardi Sakkoki and Haydar Khorezmi and Atoyi and Muqumi and Yakin and Amir and Gadoi ”(A. Navoi. Works. Fifteen volumes. Vol. 14. Vol.1967, p. 128). Alisher Navoi gives more detailed information about the poet Yaqini in another place, in the Majlis un-nafois: “Mevlana Yaqini was a man of darkness. I used to read this article in Turkish with many debates:
Oh my gosh, I touched my soul.
Dodu FarYad ul Jafachi's disaster killed you...
At the end of the day, the people repented of their rude words and passed away. I hope you don't mind.
His grave is in Dubaroron. ”(A.Navoi. Works. Fifteen volumes. Volume 14. Majolis un-nafois.T.1967).
In the development of the debate genre in Uzbek literature of the first half of the XV century, Yakini's discussion "Arrow and bow" has a special place. As we have seen, the events described in the work through figurative images and the issues raised in it are relevant at all times.
ABDURAHMON JAMIY
The great representative of Persian-Tajik literature, the great scholar and thinker of the Middle East Abdurahman Jami, reflected and was able to reflect on the important, vital issues and requirements of his time. In particular, in many of his works of various genres, he deeply explored the social and aesthetic significance of literature and art, the relationship between form and content, poetic skill and innovation. With his views on literature and art, he made a significant contribution to the development of aesthetic thinking and artistic creativity of the peoples of Central Asia.
Nuriddin Abdurahman Jami was born on November 1414, 7 in the city of Jam of Khorasan. His contemporary Shah Samarkandiy in his work "Tazkirat ush-Shuaro" gives the following information: "The birthplace and birthplace of Mawlana is in the province of Jam, his homeland is the village of Harjerd, and the place where he grew up and lived is the capital Herat. Initially, he was engaged in the study of science and literature, and gradually became the leader of the scholars of the time. He wanted science and nature to rise to a higher level. ” His father, Nizamiddin Ahmad, was a great priest, Shaykh al-Islam. When Jami was a child, his family moved to Herat and lived there.
Abdurahman Jami enters school very early. He soon learned to read and write and began to study various sciences diligently. After graduating from high school, he began to study at the Dilkash Madrasah in Herat under the tutelage of the great literary scholar Mevlana Jonayd. Jami, in particular, read with great interest the books "Mukhtasar al-maoni" and "Mutawwal" by the famous philologist of Central Asia Sa'daddin Mas'ud Taftazani (1322-1389). Later, he studied under Jami Taftazani's student Shahobiddin Muhammad Jojarmi and famous teacher Alouddin Ali Samarkandi.
Not content with his studies in Herat, he came to Samarkand to further his education, studied at the Ulugbek madrasah, and attended classes in Rumi and other famous scholars in Qazizada. He devoted all his energy to science, art, philology, philosophy, mathematics, astronomy and other disciplines, participated in scientific and literary interviews and gained success and prestige.
In addition to secular sciences and eternal creation, Jami also practiced religion and mysticism. Sheikh Sa'd al-Din al-Kashgari (d. 1456), a follower of Bahauddin Naqshbandi, became a murid and studied mysticism. However, Jami deals with more theoretical issues of mysticism, especially the works of mystical philosophers such as Sheikh Muhyiddin ibn al-Arabi (1165-1240), and he himself creates a number of works on the subject.
Abdul Ghafur Lori, one of his disciples, said, "Master Jami used to spend his time on more useful things and spend the rest of his time educating people and serving the people." The book was a close friend of Jami, an inseparable companion, and reading and creativity were his constant occupations. That is why he said:
XuShtar zi kitab dar dunyo Yore nest,
Dar gamkadai zamona gamxore nest.
Every moment is a little lonely
Have fun and enjoy.
(There is no better friend in the world than a book,
There will be no grief in the mourning period.
Always on the verge of loneliness
A hundred pleasures will suffice, but no pain.)
Jami has created a number of artistic, scientific and religious-mystical works, is a mentor to many scholars and literary figures of Herat and other cities, and a judge of scientific and literary debates. His reputation grew day by day.
Jami is a very prolific scholar and writer. During his creative activity, which lasted for about 50 years, he created many artistic, philosophical, scientific and religious-mystical works. There are many manuscripts and editions of these works from different periods. His Personal Manuscript has also been preserved. For example, at the Institute of Oriental Studies of the Academy of Sciences of Uzbekistan, Jami wrote his own handwriting "Sabhat ul-abror" ("Glory of the Good People"), a manuscript on the history of mysticism in Tehran "Nafohat ul-unis" (autograph). have
Other rare manuscripts of Jami's works belong to the XXI century. The most important of them is "KulliYoti Jami", which was copied in the early 16th century and kept at the Institute of Oriental Studies of the Uzbek Academy of Sciences. His works have been published several times in Central Asia, Iran, India and elsewhere. The fact that Abdurahmon Jami's work was studied in his time can be seen in the works and commentaries of his contemporaries, such as the Samarkand Shah and Navoi. In the study of Uzbek and Tajik literature A.Mirzoev, S.Aini, S.Braginsky and A.Hayitmetov, R.Vakhidov, J.Kholmuminov studied the life and work of Jami, his literary heritage.
Lyric plays a key role in Jami's literary heritage. Along with Sa'di, Hafiz, and Kemal Khojandi, Jami formed three divans in this field. At the suggestion of Navoi, the poet officially named his devons:
1. "Fatihat uSh-Shabab" - "The beginning of youth" (composed in 1479);
2. "Vasat ul-iqd" - "Average Pearl Shodasi" (composed in 1489);
3. "The end of life" - "The end of life" (composed in 1491)
These devons consist of poems written in ghazal, rubai, qita, tarjiband, composition, marsiya, qasida and other genres of lyrical type. As in other contemporaries, the leading genre of Jami's devons is ghazal. In his poems he sings about life and love, the noble qualities of man, and admonishes people. In the third volume, the poet describes the theme and ideological essence of his lyrical poems as follows:
Khas devoni She'ri man majority
Ghazal oShiqona Shaydoyi
Ya fununi nasoikh astu hukom,
Munbais az Shuuri wise
Zikri dunon naYobi andarvai
Ki -on buvad nagdi umr farso...
(Most of my poems are ghazals of Shaydai lovers, or words of advice and wisdom created by the Consciousness of Wisdom. In them you will not find the remembrance of the wicked, for this is a waste of life…)
Abdurahman Jami is not only a great lyric poet, but also a talented and prolific epic poet-narrator. Jami created a total of seven epics. He began writing Hamsa after his first two epics, Silsilat ul-Zahab (The Golden Chain) in 1472 and Salamon and Ibsal in 1480-1481. In 1481-1482 the first epic of "Khamsa" was "Tuhfat ul-ahror" ("Gift of free people"), in 1482-83 "Sabhat ul-abror" ("Glory of good people"), in 1483 "Yusuf and Zulayho", In 1484 he wrote the epics "Layli and Majnun" and in 1485 "Hiradnomai Iskandar". He compiled a book with his two previous epics, Hamsa, and named it Haft Avrang (The Seven Thrones). Accordingly, Jami's book of epics became famous not under the name "Khamsa" but under the name "Haft avrang".
"Silsilat ul-zahab" is a philosophical-didactic epic, in which the philosophy of mysticism and mysticism, the religion and foundations of Islam (part 1), love, love (part 2) and the rule of the country, justice and a just ruler (part 3) ).
"Solomon and Ibsol" is a romantic work. Jami sings his religious and philosophical thoughts about the love of man for man through the love of Solomon and Ibsal, arousing feelings of pity for their tragedy.
Tuhfat ul-Ahror is a philosophical and didactic epic like Silsilat ul-Zahab. "Tuhfat ul-ahror", like Nizami's epic "Mahzanul-asror", is divided into 20 main chapters - articles, the articles end with short stories and parables.
Sabhat ul-Abrar is also a philosophical and didactic epic, consisting of 40 chapters on socio-political, moral-educational and religious-mystical issues. "Yusuf and Zulayho", "Layli and Majnun" are romantic epics, written in a simple style and fluent language, and glorify human love.
"Hiradnomai Iskandar" is a philosophical and didactic epic. Through this epic, Jami puts forward the idea of a just and just ruler, and sets himself the task of reflecting on a number of philosophical and moral-educational issues. (These issues in the work of Jami are analyzed in depth in the article by Abdukodir Hayitmetov "Pand-nasihat in the work of Abdurahmon Jami." "Horizons of our literary heritage" T. 1997. pp. 28-36).
In addition, Abdurahman Jami created works on art, science: literature, linguistics, mysticism. Literary Criticism, such as "Risolai aruz", "Risolai qafiya", "Risolai problema", "NaqShi fusus", "Naqd un-nusus" (Criticism of Nusus), "AShi'at ul-lama'at" ("Sholalar ziYosi") ), Wrote a number of works and pamphlets, such as "Nafohat ul-uns" ("Breath of Friends").
Abdurahmon Jami was the closest teacher and piri of the great Uzbek poet Alisher Navoi, and at the same time the closest person. Navoi glorifies him, dedicates special chapters in his works and praises him with such phrases as "Nuran mahdum", "King of poetry", "piri Jam", calling him "Khamsatul-mutahayyirin" ("Five Wonders"). ) created his work. He dedicated the work "Tuhfat ul-afkor" ("Gift of Thoughts") to him.
Abdurahmon Jami's work has a special place in Uzbek literature: many poets were inspired by him, his ghazals were inspired, and Uzbek calligraphers copied his works over and over again with respect and enthusiasm. Muhammadrizo Ogahi translated his epics "Salomon and Ibsol", "Yusuf and Zulayho" and "Bahoriston" into Uzbek.
Literature of XIV-XVI centuries
The period from the middle of the XNUMXth century to the XNUMXth century is a new and fruitful period in the historical development of the peoples, art and literature of Central Asia. During this period, the peoples of Central Asia made great strides in science, architecture, fine arts, painting, music and other fields, as well as in literature, cultivating great scientists, artists and poets, and making a significant contribution to the treasury of world culture. 'They are happy. In view of this, researchers also call this period the Eastern Renaissance.
As in previous periods, culture, art and literature developed in this period in the process of specific struggles and sharp contradictions. The liberation movements of the peoples of Central Asia against the Mongol oppression became more and more intense. The great people's movement called the "Soldiers' Movement" begins. However, they did not destroy the creative power of the people. The peoples of Central Asia play an important role in the emergence and development of the so-called "Golden Horde culture". Khorezmi's "Love Letter", Qutb's "Khisrav and Shirin", Sayfi's Palace's "Gulistan" translation, Sharafiddin Ali Yazdi's "Zafarnoma" in the field of natural and humanities, Hafiz Abru's "Zubtadud-tavorix", Abdurazzoq Samarkandi's "Matlaus-sa" "Dayn", Mirkhand's "Ravzatus-safo", Khandamir's "Khulosatul-akhbor" and "Habibus-siyar", Zayniddin Wasifi's "Badoyiul-vaqoe", Babur's "Boburnoma" are the products of this period. Some scholars and writers began to write in several languages. For example, Jalaliddin Rumi, originally from Balkh, went to Asia Minor and created works not only in Persian-Tajik, but also in Turkish. During this period, the genre of mulamma '- Shiru Shakar flourished.
The common direction of secular and religious literature is evident in the works of Pahlavon Mahmud and Badriddin Chachi. During this period, the process of formation of the old Uzbek literary language was largely completed, and secular literature became the leading direction of literary life. Qutb, Khorezmi, Sayfi Sarayi, Haydar Khorezmi, Durbek, Amir, Yakiniy, Atoyi, Sakkoki, Lutfi, Babur, Muhammad Salih, Majlisi, Khoja and Alisher Navoi, the pinnacle of Uzbek classical literature.
Rabguziy
Nosiriddin Burhoniddin oglu Rabguzi lived in the late XNUMXth and early XNUMXth centuries. He was from a place called Raboti Oguz in Khorezm. About the life of Rabguzi in the preface of his work "Qisasi Rabguzi" "This book was written by Nosiriddin, son of Burhaniddin, the judge of Rabot, who wrote this book on the path of obedience, wandered in apostasy Yobonin. No information has been preserved other than that.
From Nosiriddin Rabguzi to us, the work "Qissai Rabguzi" has survived alone. The author toiled this work for a year and completed it in the month of Hut 710 (March 1311);
I have finished this book, O people of the earth,
A year later, his mother Sagittarius, Man, Summer, Autumn,
The moon rose, I broke myself, I made a word, at night I -
I got up early, hit the cold, sucked day and night.
This book was written seven hundred and ten years ago,
He was born the star of happiness in that direction.
"Qisasi Rabguziy" consists of a total of 72 stories. The play features a small-volume narrative as well as a large-scale narrative. The stories of Moses, Salih, Yusuf, and others are much larger in size and are divided into several chapters.
Badridin CHochiy
Badriddin Chachi is one of the people of science, art and literature who went to other countries in search of refuge during the Mongol invasion and settled there. He was born in 1285 in Chach (Tashkent), and spent his youth and school years in Samarkand and Bukhara. On his return from Mecca in 1332-1333, he landed in Delhi and remained there. Unfortunately, both Badriddin Chochi's "Shohnoma" and the perfect copies of his divan remain unknown. His surviving work is Sharhi Badri Chochi, written in 744 (1343-1344) a year before his death. It consists of more than 70 poems, many rubais, qitas and ghazals.
Dar iShq har an, ki sim kamtar dorad,
Monandi bunafSha puShti chanbar dorad.
Gul bo du ruxi surxu dahoni xandon,
Z-on ast hama, ki dar miYon zar dorad.
On the basis of the great successes achieved in fiction during this period, literary criticism has also achieved certain successes. The works of several great writers are collected and published. For example, in the first half of the XV century the text of Ferdowsi's "Shohnoma" was compiled. In the second half of the XNUMXth century, the lyrical works of Khisrav Dehlavi were collected and tadvin (devon). New treatises on the literature of the X-XV centuries are compiled.
Sayfi Bukhari created "Radoiful-aSh'or" ("Radifs of Poems"). The book "Badoyiul-lug'at" is based on the works of Navoi. Several works appear on dream weight, rhyme, problem genre, and more. Saybek's two treatises on aruz, Sayfi Bukhari's treatise on Aruz, Kamoliddin Hussein's treatise on the problem, Jami's treatise on problems and rhyme, Navoi's Mezonul-avzon, Majolisun-nafois and Risolai problema, Babur's treatise on aruz. , Hilali's Risalai Qafiya, Atoullah Husseini's Badoe 'us-sanoe, and others.
The 7th century was a special stage in the development of tazkirism. During this period, two works were created as direct tazkira: "Tazkiratush-Shuaro" (State Shah Samarkand) and "Majolisun-nafois" (Alisher Navoi). At the same time, the work of Abdurahmon Jami "Bahoriston" plays an important role in the development of tazkirism. Because the XNUMXth ravza (chapter) of "Bahoriston" is tazkira.
Khorezmi's work "MuHabbatnoma".
Page Palace creation
There are two handwritten copies of Khorezmi's "Love Letter". One of them is copied in Uyghur script and the other in Arabic script. These two handwriting inscriptions are slightly different from each other. In the Arabic script, the volume of the work is larger (there are more verses in Persian-Tajik language), the place of some verses, the difference in the spelling of some words. This copy is 473 bytes long, along with the "story" attached to the "Love Letter." "Muhabbatnoma" consists of praise, a description of the poet's meeting with Muhammadhoja, 3 ghazals (one in Persian-Tajik), masnavi, "Muhammadhojabek madhi" and "Vasful-hol". The main part of the work consists of letters. At first the poet wanted to write the work in ten letters, but in the end he added another letter to the work and made it into eleven letters:
The word reached here was delayed,
I said nose ten, it was eleven.
Three of the eleven letters: 4, 8 and 11 are in Persian-Tajik, and the remaining 8 are in Uzbek. In addition to the masnavi-noma, most of the names also include ghazal and small saqiynama. (The ghazal in the first letter is not the ghazal of Khorezmi, but the ghazal of Muhammad Khoja) The end of the work is "Ghazal", "Munojot", "Qita", "Khotimatul-kitab", "Hikoyat" (independent work) ) and "Please tell", the text of the work ends with one person.
Thus, "Muhabbatnoma" is a work of various genres (noma, masnavi, ghazal, qita, hymn, etc.). Noma is the leading genre of the work, in which the poet describes the beauty of his lover, sings the passion of the visor and the anguish of hijrah, and often sends greetings to him through the sabo. Masnavi is a poem of the poet addressed to a drunkard and can also be called a drunkard. In this short poem (usually 3 bytes) the poet asks the bartender for wine, tries to alleviate his grief, and tells him:
Patience is a good thing.
I have no patience on this path.
ends with a refrain.
"Love Letter" is a work of love in its own right. The love in the "Love Letter" has a worldly nature, it sings of man's love for man, he confesses it, he calls man not to abandon, but to live and to know the value of life.
Erurman is always in demand,
If the night is long, there is morning.
My goal is to find it,
If he is happy, he will go to Khorezm.
How much sleeper happy heavy sleeper,
Visoling maShriqidin da tan otkay.
According to Khorezmi, Muhammadhoja was not only a bekkina, but also an enlightened and talented poet.
I have captured the world with the tongue of a sword
Satisfied property podShomen.
I have a place in the mosque in ruins,
Kim uSh is both rind me and porso me
No matter how many sultans there are,
Praise be to Allaah.
Page Palace
Page Palace is one of the largest representatives of the Uzbek secular literature of the XIV century. As a lyric and epic poet, publisher and translator, he made an important contribution to the development of Uzbek secular literature and the Uzbek literary language.
We know very little about the life and work of Page Palace. Page Palace was born in the early 20s of the XIV century. The following verses provide important biographical information.
The land of reeds was my native land,
Knowledge is knowledge that leads to exile.
I came and died in the palace Poet Sacrifice,
The Poet of the Palace, the beggar of the people.
So, Sayfi Sarayi was born in "QamiShli yurt" (it is assumed that this is the village of SariqamiSh of present-day Khorezm region), and went abroad to get education. He comes to the palace, engages in poetry, becomes a devotee of poetry. The poet also takes his nickname from the Palace. He finds fame under the name of Page Palace. The verse "The poet of the palace, the beggar of the people" suggests that the poet was in the palace of the rulers in the palace. The important thing is that wherever the poet is, he considers himself a beggar of the people.
Sayfi Sarayi, one of the leading poets of his time, paid special attention to the originality, content and harmony of the work of art, and sharply criticized the incompetent and tasteless poets:
Poets of the world, O flower garden,
Some nightingales are so-called, some are crows.
Like a parrot chewing sugar
Kimi is a middle-aged dura with a word.
Sayfi Sarayi is a talented lyric poet. He began his creative career with lyrics. Throughout his life, Page Palace undoubtedly created a great lyrical product, perhaps he circulated his lyrical works, creating a devon. Unfortunately, the full lyrical bisot of the Page Palace has not been preserved Or it has not yet been found. We know some examples of Sayfi Sarayi's lyrics through the manuscript "Gulistoni bit-turkiy", as well as the manuscript "Suhayl and Guldursun". This heritage consists of more than ten ghazals, two verses, two continents, two bytes of poetry. (The three Persian-Tajik philosophical rubai attached to the Gulistan Manuscript may also belong to the work of Sayfi Sarayi). These examples are the leading feature of the lyrics of the Palace of the Page, its secular essence, its vitality.
The epic "Suhayl and Guldursun" made an important contribution to the history of Uzbek secular literature of the XIV century. This short epic served the development of Uzbek secular literature, the perfection of the Uzbek literary language with its secular direction, singing of love and devotion, courage and bravery, as well as its language and artistic style.
The epic has certain echoes of historical events, the battles of Timur and Tokhtamysh and their consequences. Binobarin doston:
This is not a myth.
This is a true legend, grown up in love.
I told you, my time is miserable,
The story of a place, ahchi vafosin.
Timur came to Urgench with an army,
He was blind and deaf.
Many people were taken prisoner in these battles, including Suhayl, the son of Tokhtamysh. Suhayl is a very brave and handsome young man. Timur's daughter Guldursun falls in love with him.
Sayfi Sarayi translated Sheikh Sa'di's famous work "Gulistan" into Uzbek in 793 AH (1390-91 AD):
The period of migration was one hundred and ninety - three,
I had little power in the universe for years.
First of all, who was Shawwal, my dear,
The letter is dead.
Along with the translation of the great Persian-Tajik classic Sheikh Saadi's "Guluston", the Palace of Pages promotes the moral and educational views of this great thinker and writer of the East, as well as his work to introduce Uzbek and other Turkic peoples. does.
The work of Atoi and Sakkoki
There is some information about the life and work of Atoi in his own office and in some works of Alisher Navoi.
AliSher Navoi says in Majolisun-nafois: “Mevlana Atoi would be in Balkh. Ishmael was one of his father's children, and he was a good man at heart and could rarely do any harm to anyone. In his time, the poem gained much fame among the atrocities. This matla 'aningdurkim:
He thinks he's sitting by the water,
It can be swallowed with water because of its tenderness.
There is something wrong with the rhyme. But Mevlana used to say a lot of Turkish. There was no need for rhyme. The tomb is in Balkh district.
Navoi writes about the above-mentioned Ismail ota in his Nasayimul-muhabbat: there were eight. Hussein Waz Koshifi in his work "RaShohot" says that Ismail was born in Khuziyon (the ancient region between Tashkent and Sayram) and was one of the followers of Ahmad Yassavi's mysticism. .
We know of a copy of Atoi Devo as a single manuscript. This manuscript contains a total of 260 ghazals by Atoi. However, the number of Atoi's ghazals may have been greater, and the poet may have written poems in other genres of the lyrical genre and included them in the divan, but these poems were not included in the manuscript that has come down to us. possible. Nevertheless, the existing manuscript of the devon also embodies Atoi as a talented and intelligent representative of Uzbek secular lyricism.
In Atoi's ghazals he sings of worldly love, describes and describes the beauty of nature and human qualities, fights against secularism and pessimism, creates a variety of artistic plates and images. People use the richness of oral creativity and experience of written literature, compose simple, fluent, lively and elegant verses:
Come, sweetheart, it's free time,
The flower opened, it was time to flower.
I moan, staring at your face like a flower,
It's time for Chu nightingales…
The happiness of the floating flower is always present in the meeting,
It's time to get drunk and flower S
Nightingale bikin hard for singers,
It was the time of the Hazara variety.
It's a drop, a flower makes a nightingale altof,
It was time to donate to Atoi as well.
Atoi is one of the master artists of the ghazal genre.
Most of Atoi's ghazals, like those of other Uzbek classical poets, are 7-byte ghazals. Among Atoi's ghazals are "Ul sanamkim su yaqasinda paritek ulturur", "Jamoling vasfini qildim chamanda" and "Bu khusnu malohatki bizin Yorda bordur".
Atoi's ghazals were composed in Ramallah, Hajj and other seas. Of the 260 gazelles in his collection, 109, as noted by academician A. Samoylovich, were written in the Roman musammani maksur (foilotun failotun failotun failun). This spring is very common in Uzbek classical poetry, and Uzbek folk songs called "turkiy" were composed in this spring.
Sakkokiy
Very little is known about the life and work of the famous lyric poet Sakkoki. Sakkoki's own devon and Alisher Navoi's Majolisun-nafois and Khutbai davovin provide some information about his life, literary activity and role in the literary life of the XNUMXth century. At the same time, the poet Yaqini in his discussion "Arrow and Bow" describes Sakkoki as "a mujtahid (zealous) of Turkish (Uzbek) poets."
Sakkokiy is Movarounnahrli. He lived and worked in Samarkand, one of the capital cities of the Timurids. In the office of Sakkoki:
When the people of the steppe reach Haji Tarkhan, this is a ghazal,
Leave the world in peace for every byte left
byte indicates that it has been elsewhere. Several manuscripts of the Sakkoki devon are known. In particular, in London, the British Museum has a copy of it, which was copied in the middle of the XVI century, and in Tashkent, the Institute of Oriental Studies of the Academy of Sciences of Uzbekistan has a copy copied in 1937 by Secretary Shomelan on the basis of some source. The Sakkoki devon, according to the traditions of his time, begins with a praise and salutation dedicated to God. Then it is given in 10 verses: in one verse - from Khoja Muhammad Porso, one of the Naqshbandi sheikhs, in one verse - to Khalil Sultan, in four verses - to Mirzo Ulugbek and in four verses - to Arslonhuja tarkhan. However, there are no ghazals in the copies from "alif" to "nun". Ghazal is the leading genre of Sakkoki's lyrics. Like Atoi's ghazals, the main theme of Sakkoki's ghazals is love. Sakkoki sings and honors man's sincere love for man. This love is inextricably linked with love for life, its pleasures, the beauty of nature, and the noble human qualities. In Sakkoki's ghazals three images are created: Oshik, Yor and rival. The Poet in Love himself. He is a sincere and loyal man. He is in love with Yor's vision, he is tormented by the pain of hijrah The lover, who longs for the pleasures of love and the grace of the Earth, will be subjected to various obstacles and sufferings.
ISHQ ISHIN Sakkoki is easy to see before you know it
In the end, the work of his soul became difficult.
If Farhod is in love for Shirin,
Netong Sakkoki was also zealous on your way.
Most of Sakkoki’s poems are 7-byte poems, as in other lyrical poets. An important part of the Sakkoki divan is the qasida. Although the elements of qasida appeared in Uzbek classical literature much earlier, but qasida as a special literary genre appeared in Uzbek literature in the XIV-XV centuries. Sakkoki was one of the founders of Uzbek poetry. He wrote poems dedicated to Khalil Sultan and Mirzo Ulugbek, Sakkoki rulers, and to Khoja Muhammad Porso and Arslan Khoja Tarkhan, influential clerics and officials. In one of his poems dedicated to Ulugbek, Sakkoki addressed the people:
The world is gone, the place of anxiety is safe,
Crowds, come on this day, sururi has come forever.
He confessed that all this nation has a soul like his. No,
Praise be to Allaah.
LUTFIY'S LIFE AND CREATIVITY
Lutfi's life and work are described in Navoi's Majolisun-nafois, Muhokamatul lug'atayn, Manoqibi Pahlavon Muhammad, Khutbai davonin and other works, as well as in Shah Samarkandi's Tazkiratush-Shuaro, Khandamir's Habibus-siyar. Makorimul-akhlaq, Abdulla Qabuli's Tazkiratut-tavorikh, Shamsiddin Somi's Qomusul-alam, and Wazih's Majmuai manzum wa mansur contain some information and commentary.
However, the information in these sources, as well as Lutfi's surviving works, do not fully cover his biography.
According to all sources, this famous word artist, nicknamed Lutfi, was born in 1366 (or 1367) in a place called Dehiqanor on the outskirts of Herat, where he lived and worked. Therefore, it is called Lutfiyi Hiri in the sources and differs from vegetable, Nishapur, Kashmir, Mashhad and other Lutfi. Lutfi lived for 99 years and witnessed various historical events in Khorasan and Mavoraunnahr. Lutfi was also a talented poet and a delicate translator. He started the translation of Sharafiddin Ali Yazdi's "Zafarnoma".
Two offices of the writer have reached us. Devon is a collection of topical poems composed in alphabetical order, often following a certain order, radifs and rhymes. Lutfi is a writer who has enriched Uzbek literature with his ghazals, ostriches and continents.
The main theme of Lutfi Ghazali's life is love. Love in the writer's image is a symbol of devotion. She also wants her lover to have full confidence in her lover:
I love you, believe it or not,
My bloody liver, believe it or not.
In the poet's work, the tones of Jordan's Complaint gradually change, and the motives of Complaint against certain vices of social life become stronger.
So, what are the shortcomings of the environment in which Lutfi complains? Lutvius complains of tyrannical rulers, senseless wars that destroy the country and the people, the oppression of the "wise" by the "ignorant", the wrath of the greedy and selfless rich, and the pity of the poor and needy. He says that if the sultan is dishonest, it is impossible to order dishonesty from others.
Lutfiy's lyrics are praised by such great poets as Navoi and Jami, and a number of writers from Uzbek, Azerbaijani, Tajik and other nations have followed his example, and he has become famous and loved among the people. .
What is the magical power of Lutfi’s lyrics? The magical power of Lutfi's lyrics is that he is worldly and created with high artistry. Lutfi's lyrics are simple, fluent and musical, rich in language and juicy, artistic methods and means are diverse and original, perfected by the effective influence of folk art.
Lutfi’s gazelles are mostly 5-7 byte gazelles. He paid special attention to the musicality of the poem. Lutfi connects poetry and music in an organic way, adapts his poems to folk melodies and classical melodies, mentions the names of various melodies, and makes word games from these names.
Lutfiy Hirida did not stay.
Azmi Hijaz, your status is Iraqi.
(The words Hijaz and Iraq represented the names of both the province and the melodies).
Qutb's epic "Khisrav and Shirin".
Haydar Khorezmi's epic "Makhzanul-asror"
Only the epic "Khisrav and Shirin" has survived from the literary heritage of the poet Qutb, a talented representative of the Uzbek secular literature of the XIV century. "Khisrav and Shirin" is a free translation of the epic of the great Azerbaijani poet Nizami Ganjavi and at the same time a great monument of Uzbek epic poetry. The successful translation of Khisrav and Shirin and a number of innovations in the original (including the original lyrical poems in the preface) show that Qutb had many years of literary experience and gained fame with his works. However, these works have not reached us, and information about them has not been recorded.
Nizami Ganjavi's epic "Khisrav and Shirin" attracted the attention of Khorezm poet Qutb. Qutb Nizami rewarded the power of artistic genius. He realized that the problems posed in the epic "Khisrav and Shirin" remain relevant and valuable, and decided to translate this epic. However, material needs did not allow him to carry out such a large and responsible task. So Qutb addresses the princess and her husband, Tanibek, and expresses his intention. They accept the Pole and give him financial support.
Apparently, Qutb created "Khisrav and Shirin" in the White Horde itself. For the following verse of the poem written in the Queen's hymn testifies to this:
Jamilahon's property is the land of happiness,
The White Horde is the beauty of the throne.
The only handwritten copy of "Khusrav and Shirin" is known. The Handwritten and Sweet Manuscript is 120 pages (240 pages) long and contains 4740 bytes. Of these, 4685 bytes belong directly to the Pole itself, and the rest is an application added by the Secretary. The epic consists of 91 chapters. The first chapters include the traditional "hamd", "na't" and others, as well as the parts "Shahzoda Tanibekhon madhi", "Kitab nazm kilmoqga cause bayon ayur". The main event of the epic begins with the chapter "The beginning of the story of Khisrav and Shirin". The rest of the chapters are devoted to the story of the adventures of Khisrav and Shirin, each chapter forms an important episode of the epic, the compositional ring, and the text ends with "How many words say in the book?"
Qutb Nizami's humane treatment of women is also perfectly reflected in the translation of "Khisrav and Shirin", which enriches the image of women with new qualities.
The teeth are arranged in pearls,
The light of the tooth gives light to the durga.
Wonderful two-breasted badakhon,
I'll see you on the couch.
The sorcerer's spell burns what he sees,
The evil spectacle burns the eye day by day.
When the tongue trembles, the hand hunts the heart,
The word spell binds tongues without you.
Haydar Khorezmi
Haydar Khorezmi lived in the late fourteenth and first half of the fifteenth centuries and contributed to the development of Uzbek literature and literary language with the epic "Makhzanul-asror". .
Very little is known about the life and work of Haydar Khorezmi. Navoi gives some information about this poet in "Majolisun-nafois" and "Muhokamatul-lug'atayn", DavlatShoh Samarkandiy "TazkiratuSh-Shuaro" and describes him.
Haydar Khorezmi's lyrical heritage has not been preserved or remains unknown. From him to us came the first epic of Nizami Ganjavi (1141-1209) included in "Panj-ganji" inspired by "Makhzanul asror" and the epic of the same name written in response to it. Some lines in this epic give some information and hints about the poet's biography and creative activity.
Haydar is originally from Khorezm. That is why he is called Haydar Khorezmi. He once came to the Persian province. For some time, as noted by Navoi and Davlat Shah, the Sultan was in the presence of Alexander and served him.
Nizami's epic "Makhzanul-asror" is a philosophical-educational epic. It consists of 59 chapters, of which 18 are prefaces. The basis of the epic is 20 articles, 20 stories. The saga ends with an introductory part. In the articles, the poet reflects on the important socio-political and moral issues of his time, gives wise advice, promotes the ideas of humanism, criticizes a number of vices of the palace environment. After the essays, the Poet narrates a short story. These stories serve as an exhibition that helps to shed more light on the issues in the article and draw conclusions, or serve as a bridge to the next article.
In his articles, the poet speaks of justice, governance and attitude to the people, Complaints from oppressive kings, labor and its benefits, kindness to people and not being afraid of hardships, the harm of jealousy and envy, the benefits of generosity, the evil consequences of greed and others.
Haydar Khorezmi puts forward progressive ideas about morality. Promotes noble human qualities. He urges people to have good manners, to benefit society, to be kind and generous, and strongly condemns those who are not generous and generous:
… Boy daguldur dirami var
Poor ganiydur if you have cabbage…
If you find a half-legged donkey,
Half closed, a strange stranger.
My stomach is full of the enemy,
If he drinks, he will bleed.
Man needs mercy,
Orifu omi needs futuvvat.
Sarvdek ozoda bulu rostkor,
Or apricot apple bikini fruit.
In the stories of Haydar Khorezmi we see traditional images such as Hotami Toy, Bahlul, Mahmud Ghaznavi, Suleiman, Yaqub and Yusuf, as well as new life images.
The socio-historical system in Central Asia is complex. In the following centuries, the movement to divide into small principalities, to divide into different khanates intensified, and the nation and the state fell into disarray. Khiva, Bukhara and Kokand khanates were formed. This situation condemned all spheres of the state and society to depression and decline.
For the sphere of influence between the khanates there were always wars and conflicts. In general, the first half of the XVII-XIX centuries is known in history as the loss of previous achievements in political, economic, cultural life, international relations, and backwardness in many areas.
Although political life has been characterized by the emergence of small independent states, this factor alone has shown that it is not sufficient for cultural advancement.
In economic life, too, wars have caused great damage to trade and handicrafts, agriculture, and foreign trade.
Of course, in the areas of this vast area continued the folk arts, such as architecture, book, art, jewelry, ceramics, sewing, pottery, knife-making, blacksmithing, which have developed since ancient times. Even during the wars and massacres, folk art did not die, it survived due to the creation of rare miracles.
In cultural life, the influence of traditional Islam and fanaticism has increased, and in the field of education and enlightenment, mainly religious teachings have begun to dominate, the influence of previous spiritual achievements has diminished, and the religious sciences have taken the lead. However, we also see a number of positive changes in cultural life. In particular, in the field of literature, historical sciences, some types of art, great writers and individuals have emerged. Sufism also changed its former significance and lost its social role. The status of the Uzbek language grew and it became more and more widely used in literature. In the first half of the XNUMXth century, a significant revival in culture, literature and historiography took place in all three khanates.
Boborahim MaShrab
Boborahim MaShrab was born in 1640 in Namangan in a family of craftsmen. In his youth, he studied the works of Ahmad Yassavi, Hafiz Sherozi, Lutfi, Navoi, Rumi, Nasimi. These artists had a great influence on the formation of Mashrab as a poet. Mullo Bazar Akhund, the first teacher in Namangan, sent Mashrab to the famous Eshon Ofoqhoja in Kashgar. He makes a good impression on Ofokkhoja with his poetic talent and pleasant poems. According to some legends, the poet was given the nickname MaShrab by Ofoqhoja.
After returning to Namangan from an 18-year journey, MaShrab traveled for a year through the towns and villages of Movarounnahr. In 1, Pirmat made a 1691-year long voyage with Setori. In 20, the governor of Balkh, Mahmud Qatagan, accused Mashrab of cruelty and sentenced him to death by hanging. The poet's body was buried in the village of Ishlami in the Khanabad district, about 1711 km from Mazar-i-Sharif, Afghanistan.
The scientific approach to Mashrab's work was first developed by European scholars in the early 1900th century. Later, in 1902, the first International Congress of Orientalists was held in Paris. I. Goldsner took part in it with the report on sacred places "Islam in Persia". In response to this report, the German scholar Martin Hortman wrote the articles "The Wise Dervish and the Saint Atheist" (1903) and "Qadamjo" (XNUMX), using the stories "Devoni MaShrab" and "Shah MaShrab".
The adventurous folk books on the name of Mashrab attract the attention of European scholars. At a congress in 1900, French scholars Dmitri de Rennes and Bernard Grener, in a lecture entitled "Journey to Greater Asia," described Mashrab as "patient, sometimes intelligent, sometimes insane, wasting his life, and at the same time serious." - he described. However, they almost did not pay attention to the social environment in which Mashrab lived, his biography and profession. However, the interest of European scholars in the life and work of Mashrab did not end. In 1992, on the occasion of the anniversary of MaShrab, "Kissai MaShrab" was published in France. Literary critic Khalilbekov reports that in 1993 MaShrab's poems were published in Paris.
In the researches of the Russian Orientalists the records connected with the name of Mashrab appear after the second half of the XIX century. Scientists such as APKhoroshkin, VPNalifkin, NIViselovsky, LikoShin, Vyatkin, Snisarev contributed to the study of the life and work of the poet. A special place in the encyclopedic dictionaries of Russian Orientalists "Islam" is given to the life and work of the poet. In the early stages of sociology, the study of the poet's historical life on the basis of the folklore of the people, without distinguishing it from the manaqibs, led to some controversy. In 1926, Sadriddin Aini gave a brief account of MaShrab in his work. (ASNamunai adabiYoti tojik. Samarkand. 1926, p. 169). However, Professor Abdurauf Fitrat's scientific article "MaShrab" is a serious study of the life and work of the poet in Uzbek literature. After Master Fitrat, Izzat Sultan, Gafur Gulam, Vahid Abdullayev, Abduqodir Hayitmetov, Abdurashid Abdugafurov, Muhsin Zokirov, Ibrahim Hakkulov, Najmiddin Kamilov, Jaloliddin Yusupov, Ismatillo Abdullayev, Abdulhakim Shar'i Juzjanilar . Today, theology is divided into two main areas:
-Publishing the poet's legacy;
- The study of the poet's life and work continues.
The literary and creative heritage of Baburahim Mashrab, like his Way of Life, has been shrouded in myths over time and has come down to us in a state of disarray. MaShrab's literary heritage has come down to us mainly through three sources:
Stories of "Devoni MaShrab".
Spring.
Different complexes.
The stories are called "Devoni MaShrab", "Devonai MaShrab", "Eshan MaShrab", "Eshoni Shox MaShrab". The most popular of these names is Devoni MaShrab. However, although these books are called "Devoni MaShrab", none of their known copies has the characteristics of Devoni. Their structure is similar to folk epics. Most of the narrations begin with "But the narrators have narrated it" and end with "The tombs of Hazrat Eshoni Shah Mashrab are in Ishkonme."
Examples of the Poet's Poems are given among the narrations in the stories. Not all of his poems are related to the content of the narration. The poems are arranged randomly from the beginning to the end of the story. There can be no question of a divan order. They are given in the form of narration-ghazal, narration-muhammas, narration-mustazad, narration-murabba. Also, "Devoni MaShrab" copied at different times is not the same. They are also distinguished by the diversity of their narrations, the inconsistency of the number and volume of poems, and the dialectical peculiarities of Sheva in the texts.
B.MaShrab's creative heritage is widely represented by professional secretaries, as well as fans of poetry. There are many examples of Mashrab Poems from the late XNUMXth and early XNUMXth centuries.
There are also collections that are similar in some respects to the Bays, but differ significantly from them. Such collections cannot be included in the list of springs. Because these complexes are large in size, a large place is given to the Poets' Poems included in it. They contain not only lyrical poems, but also samples of epic works. Several collections copied in the XVIII-XIX centuries contain examples from the Poems of Mashrab, some of them contain legends and legends, samples from the Poems of the Poet.
Based on these sources, in 1990, Mashrab Poems were collected and published by Jaloliddin Yusupov, a scholar of Mashrab, under the title "My dear, where are you?" It includes 224 ghazals, 18 mustazads, 4 murabbas, 39 muhammas, 2 musaddas and 1 musabba written by the poet.
Mashrab promotes the seeing and love of the divine in man, as well as the seeing of the human in the divine. The logic of this profession is that all goodness and virtue come from God, so a person who loves God will love the good people of the earth, his brothers and sisters, his parents, and his country, and will be generous and generous.
Many of the poet's mystical poems depict the Sufi feelings, the extraordinary feelings that define the high point of true love. In one of these poems we read:
I was so narrow I couldn't fit in the sky,
I didn't fit in that chair.
The poet wrote in one of his Persian poems, "If you call my work Anal Truth, I am the manifestation of love." The ideological structure of the ghazal, which begins with the above verses, is based on the essence of anal-truth and decency. This fact is fully clarified in the following verses of the Gazelle:
To whomsoever the shadow falls, a light is near.
The spirit of the notebook is sacred, I did not fit into the language.
I am in heaven and I am in hell.
I am alone this weekend, I could not fit in the sky for a week.
I was there in the time of Noah, and the flood did not sink,
I did not fit in Turu Sinon with Musa.
Fifty years I lived with Jesus, resurrecting the dead.
Because at one point, MaShrab, I didn't fit in.
The divine "Secret of Love" is given in the ghazal. It is enough for a person to "get a particle" of this fire of love, it does not fit on the ground, in the sky or in time. Because it descends to the bottomless expanse that unites this world and this world. The description of the state of monotheism can be seen in the verses of Noah, Moses and Jesus in his poem. However, the poet states that the reason for the incompatibility of "seven heavens", "Turu Sinonga" and "time" is "one point", which is the pleasure of Anal Truth. MaShrab also describes it as "amazing madness", "amazing madness".
MaShrab's gazelles, which have been walking among the people like a cauldron, have been passed down from generation to generation for centuries. The words of the great poet are still unique in the East, and still appeal to those who fought bravely for the truth: but the voice of the "wandering with their own desires" is a deadly enemy, a warning and a watchman.
World Horse Uvaysiy
Jahan Otin Uvaysi is a famous Uzbek poet who lived in the late XNUMXth and early XNUMXth centuries.
He was born in 1780 in Childukhtaron mahalla of Margilan, one of the ancient cultural centers of the world. He came from an enlightened family of his time, his father wrote poems and his mother Chinni bibi went to school. His brother Akhunjon Hafiz was also a well-known patron of culture and art. Uvaysi is educated in a family and is literate. Later it was handed over to Hajikhan from Margilan. But Hodji dies very early. He raises his daughter Kuyoshkhan and son Muhammadkhan. Uvaysi Margilan, who became famous as a schoolteacher and poet, was invited to the palace after Umarkhan was appointed governor. There he met Mohlaroyim. He teaches Sharia in the palace and raises several students. His son Muhammadkhan was sent to Kashgar and never returned. His daughter Kuyoshkhan is a fan of poetry and writes poems under the pseudonym Khan. After the death of Nodira, Uvaysi returned to Margilan. He died here in 1850.
From the poet we have a large lyrical heritage and a number of epics. According to the data, the lyrical works he wrote during his lifetime make up 4 divans. The poet also wrote three epics. Today in the Manuscripts Fund of the Institute of Oriental Studies named after Abu Rayhon Beruni of the Academy of Sciences of the Republic of Uzbekistan there is a perfect manuscript office of Uvaysi No. 1837.
The poet's epics "Karbalonoma" or "Prince Hasan", "The Epic of Prince Hussein", "The Story of Muhammad Alikhan" (unfinished) are also included in this collection. The Devon contains 269 ghazals, 29 muhammas, 55 musaddas and 1 murabba. All his works were translated into Uzbek in 1857-1858 by Muhammad Shah Yunuskhan and consist of 100 pages. In the 60s of the XX century, three descendants of the poetess living in Marhamat district were found. It is stored in Andijan DPU. Most of their poems were published in 1963. The chrestomathy and collections of literature also include examples of Uvaysi's works, which also played an important role in shaping the general public's understanding of the poet's literary heritage and literary activity. The interest in and promotion of Uvaysi's poetry has been going on for a long time. In the researches of Cholpon, Oybek, V.Zohidov, V.Abdullayev, A.Kayumov, E.Ibrahimova, T.Jalolov, M.Kadyrov the special place of Uvaysi in the history of the Uzbek literature is defined. .
Uvaysi's lyrics are a combination of several poetic genres in classical literature. Among them are ghazals, inspired muhammas, musaddas, masnavis, fards, and chistans. Tuyuk is one of the ancient genres of Turkish poetry. There are some interesting aspects of creativity in this genre. It gives the poet the opportunity to discover attractive meanings through the formation of words, that is, tajnis. Uvaysi's henchmen show that he has achieved remarkable results in this area as well. He writes in one of the hens:
The madmen need salt
If it is clay, you need pure salt.
Speak, O friend, speak in praise,
Jo`ShiShi I need salt.
This chicken is about Poetry and Love. The word "salt" is used in 3 different senses in 3 places.
1) Tuz-daSht, desert. He said, “The space of the mad devons is soft
does. ”
Salt-correctness. We are talking about the main criterion of openness - correctness;
Salt-logic-meaning. The lyrical protagonist wants to say: -Speak, my friend, and I will praise your words. Because the war of poetry needs content.
If you know your love, it will be kept in your heart,
If you are brave, keep the light in your heart.
Don't make a madman mad,
How many words are stored in one word?
The general meaning of these four is easy to understand:
1. The place of love is the heart;
2. If you are brave, keep the light in your heart;
3. Have mercy on the madman;
4. Because how many people survive with one word.
When Uvaysi's murabba, muhammas, and musaddas are recited, his words "You are in a state of amazement" come to life. Indeed, they are like a flower of wonder, like the lilies of the field and the flowers of all kinds:
Yorab, weeping for his own pariShonima tokay,
I cried my heart out,
Don't stop crying for my Afghan at night,
I will weep for the sultan,
Until I die like a fire in the fire of love
Oh, hold on to the cup of death, it's easy to die this day.
Most of the lyrical works created by Uvaysi are ghazals. At the center of his ghazal is his spiritual biography, where he picks "flowers of sorrow" from the garden of Dahr, finds no "pain in the world", is open-minded, and loves the soul. This Person is a singer of love, fidelity, goodness. The only truth he relies on in the world is love. He sees the Glory of true humanity in life and human love. The lyrical heroine of the poet considers herself "in this world", "like a guest". However, in his opinion, the ultimate goal is not to be deceived by the hospitality of the world. His enlightenment is love. Educational institution "Ishq school":
O you who love love, read your heart,
Read Tonibon's stature, then my dream.
To be like Zulayho, not to die without beating,
Majmari iShq ila san Yusuf jamolidin oqi…
Although Uvaysi's work does not contain orifona ghazals in full forms, there are many verses in the poet's divan that are recited with orifona. It would not be a mistake to attribute his words, "DarYoi ilm joSh uribon mavji nazmidin, wasiyni Sha'bi chashmasidin chykti bu zulol." Satisfaction educates a person, it is the rest of the soul. Satisfaction cleanses a person every hour of every day and saves him from calamities such as wealth, career, lust. Uvaysi was a follower of classical music in our country. He calls contentment the "cure for pain."
Nafs illatin, O Vaysiy, judo ayla Yoqangdin,
You will be satisfied until you die.
Uvaysi studied at the School of Oriental Poetry and improved his poetic skills. According to Uvaysi, an attractive poem is a "concise and influential" poem. He writes briefly. Transforms the word into a component of influence. This is achieved through the search for a variety of artistic methods and tools, their skillful use.
Mohlaroyim Nodira
Mohlaroyim Nodira is a famous poet, stateswoman, patron of culture and literature, who lived in the first half of the XIX century.
Nodira's biography is widely covered in historical and literary collections written during and after that period.
Mohlaroyim was born in 1792 in the family of Rahmonkulbiy, the governor of Andijan. Rahmonqulbiy was one of the nobles of the Ming clan and was the uncle of Alimkhan, the ruler of Fergana. His mother, OyShabegim, was an enlightened woman, and his family belonged to the Babur clan. During her years of study, Nodira became well acquainted with the history, culture and spirituality of our people. He was also known for his intelligence, beauty and poetic ability. In 1807 he married Umarkhan, the governor of Margulan. Umar Amirkhan ascended the throne of Kokand khanate after 1810 (after Alimkhan's assassination). From then on, the fate of Mohlaroyim was connected with Kokand. During her stay in Kokand, Nodira diligently read the classics of the East and became known for her heartfelt poems. In the development of Noidra's poetic ability, the patronage of Umarkhan, who wrote Poems under the pseudonym Amir, was significant. The eldest son of the poet, Muhammad Ali, also wrote poems under the pseudonym Khan. His youngest son, Sultan Mahmudkhan, grew up to be a wise man. In 1822, Umarkhan died prematurely. Nodira's 14-year-old son Muhammad Alikhan became khan. However, Mohlaroyim, who said that a 14-year-old child could not run a country that covered a large area, began to take an active part in governing the country.
According to Khatif, a contemporary of the poet, after the death of Nodira Umarkhan, scientists, calligraphers and painters from Fergana, Tashkent, Khojand and Andijan were invited to Kokand. He builds madrasas and libraries. He copied and covered the works of such poets as Navoi, Fuzuli, Bedil, MaShrab, Amir. According to sources, most of the news of cultural and literary life at that time was associated with the name Nodira. Hatif writes that Nodira is known by the nickname "Nodira Davron" because of her good qualities such as wisdom, justice, generosity, honesty and kindness.
Nodira lives in an extremely difficult environment. He witnessed a very contradictory situation in the internal and external life of the country. Constant disagreements between the khanates hindered the development of Mohlaroyim's activities. As a result, the Emir of Bukhara Nasrullo invaded Kokand under various pretexts. It is as if he is trying to regulate the erroneous Shari'a rules here. He brutally killed Mohlaroyim along with his two sons, Muhammad Alikhan, Sultan Mahmudkhan and his grandson Muhammad Alikhan. The poet was 50 years old at the time.
The poetess, who had a great faith in art, has 3 devons. In them, the poetess creates under the pseudonyms Komila, Nodira, Maknuna. The poet's poems are written in Uzbek and Persian-Tajik languages. Although the poetess informed the Uzbek devon that in the preface of her Yazgan, along with Navoi, Fuzuli, Amir's devons, she also created devons with the participation of women in the palace, the devon of the poetess, which was copied in her time or in manuscript form, has not reached us yet. The devons found in Namangan, kept at the Beruni Institute of Oriental Studies of the Academy of Sciences of the Republic of Uzbekistan, at the Institute of Manuscripts named after H. Suleymanov, were copied in the second half of the XIX century.
In 1988, in the personal library of the poet Mahmud DiYori, a resident of Samarkand, it was discovered that the poet's poems in Uzbek were included under the pseudonym Komila. There are also new poems in this collection, which are not yet known to readers. Today, Nodira's identified poems amount to 15000 lines.
Interest in Nodira's work began during the poet's life. DilShodi described Barno Nodira as "the star of the sky of science and poetry, ShakarafShon nightingale". Contemporary and follower poets such as Hatif, Furqat, Muqimi wrote nazirs and muhammas.
In literary criticism, the life and work of Nodira have been studied for many years. The researches of V.Zohidov, V.Abdullayev, Fitrat, S.Ayniy, Utkir RaShid, T.Jalolov, M.Kadirova, A.Kayumov about Nodira are noteworthy.
Nodira is not only the owner of Devon, but also a creative artist. While creating his works in 2 languages, he not only perfects 2 languages, but also perfectly studies and masters the culture of both peoples. Being able to express one's feelings and emotions in two languages, as well as expressing one's thoughts in an artistic way, requires the ability to express oneself. This is confirmed by the following honor of the poet:
Nodira's classic meaning,
Kalomi ravShani aSh'ori farrukh.
Nodira mastered the arts and applied them to poetry. He used the possibilities of the artistic method to create stunning landscapes.
For example:
Litota
The presence of the waist made the belt clear,
He did not have a mouth, he made a clear hadith.
Tajnis
This is the eye, Komila, I shed a lot of YOUNG
May God give you a HUNDRED YEARS OLD.
Husni analysis
The months of good fortune,
Add humility to your eyes ur
And the two eyebrows to each other
Qilurlar qatlima payvasta kengaSh…
Ratio
Ul sarvki, bordur ani theme qadi free,
Shamshod to Shona Chekar Zulf for MaShShota.
Instead of Sarv's free, upright, straight stature, ShamShod combed his hair with a comb. Since Sarv is a beautiful person, Nodira also meant that the comb was made of ShamShod tree.
The difference between the poetry of poets and the poetry of poets is a problem that is of great interest to fans. The key to this problem is achieved through the study of artistic skills. Nodira is a master of her craft and in her poems there is a style of women's intellectual observation, a system of symbols.
The period of national awakening as a literary expression of the Jadid movement aimed at the renewal of all aspects of social and spiritual life Uzbek literature is divided into three stages: the first stage (1865-1905), the period of Jadidism (1905- 1917), the period of socio-political and ideological struggles (1917-1929). Each date has a specific meaning. 1865 is the date when Tashkent was excluded. 1929 is marked in history as the date of the abolition of the Jadid movement by the Soviets and the history of the Jadid movement by Soviet policy.
The period of national awakening is the first stage of Uzbek literature
Komil Khorezmi (1825-1899)
The patriarchal poet Kamil was attracted to the attention of the people during his lifetime and became interested in his work, and was recognized by the poets of his time. For this reason, in many manuscripts and manuscripts compiled during this period, samples of the poet's work were included. Agahi's GulShani Davlat (1855-1856), Muhammad Yusuf Bayani's Shajarai Khorezm Shahiy (1911-1913), Ahmad Tabibi's Majmuat-ush-Shuaro (1908) are also considered to be the largest sources in the Uzbek literature and history of the 1920th century. In such works as "Biographies of Khiva Poets and Literary Writers" (XNUMX) by H. Laffasi, Kamil Khorezmi was highly valued as a poet, a statesman and a public figure with a sharp mind and a stable mind.
Sheikh Suleiman Bukhari in his work "Dictionary of Chigatoy and the Ottoman Turks" (1880-1881) took examples from the Poems of the "Famous Shuaro" for the interpretation of some words. Munis, citing examples from the poems of Kamil Khorezmi among the Agahi, testifies to the poet's fame during his lifetime.
English and Russian historians pay special attention to the Perfect Person. In particular, in the official Russian source "Khiva March of 1873" published in St. Petersburg, in FMLobosevich's "Description of the Khiva March of 1873", McGahan's English translation of "Military Actions in Oxus and the Surrender of Khiva" ("Voy"). deystviya na Oksuse i padeniye Khivi ”(Moscow, 1875). In addition, a number of his poems were published in the "Newspaper of the Turkestan region" (1891-1894), edited by N. Ostroumov. Kamil Khorezmi's services in the field of music are especially noted in the book "Musical Historian of Khorezm" by B. Rakhimov and M. Yusuf Devonzoda (Moscow, 1925), and later in the works of V. Belyayev "Musical Instruments of Uzbekistan" ("Musical Instruments of Uzbekistan, M. 1933). `recognized.
The popularization and scientific research of the life and work of the poet Kamil began mainly in 1945. In the anthology "History of Uzbek literature" by O. Sharafiddinov, published in 1945, and in the "Anthology of Uzbek poetry" published in 1947, the work of the poet was presented to a wide audience. In 1947, literary critic M. Yunusov defended his dissertation on the works of Kamil, in 1958 he published a book "Kamil Khorezmi", which covers the life and work of the poet. In 1961, the poet's "Selected Works" (prepared for publication by R. Majidi), in 1975, the poet's "Devon" was published.
Kamil Khorezmi's work began to be studied in schools and universities. G. Karimov's textbook "History of Uzbek literature" (book III) has a special chapter on the life and work of the poet Kamil. Also, in the 1980th volume of the "History of Uzbek literature five volumes" (5) there are 32 pages for the analysis of the life and creative heritage of K. Khorezmi.
In addition, several articles by literary critics A. Hayitmetov, V. Zohidov, A. Kayumov, N. Kobilov, N. Jumahoja and I. Adizova have been published, revealing various aspects of the poet. It is obvious that Kamil Khorezmi has a strong place in our national literature.
Muhammad Yaz Kamil was born in 1825 in Khiva in the family of Ziyoli. His father, Abdullah Akhund, was a madrassa teacher and one of the leaders of his time. The poet's real name was MuhammadniYoz, and in some sources he was called NiYozmuhammad, PolvonniYoz. The Khorezmians abbreviated it as "MatniYoz". Perfect Khorezmi is a relative nickname. The nickname Pahlavon was given in return for his bravery on the battlefield. In Muhammad Yusuf Bayani's Shajarai Khorezm Shahiy, the courage of Kamil in his youth is given in the following scenes: “One day I saw a yamut, nicknamed Karabalak, he was a great warrior and a sniper. After a while, Muhammadmurad's devonbegi came to the sangar and a battle broke out. Before the army received many dastburds (ziyon-zahmatlar-TM), one day Muhammadmurad's devonbegi said: If you hit me, I'll give you a thousand gold coins. ” When Pahlavon heard this word in the summer, he crawled inside an old Yof (ariq-TM) and there was an old wall on one side of the square. PahlavonniYoz shot him. The bullet hit the horse and he fell. I found out that there was a man behind the wall, there were a few cannons, and he took refuge in his mother. At that moment, Pahlavon grabbed what he was wearing in the summer, pointed it at the tip of his rifle, and slowly lifted it up. The Yamuts knew then that now the sniper (meaning Kamil-TM) would go to Karabakh and kill his mother. At that moment, they attacked and took the horse and brought back Karabakh. ”1
Apparently, Muhammad Yaz Yaz Kamil, a mighty warrior who could not be stopped, came to Karabakh and forced him to withdraw. After such bravery in battle, Muhammad Yaz became known as "Pahlavon", which adorned the literary image of Kamil.
Kamil received his primary education in the old school and higher education in the Khiva madrassas. However, due to family circumstances, ie the untimely death of his father, he was forced to suspend his studies for a while, and then, after a certain adjustment to the family's life, resumed his studies.
In the madrasa, he studied Arabic and Persian, studied the literature in this language, the works of our classics. Later he began to write poems under the pseudonym "Perfect". The mention of the great poet's name in the book "GulShani Davlat" indicates that he quickly gained fame in the creative world.
Kamil Khorezmi was also a good calligrapher. He mastered this art at a high level, and even brought up such famous students as Muhammad Panoh, Khudoibergan Muhrikon Devon, Muhammad Sharif Garro. His son Muhammad Rasul also studied calligraphy and became a good calligrapher. He wrote poems under the pseudonym "Mirzo" and composed "Devon". He gained early fame among the people as a perfect poet. Hearing of his fame, the khan of Khiva at that time Sayyid Muhammadkhan invited him to serve in the palace. For the poet, who had no material and spiritual support, this offer came in handy, and he began to work as a mirza in the palace. Kamil, who has a good understanding of the palace environment, works with restraint. After the death of Sayyid Muhammad, his son Muhammad Rahimkhan Soni (1865) ascended the throne. The ruler Muhammad Rahimkhan II soon appointed him to the post of mirzaboShilik (subordinate to the mirzas).
This position also gave Kamil the responsibility of a state politician in addition to poetry, and at the same time the state was in crisis, that is, Khiva was on the verge of becoming a vassal of Russia. At the end of 1873 he was promoted to the position of dean. This task corresponds to the position of the current Prime Minister. So Kamil's burden was very heavy. He had to work in every way with intelligence and understanding. At that time, Khiva was occupied by the Russians, and the country's freedom was almost lost. Seeing the blows of the Russian army led by the Governor-General of Turkestan von Kaufmann to the khan's army and the bloodshed, Muhammad Yazil found it necessary to act in this difficult situation, that is, to keep the khanate with limited rights and freedoms. He considered the stay to be a better way than annihilation, and as a result, on his suggestion, on August 1873, 12, a truce was made between Russia and the Khiva Khanate in the village of GandimiYon near Khiva. This event has historically been called the "Treaty of Gandhi". In this way, Kamil, a peacemaker and businessman, saved his people from a pointless massacre, albeit for a short time. Kamil's prudent actions as a politician also attracted the attention of British and Russian politicians. For example, in a special book in English about the events of the Khiva Khanate in 1873, Mak-Ga Khan recognized Kamil Khorezmi as a peacemaker and a wise businessman. FILobosevich was also a direct participant in these battles, so he was moved by this event and wrote: "MatniYoz's service to his homeland at that time was immense." In 1874, under the leadership of Kamil Devonbegi, he did a lot of good work for the development of Khiva's cultural life. In XNUMX, he imported printing equipment from abroad and began publishing books for the first time in Central Asia. In short, he organized the largest spiritual event, of which the khan of Khiva Feruz was the material and spiritual leader.
It is understood that all of Kamil's efforts were aimed at improving the khanate's relations with the Russian Empire and developing the cultural life of the people in the name of peace and tranquility in the country. Unfortunately, his good deeds were not appreciated, on the contrary, they gradually disappeared and were replaced by jealousy, humiliation and discrimination. When Khiva khan Muhammad Rahimkhan II Feruz returned from exile to Matmurad Kaluga, the former devonbeg, Muhammadmurod devonbeg returned to his former position as mirzaboShlik. will give. This incident will be as hard for Kamil as it was for Muhammad Murad. Many such sufferings of destiny also affect his health. Laffasi's account states that he lost his eyesight at the end of his life: “He was saddened by the fact that he was a perfect pariShanhol, and as a result, black water came to his eyes and he became helpless. no matter how many treatments, it is of no use, but worse than before. Therefore, with the permission of Kamil Khan, he went to Tashkent to see an ophthalmologist. However, he complained to the khan that the pain in his eyes was increasing day by day. The khan's spot does not offer any kind of compliments, as if it were a very comforting memory. But MirzaboShlig blesses his son Muhammad Rasulboy. In 1315 (1897-98), in the year of the dog, at the age of 72, he traveled to the end of the world with a hundred thousand regrets, leaving Kamil on a pillow for three days.
According to historical sources, the poet Kamil Khorezmi died in 1897, at the age of 72.
If we look at the biography of the poet Kamil Khorezmi, the data show that he visited Moscow and St. Petersburg twice: the first in 2, the second in 1873 with a delegation of 1883 people led by Feruz, and in 17, 1891-1896 in Tashkent. This means that the poet was very rare in travel. He devoted his entire life to the service of the people, art and art.
Kamil Khorezmi is such a great poet and selfless artist.
The main part of the literary heritage left by Sahibidevon Kamil Khorezmi consists of ghazals, muhammas, musaddas, musabba, murabba, problema, rubai, qasida and masnavi. The poet's lyrics are unique in their content, general spirit and style, in which life and human experiences are sung objectively and realistically.
The main part of Kamil Khorezmi's work is romantic lyrics. The poet skillfully describes the tortures of hijra, the character of the lover, the experiences associated with him in such a way that a picture of true love appears in the eyes of the reader. The poet in a romantic poem:
That sun has terrified me, it has oppressed me for centuries,
My heart sank like a particle
In another love poem, he describes Yor, his tall stature, and his playful, charming eyes, in his charming verses. a fairy is depicted:
My body is full of cypresses,
Those eyes that make my eyes wet are magical.
Our lyrical protagonist likes the lover's pleasant actions and tender looks, and expresses this in warm terms, full of love:
Bani Shayda are the edan ul mahwa people.
They are intoxicated.
When the lover is completely captive, he falls into the trap of love like Majnun, who loves Layla, wanders in the desert, and the lover becomes a father in the fire of love:
I clung to your love,
On the Way of Layla I got drunk as if I was crazy,
I was beaten day and night, I was deserted,
I was like a well in the desert,
I became a patriot for the sake of love.
Perfect wordsmiths have matured. He was especially inspired by the works of Navoi and Fuzuli. This is the reason for the harmony of theme and melody with his predecessors in his poems.
For example, Fuzuli
PariShon, I'm dead, you didn't ask, PariShon,
I was in pain, you didn't take action,
What do you say to my life, beautiful lady,
My eyes, my soul, my lord, my beloved state sultan
In Kamil's work we find verses similar to the famous murabba, which begins with:
Many months have passed, you haven't asked, pariShonim,
Ijobing Shiddatidin is in my mouth, my dear,
What a religion in a demading years, O humble date lady,
Chu Yusuf in the masnad of Egyptian honor.
Or Kamil's conjecture connected with Navoi's radiant ghazal "Don't be", which reflects the sufferings of friendship, devotion to him, unfaithful friendship:
Please don't be happy with the conflict,
Do not underestimate the pleasure of work at all times,
Don't be as sorry as I am,
Friends, do not sympathize with the people,
I don't want to be with you, don't be with me.
The harmony of theme and melody in these verses is natural, but the verses of Kamil correspond to Navoi's lines in such a way that the breath of such a Navoi soul in the poet's work is a sign that he has become a master of great poetry. Another example:
You are a beautiful witness, I am your humble servant,
If there is oppression, there is cabbage, there is a blessed mango.
I want to be free from the stain of death, nigoro,
Blessed is your faithfulness, blessed is your suffering.
This elegant example of the art of speech is the work of Shah and the poet Babur:
You smile, I'm a poor nightingale,
You laugh at Shula, he laughs at Shula.
I refuse to say no,
Shohmen elga, vale you robber
reminds everyone of the famous rubai.
In Khorezmi's work, he thinks objectively about the socio-political events that take place in real life. The poet is deeply disturbed by the unhealthy mood in the palace. Despite his devotion to politics, his removal from office was difficult for the poet, and he began to suffer from mental anguish. In response to this unfair treatment, the poet protested poetically in the radifi ghazal "Aylama". The poet also appeared in the palace and in the society with his humorous poems "Fuzalo" and "Juhalo". "Fuzalo" begins as follows:
Yutubon at this time blood fuzalo,
Disaster strikes niShon fuzalo.
In Juhalo, he openly condemns the ugly people who persecute innocent people with all sorts of vices and describes their portraits as follows:
No`Sh rip, riSh and mayin, less than ulus dodiga,
Didn't know dame month justice juhalo.
In one of the socially significant poems of the poet, he says, "Ochgali otlandi to sultani jamiqbol suv" and considers the digging of a ditch by Muhammad Rahimkhan as a contribution to beautification.
Among Kamil's socio-political poems, the poem "Definition and description of Dar Bayoni Tashkent" is noteworthy. Because it was the first poem about Tashkent written in Uzbek. The poem was published in the Turkestan regional newspaper at the same time. The poem, which is 100 lines long, describes the impressions of the poet's visit to Tashkent. After the traditional lyrical beginning ("nasib"), the poem gives a brief account of the journey and goes directly to the description of Tashkent. Beautiful gardens of Tashkent, clear canals, waters, its "ayyomi hazon" (autumn) are described as follows:
Our guest place is right, please, my garden,
Mevazoru, lolazoru, naxlzori Tashkent.
Kamil Khorezmi was not only a poet, but also a good musicologist and composer. He also spoke. He had mastered this art from a young age. He is also interested in local music during his travels in Russia and Tashkent. He is diligent in recording the musical heritage of Khorezm. He chooses a tanbur instrument to record folk music. "Tanbur note" was famous for this. Only Kamil can write the status of "True". His son Muhammad Rasul will continue this good work.
Kamil Khorezmi as a composer created "Murabbai Komil", "PeShravi Komil". These melodies were created in connection with the status of "True" and copied to the note. The value of Kamil's musical heritage is that, along with the creation of new melodies, he introduced the European note into Uzbek music and introduced the Khorezm note.
Kamil Khorezmi's creative activity is multifaceted. Translation also plays an important role in his work. One of the examples of Persian-Tajik literature of the XVIII century, Barkhurdor bin Mahmud Turkman Farohi, known as Mumtoz, translated Farohi's work "Mahbub-ul-qulub" (popularly known as "Mahfil oro") into Uzbek. Fakhriddin translated Ali Sayfi's work "Latoyifut-tavoyif" (XVI) from Persian into Uzbek. The translator Kamil reworked the work and updated part of it. Prof. Sh. According to Yusupov, he cites 452 out of 345 stories, leaving out the outdated ones. Thus, the book is translated as "Latoyifuz-zaroyif" (Elegant anecdotes).
Kamil Khorezmi's life full of contradictions and productive work is a bright page in the Uzbek literature of the XIX century.
Muhammad Rahim Khan Feruz (1844-1910)
Feruz, Muhammad Rahimkhan II (1845, Khiva, 1910) Khiva khan (1864—1910); Poet and composer. From the dynasty of bells. He studied at the Arab Muhammadkhan Madrasah in Khiva, studied the science of state and law with the famous teacher of his time, the poet and scholar Doi, Yusufkhoja Akhun and others. Agahi taught Feruz, taught him the secrets of poetry, taught history and translation.
After the death of his father Sayyid Muhammad Khan (1864) he ascended the throne of Khiva. Poems dedicated to Ogahi Feruz were written on this occasion. In 1873, the Khiva khanate was attacked by the Russian army led by KP von Kaufmann, who captured the main cities and the capital of the khanate. According to the Treaty of Gandhi (August 1873, 12), the Khiva Khanate became dependent on Tsarist Russia. In such a difficult situation, Feruz ruled the Khiva khanate for almost half a century. Feruz gathered literary and artistic figures in the palace. Under the influence of Agahi, Kamil, Tabibiy and others, he also wrote poems under the pseudonym Feruz (happy, victorious).
Feruz attached great importance to the work of the book: the creation of the devon, the writing of history, the development of translation. He established a school of translation in Khorezm. He translated the most rare historical, literary and scientific works of Persian and Arabic literature into Uzbek. During his reign, works on the history of Khorezm were written by Agahi and Bayoni. Kamil Khorezmi invented the notation for classical maqoms. He established a printing house in Khiva. The book "Majmuat ush-Shuaro" about Khorezm poets, works of Alisher Navoi, collections of Khorezm poets were published in it.
Feruz brought unique books from abroad to Khorezm through traders from India, Arabia, Iran and Turkey and copied them in large numbers, creating a rich library of books on history and literature. Feruz also developed arts such as architecture, painting and calligraphy. During this period, the art of photography and cinema emerged, and landscaping work was carried out.
In 1871, Feruz built a two-story madrasah named after him in the Old Ark. Under Feruz's direct leadership and initiative, more than 2 madrasas, mosques, minarets and khanaqas were built. Feruz also paid special attention to water supply and gardening. According to his order, a large canal was built on the border of Kungrad district. Today this stream is called "Khan Arigi".
Feruz created lyrical poems in the traditional genres of classical poetry. His poems are mainly on the theme of love. Man and life, love and devotion form the ideological basis of Feruz's work. They are distinguished by their melody, richness of figurative colors and variety of shapes. Many of his poems were sung by musicians and singers in his time.
He arranged his poems under the name Devoni Feruz (1879). This devon was rebuilt by Muhammad Sharif (1900). Feruz himself copied 350 rubai of Pahlavon Mahmud by hand and turned them into a book. Feruz studied Shashmaqom melodies and formed a maqom ensemble in the palace. He created melodies connected with "Navo", "Dugoh", "Segoh". He was buried in the mausoleum of Sayyid Mohi Ruyi Jahan in Feruz Sayyid Mahruyjon Complex.
Copies of the collection of poems are kept in the Institute of Oriental Studies of the Academy of Sciences of Uzbekistan (inv. № 3442, 1119).
Ahmad Tabibi (1969–1911)
Ahmad Tabibi is one of the most prolific poets living and working in Khiva in the late 1908th and early XNUMXth centuries. The first scientific information about the doctor was given by the Russian scientist AN Samoilovich. One of his writings about his scientific trip to Khiva in XNUMX contains information about the poet Tabibi and his commentary "Mashmuatush Shuaro". In his report, ANSamaylovich briefly describes the content of the tazkira and translates it from the poems of such poets as Feruz, Mirzo, Bayoniy, Shinosiy, Habibi, Khaqiri.
The biography of 65 poets and writers, starting from Munis, is given in the book "Biographies of Khiva Poets and Writers" written by the poet's contemporary Muhammadamin Laffasi. Tazkira contains interesting information about Tabibi's biography and his contemporaries.
The life and work of the doctor are included in the "Chrestomathy of the history of Uzbek literature" compiled in 1945. In general, literary critics of the XX century, Rahmat Majidi, M. Yunusov, V. Mirzayev, Y. Yusupov and /. Karimov in their textbooks and monographs briefly spoke about the natural creative heritage, F. / anikhojayev A. He wrote and defended his dissertation on the life and work of Tabibi, and in 1978 he published it under the title "Tabibi".
Why are people afraid to study Ahmad Tabibi's Poems? What kind of family was he raised in? In what social environment did the doctor grow up? In what types of classical poetry did he create? Have you read a sample of his poems? How do you feel about his work?
Ahmad Tabibi was born in 1869 in the city of Khiva. The poet's father, Ali Muhammad, was one of the famous physicians of Khiva. This Afghan lady later settled in Khorezm and served Muhammad Rahimkhan Feruz's father-in-law, Atataytora. At the same time, he made a living by acting. The poet's name is Ahmad Tabibi, his literary pseudonym. Ali Muhammad taught his son Ahmad at a school and madrasa from a young age and learned Persian. Thanks to his zeal, Ahmad soon became literate. He became a disciple of his father and found out about medicine. Due to his great interest in medical science, he worked for a long time in the presence of the famous physician of his time, the brother of the poet Bayoni Yahshimurodbek, and learned from him.
According to Lafasi, Ahmad was a short man with an open face, a sweet tongue, a delicate nature, and a friendly demeanor, often accompanied by the poet Avaz. He is a master of the game of chess, as well as a master of the art of music. According to the poet's contemporary Khadim, if he took the saz and the tanbur and played the status of "navo", he would charm people.
Ahmad loved literature and art, and soon became famous in poetry, participating in classical literature, Persian-Tajik and Azerbaijani literary conversations, and various literary gatherings.
When Khan Feruz saw Ahmad's knowledge and skill in poetry, he invited him to the palace. It was impossible not to agree with the modern conditions of the doctor. While working as a doctor in the khan's palace, he also continued his creative work-Poetry. The doctor cares for a lot of people and does not spare his help. He was especially close to his son Avaz Otar and taught him a lot in the field of science, ethics and poetry. Avaz also considers him a teacher:
What's the matter, Avaz, if you're in the science of poetry, like a doctor,
It is said that the people who saw your poem, greet your teacher.
Although he was honored to serve in the medical palace, he did not benefit much. He opened a shop and made a living selling drugs to patients.
He spoke fluently with traders from Arabia, Iran, Afghanistan, and India, and bought various books and medicines from them. He lived an average life. We read in Laffasi's commentary that at the end of Tabibi's life he lived a restless life as an ordinary people: “After the death of Tabibi Feruz, Ahmadjan did not have any contact with any fuzalo officials and soldiers. He fell ill with pneumonia and died in 1910 at the age of forty-two.
Tabibi was one of the most educated and progressive people of his time. The historian of Khorezm Bayoni in "Shajarai KhorezmShokhiy" Tabibi:
Tabibiykidur Poet Respected,
The number of Naylay's deeds,
There is a great sage in education,
In the meeting, the spot is elegant,
Pur ayinadur words sarbasar,
The symbol is reflected in the mirror,
Surar point lutfila ul point,
When I saw him, I said, "Alamon!" - he describes.
As a young man, Ahmad Tabibi did not dare to create a devon, although he was a well-known poet. His poems were scattered. One day Feruz khan ordered Tabibi to collect his poems and create a devon. Tabibi makes his Uzbek and Tajik poems separate. We read about this in the "Introduction" of the poet to his "Munisul Ushak" divan: "The number of books in the hands of this poor man is five divans. Three of them are Turkish and two are Tajik. I named the first "Tukhfatus-sultan" because of the gift to the just king, and the second devon was named "Munisul-ushShok" because of the ounce of lovers. I named the third one "Mir'atul-i-Ishq" because it only mentions the cases of Ishq. The fourth devon was named "Hayratul-ashiqin" to amaze the readers. The fifth is called "Mazharul-i-IshtiYaq" because of the fact that the bedils were the source of the desire.
The whole literary heritage of the doctor, the last years of the poet's life was copied and published in 1906-1910. Prior to that, Tabibi's lyrical works were included in the poems written at that time. 12 of them are still preserved. In addition, only 8 collections of Medical Gazelles have survived.
Tabibi devons include such genres of classical lyric poetry as ghazal, muhammas, musaddas, musammal, murabba, masnavi, qasida, rubai. It is obvious that the poet effectively developed all the genres that emerged from his work and became a picture in literary life.
One of the main themes of his medical lyrics is Love. The poet's Romantic Poems are remarkable for their content, melody, richness of colors and variety of forms. The content of his medical lyrics consists of the ideas of true love for Yorga, boundless devotion to him, struggle with emigration, enduring all kinds of sufferings, striving for his guardianship, pride in his love. Among the romantic poems of the doctor there are many poems written with the warmth and wave of the heart, feeling love, its excitement, beauty from the heart.
From the garden to the fasting zulfing namoYon ayladin,
You withered flowers and sunbuls,
Sarv and ShamShod bottilar embarrassed project,
You flirted with Chun Chamanda.
The magician's eyes are full of intrigue,
You surprised the poor narcissist.
Ochibon mehri sahar yanglik binogo`Shingni da,
As a result, in the morning you turned into a madman.
It is clear from the above example that the poet created a beautiful episode in this poem. When you say garden, you think of a beautiful landscape. It has its own beauty: it is natural to have blue trees, wildflowers, clear waters and nightingales. But the lover described by the poet is so beautiful that when he enters the garden, the flowers that bloom when he sees his beauty and manners are embarrassed, the sunbul that comes face to face with him goes mad, and the cypress trees that see his face are distressed. Her grassy eyes look around in such a way that the narcissus who sees her is amazed by these qualities.
In medical lyrics, lovers often lament with deep excitement about not being able to achieve their goals - their families, rather than joy. It has deep life roots, of course. The confirmation of the above thoughts is clearly felt in this jam of the Poet.
There is no captive in the world like me,
Who bleeds on the yellow face of YOSHIM always melts,
When she saw the weeping girl,
In my memory, it is the pain of love.
Such cries of the heart in the medical lyrics are not only his personal feeling, but also a real reflection of the echo of the time. The poet appreciates human love and raises it to such a level that even the father of Luqman-medicine cannot find a cure for it:
If you can't do it, Doctor, you're in love
If you follow Luqman in the science of medicine.
Such poems show that Tabibi is a singer of beauty, love, devotion, sincere singing of the noble experiences of pure love.
How is the socio-political system of the time and the life of the people described in the medical lyrics?
Not only romantic poems, but also poems expressing socio-philosophical ideas are often found in medical offices. In a number of his ghazals and rubais the echo of the period is reflected. It is known that in the time of Tabibi the people lived in a very difficult situation, they were oppressed by local feudal lords. This issue, of course, was reflected in the works of Tabibi and other progressive poets. The doctor also expressed his dissatisfaction in various ways in his poems. He connected the main content of the Complaint with the sky, like other poets, with some ignorant officials, with the unfaithful Yor, and the like:
If you look at the world, the harvest will be in vain,
Behind a pleasure there is a lot of work.
Whoever finds a lover for a moment, is a charming,
The burden is always on the poor, and then the grief melts.
There is no worldly trust in this aspect, O heart,
It is an age-old habit to make a revolution.
Tabibi first expresses his views on the time in his poems about love. It should be noted that until recently, some literary critics were of the opinion that only intimate feelings are sung in the ghazal genre. For the earliest periods of the genre, this idea may have been correct, but it is not typical for the correct expression of the general content of the ghazal genre.
Our scientists, such as A.Mirzaev, A.Hayitmetov, /.Karimov, in their scientific works on this subject, on the basis of an in-depth analysis of all the features of the ghazal genre, along with the feelings of love in the ghazal, very important life issues, philosophical Observations can also be expressed. The verses confirming their opinion can be found in many of Tabibi's poems. Here we are devoted to the issues of love, radifi, rhyme, love in all its aspects, intimate lyrics, bytes, abbreviated in the verses, important social issues - society, life, morality. We would like to draw your attention to the following points:
Mehri jamoli hajrida night and day smoking fig'on,
This dungeon is special for the head of the department.
Yoki
My heart is a strange house ruined by oppression,
The deer in the mother's eyes is the sad mastona.
Both verses show the poet's attitude to his time and social system.
Thus, in the examples we have seen above, we have seen that in Tabibi's ghazals, along with traditional themes, vital issues occupy a significant place.
It is known that in Uzbek literature the muhammas genre is very widespread and has played an important role. Muhammas are basically created in three ways.
The poet directly creates Poems, each of which consists of verses. The number of bands is not limited. The poet creates a muhammas by adding any of his ghazals. Or in the same way the Poet connects to the poems of other poets. In the creation of muhammas, first of all, the poet tries to connect muhammas to the ghazal, which is close to his taste, thoughts and feelings. This means that the connection is not a simple matter, but an event that is directly related to the poet's worldview, dreams and hopes. The progressive poets of each epoch tried to propagate his progressive ideas by tying them to the poems of the progressive poets who preceded them.
Muhammas, on the other hand, is a creation that requires a great deal of art, skill and knowledge. Because it is necessary for the poet to keep the samples of ideas, purposes and works of art in the ghazal. Therefore, muhammas also has the character of a poet. After all, in order to express or develop the thoughts and ideas in the ghazals of great artists such as Navoi, Jami, Saadi, it is necessary to have great skill, strong knowledge, which no artist can be honored. However, it turned out that Tabibi's knowledge and skills in this area are not retail. There are a total of 518 muhammas in his devons, of which more than twenty are muhammas connected with Navoi's ghazals.
Along with ghazals, quartets consisting of rubai, qita and tuyuk also play an important role in the natural lyrical heritage. The poet made a great contribution to the development of these genres with his works, each of which has a short but definite plot, deep ideological content and high artistic value:
We drank with you in the meeting,
Dahr aras uShShoq haylin toqimiz.
Become our product again,
Who cares about her morning.
This hen has a series of words. In the first stanza, until we drink, in the second stanza, we are alone, in the fourth stanza, we mean "longing".
In the medical devons, there are also qasida and masnavi. However, most of the poems are aimed at praising the rulers who were characteristic of the literature of their time.
He paid special attention to the structure and composition of gazelles such as Tabibi Ogahi. His poems are not very thematic. The poet basically takes a subject and extensively illuminates the thoughts, feelings and emotions related to this subject in a real way. / Each of the ancient verses is interconnected, they complement each other as a logical development of events, feelings, emotions. In his lyrics, the doctor used many and varied fruits of the dream. In particular, the springs of Hajj, Ramal and Rajaz are more common there.
I love Khazaji Musam
(Mafoyilun mafoyilun mafoyilun mafoyilun)
Falak zole ki andoq bor durur bir tur fa sayYora,
That's what everyone does when they have a couple, of course.
The goal of Ramali musammani.
Foilotun Foilotun Foilotun Foilotun
Your eyes are full of dark Shami
Javir tigi din Tabibiy dek diling af kor was
Hazaji's musaddasi is mahsuf
(Mafoiylun mafoiylun foulun
It is clear that in love, judomen,
Endless dar du gamga mub talomen.
Rajazi musmuli matviyi mahbui
Muftailun mafoilun muftailun mafoilun
Although he is not faithful to the moon
Hundreds of sufferings If not, this masun netay
It is known that weight, rhyme and poetry are very important and important factors. They have a strong influence on the content and serve to illuminate it. From this point of view, the rhyme with the rhyme in his medical poems was also carefully and skillfully worked out, which is inextricably linked to the verses.
In love I am mad, O beautiful, beautiful,
Olam aro afsona, ey zebo sanam, zebo sanam,
When you're in love, I'll be happy,
Good morning stranger, my beautiful date, my beautiful date.
In this poem, the words "crazy", "legend", "stranger" are rhyming, and the phrase "beautiful idol" is a radif. Here, as a means of expression, the sounds that reinforce the meaning of each rhyme are very skillfully presented.
We see that many literary and rhetorical arts are used in medical lyrics. In particular, he served to strengthen the meaning of the art of reproduction:
Whoever talks to a scientist
Porsodur, porsodur, porso.
Ignorant ignorant Yor dead man,
It's not good, it's bad, it's bad.
Or:
O Doctor, your eyes are full of grace
Humble, humble, humble.
So, as a life-loving poet, Tabibi glorifies the beauties of nature, friendship, love and devotion, science, enlightenment, ideas in the spirit of faith in the future, his confession is in harmony with the work of Muqimiy, Furqatlar. evidence.
Resident (1850-1903)
Muqimiy (pseudonym; real name Sharifi Aminkhoja Mirzakhoja oglu) (1850 - Kokand - 1903.25.5) - Poet and thinker. He is one of the founders of Uzbek democratic literature. His father is from Tashkent, his mother is OyShabibi from Khojand and they live in Kokand. Muqimi received his primary education at a school in his neighborhood. His mother, Muhammad Aminkhoja, was interested in poetry.
Muqimi studied at the Mokhlar Oyim madrasah built by Nodira in Kokand, and then at one of the Bukhara madrassas (1864-65; 1875-76). When he returned to Kokand in 1876, he served as a clerk in the Land Construction Court. He returned to Kokand in the late 70's and was engaged in creative work. After the death of his father, his financial situation worsened, and he moved to a small room of the "Hazrat" madrasah (1885), where he spent his entire life in poverty.
He traveled to Tashkent several times (1887-88, 1892) and got acquainted with the news in Tashkent. He studied the cultural and literary life of Tashkent. Almai has collaborated creatively with progressive artists like Nodim.
The literary life of the period in which Muqimi lived was complex. Such an environment had a strong influence on Muqimi's work. In the first period of his work, there is a partial devotion to the elements of form, to artistic tendencies. But he quickly abandoned these traditions and became critical of the vices and antiquities of society. He learned from Navoi, Jami, Nizami and Fuzuli, who linked muhammas to their ghazals. Jami knew himself as a teacher. He continued the traditions of Uzbek and Persian classical poets. The emergence and formation of a democratic trend in Uzbek literature is associated with the name Muqimi. Such progressive poets as Furlik, Zavqiy, Avaz, Kamil opened a new page in the history of Uzbek literature.
Muqimi's lyrics are imbued with deep optimism, and vitality is one of the main and leading features of this lyric. Muqimi sang real love, man. The essence of his poems is human experiences, joys and sorrows, desires and aspirations, struggles. Friendship, loyalty, sincerity, loyalty, perseverance and perseverance are glorified in them, and through them the poet strives to cultivate good qualities in people. He dreamed of a just and happy time, He believed that such days would come ("In the end, a good time will be as good as yours", etc.). His poems, which have motives of grief, grievance, and protest, also reflect the belief in the future, dreams and ideals of a prosperous life.
The contradiction between Muqimi's worldview and aspirations and the environment has created a critical direction in his work. This was reflected more in his comedy. Humor is divided into satire and humor. In his satires, tsarist officials and some local rich people were exposed (Tanobchilar, etc.). "Elections", "Dar mazammati zamona" and others show the capitalist and immoral relations entering the country and their consequences. Sometimes, following the prevailing views of the time, Dukchi wrote comic books about Eshan ("Hajvi Khalifa Mingtepa").
He has created about 30 comics on such topics as horse, cart, mud, mosquito, malaria. In them, the poet laughs at the backwardness and ugliness of life, the shortcomings of social consciousness, the pain of colonialism, the devastation ("Devonamen", "Kosamen", "Surprised mud", "Flies", "Complaint ornament", etc.). A number of other comedies reflect a new approach to changes in society ("Definition of the oven", "Cart", "Clay", etc.).
Muqimi introduced the theme of workers into Uzbek literature, created a gallery of types ("Muscovite in a rich description", "Victor's story", etc.). Based on his impressions of his travels to different cities and villages, he wrote a 4-part "Travelogue". The work is written in a light, playful weight and consists of 4 lines. It realistically depicts the weight of people's lives, the devastation of villages. The poet praised goodness, praised beauty, laughed and rebuked shortcomings, criticized evil and various vices. Muqimi's letters in prose and poetry are an example of epistolary literature. 10 Poetic, about 20 prose letters are preserved. His poems have survived in manuscripts, springs, books published in lithography in the early 20th century, and in periodicals published in Tashkent and St. Petersburg.
The study, collection and publication of Muqimi's works began during his lifetime. Ostroumov first published a collection of "Devoni Muqimiy" (T., 1907), then in 1910 and 1912 a collection of works entitled "Devoni Muqimiy maa hajviYot" was published. In later periods G '. Gulom, Oybek, H. Zarifov, H. Yoqubov, H. Razzoqov, G '. Karimov, A. Hayitmetov and others studied Muqimi's work. Samples of his poems have been translated into foreign languages. A house-museum has been established in Kokand. Shaharcha in Fergana region, one of the streets of Tashkent, the Uzbek State Musical Drama Theater is named after Muqimi. About the poet Sabir Abdulla wrote the novel "Mevlana Muqimiy" and the drama "Muqimiy". Most of Muqimi's poems have become Shulah.
Isaac Ibrat (1862-1937)
Ishakhon Junaydullohoja oglu was born in 1862 (Hijri 1279) in the village of Turakurgan near Namangan. His father was an enterprising gardener who wrote poems under the pseudonym "Employee." His mother, Huribibi, taught village girls. Ibrat was first educated in a rural school and then in the hands of his mother.
From 1878 to 1886 he studied at the Muhammad Siddiq Tunqator Madrasah in Kokand. In the year of graduating from the madrasa, Ibrat returned to his village and opened a school. He applied the savtiya (peacock) method in his school. The poet chose the nickname "Ibrat". In 1887-92, Ibrat visited Istanbul, Sofia, Athens, Rome, Kabul, Jeddah, and in 1892-95 in Bombay and Calcutta, where he studied Arabic, Persian, English, Hindi and Urdu.
He moved from India through Burma to China in 1896, then to Qashqadaryo, and from Qashqadar to his native Namangan. In 1907-1918 he organized new schools, and in his village he had a printing house called "Maktabai Ishoqiya". A prolific poet, writer, musicologist, educator, Ishakhon Ibrat was a victim of repression.
He died in 1937 after 2 months in the Andijan prison. The whereabouts of his grave are unknown. In his works, the author reflected the struggle for the freedom of the people, the independence of the Motherland and historical events. For example: In the work "History of Fergana" he writes: "Khojand and Uratepa and Dizzakh were lost. Russia invaded. In the one thousand two hundred and eighty-fifth Hijri (1866) Samarkand was captured. Then Kattakurgan was taken. Then there was reconciliation with the Emir and reform was introduced.
Works: "Historical printing house", "Masnavi about culture", "About newspaper", "Pen", "Dictionary sitta alsina" ("Six-language dictionary", 1907), "Jome 'ul-hutut" (" Collection of Letters ”, 1912),“ History of Fergana ”(1916),“ Mezon uz-zamon ”(1926),“ Sanati Ibrat ”,“ Ilmi Ibrat ”and others.
Karimbek Kamiy (1865 - 1922)
Karimbek Kami is one of the greatest representatives of Uzbek literature of the national awakening period. In the poem "Dar Madhi Mr. Mavlono Kami Tashkent" we read the following verses:
Every word of Fergana's musician,
Probably, Mawlana Kami, who took Islambul.
There is no doubt that Kami's words reached Fergana. His poems can be found at the beginning of the century in the territory of another khanate - in the spring, published in Kogan. There is a muhammad written by Khorezmian poet Ilyas Mulla Muhammad oglu Sufi for Kami's ghazal. The poet's poem "Murabba'i dar tarifi maktab" was published in 1906 in the St. Petersburg newspaper "Ulfat". All this shows that Kami's poems began to cross the borders of Turkestan in the first years of the century. Amoni means that Mawlana Kami's words "maybe took Islambul". Indeed, it is. Samples of Kami's work can be found in the book "The first Sufis in Turkish literature" by MF Koprulizade, published in Istanbul in 1918. This proves that in 10 years the Poet's Poems reached as far as Turkey.
From the history of the study of creativity
The work of the poet Karimbek Kami did not go unnoticed in his time. The old and the young generation, who walked the low and high streets of the Poetry, expressed their attitude to him. One of them is Muqimi. Mawlana Muqimi begins one of his letters to his friend as "Brother Kiromi Mawlawi Kami". This reflects Muqimi's attitude towards Kami, as well as his assessment of him. One of Kami's disciples, Siddiqi Khandayliqi, described his teacher as "Shuhrabardoru oliShan in the climate of sukhanvarlik." Osh poet Amoni dedicated a special poem to the description of the poet. In it, he described Kami as "the King of the climate of bliss" and "the language of the unseen." In his poetic nature he saw "a work of divine grace."
But the attitude to the work of the poet did not remain the same. Anbar Atin and Ibrahim Davron also have critical views on Kami's work, which is explained by the diversity of their literary, aesthetic and philosophical views.
After the poet's death, it was the responsibility of the Soviet Literary Criticism to evaluate his work and personality. This science of literature, based on non-national ideology, in some cases assessed the poet as a "traitor", "enemy of the people", "nationalist jadid", "counter-revolutionary" poet. As a result, Kami's work has been left out of the public eye and researchers for decades. However, when it came to Uzbek literature of the late 1932th and early 14th centuries, the enlightenment of the period, and especially the literary environment of Tashkent, it was impossible to ignore Kami's work and his name. Therefore, even during the Soviet ideology, some of our sincere literary critics tried to justify his personality and defend his work. Literary critic MBSolihov included the poet's muhammad, which begins with "Soldi beilmliq hatalarga" in the "Beautiful literature of Jadidism" and included it in his book (Nationalism in Uzbek literature. T., 1950, p. 1960). In 4, the Anthology of Uzbek Poetry was published in Moscow. The collection includes a brief reference to Kami and the Poet's poem "Murabba'i dar tarifi maktab" translated by S. Someva. The directory states that "Kami is one of the representatives of progressive thought in Uzbekistan." In the collection "Uzbek literature" published in 1 (volume 70, book 90) some examples of Kami's works are given. Since the 1998s, in the articles and researches of G.Karimov, B.Kasimov, A.Jalolov, M.Khamidova, M.Zokirov, a moderate approach to Kami's personality and his work has begun. In the 4500s, a special study of the poet's work began. The periodicals began to publish articles about his life and career, some examples of his literary heritage. Finally, in XNUMX, Kami's collection of about XNUMX poems was published under the title "Make your heart prosper." This created an opportunity to introduce the poet's work to the public, to bring it into scientific circulation and to determine its place in literature.
Kami's work is an integral part of the Uzbek literature of the period of the National Awakening. In both cases, Kami's work is discussed. In particular, M. Tashkin's commentary is a major source in the study of the life and work of the poet.
Biography Karimbek Kami was born in 1865 in Tashkent in a family of merchants. His father, Sharifbek, was one of the richest merchants of his time, as well as a man of knowledge and enlightenment, a lover of literature. Special attention was paid to the reading of the future poet in the family. He received his primary education from Mansurkhan, a teacher from Mozarkhan mahalla. As part of the school curriculum, he studied the poetry of Hafiz, Navoi, Fuzuli, Bedil, Sufi Olloyar. This is a YOUNG, curious Karimbek who fell in love with Poetry. After graduating from primary school, he transferred to the Beklarbegi madrasah and continued his studies. The famous teacher of this madrasa, Shomahmud Akhund, made a "hatmi kutub". After graduating, Kami remained in the same madrasa and lived in poverty. He didn't even get married. Poet:
Don't be sad, don't be sad, don't be sad,
If TaShlabon leaves, my friend will leave.
One day I would keep my eyes on you, oh,
Insecurity has appeared seven pencils, -
bytes and a few other ghazals to some extent explain the reasons for his squalid life.
By the 90s, Kami had become one of the Master Poets. Now his room has become the center of the great Poets and Poetry enthusiasts of his time. Entertaining literary conversations were held here, and new creative energy-giving poems were organized. For example, Kami's:
How long has Eduk afsurdatabu tiyraxotir,
Enlightened, enlightened, our eyes are clearly on this conversation.
Opened buds aim, greens sabzai ummid,
Bahori chat, arbobi fazlu ahli fitnatdin, -
The ghazal, which contained bytes, was about one of these fayzoso conversations.
Some of the poet's poems and some sources testify that he visited Shymkent in 1899, Andijan and Kokand in 1911, and Shymkent, Sayram and AvliYota in 1912.
The poet Kami died in the summer of 1922 at the age of 57.
Creativity and life
Kami wrote in such genres of our classic poetry as ghazal, murabba, muhammas, musaddas, rubai, qita, fard. He wrote socio-philosophical poems. He created histories that set the date of the most important events in literary and social life. The poet has a literary legacy of about 6000 verses.
Kami Poetry is diverse in form and content. The poet's passionate love poems, poisonous and bold social ideals, his poems, which ignited the future of the nation and encouraged his children to enlightenment, had a great place in his time.
In the early stages of his career, Kami was able to show that Yak was a creative artist with a unique style of artistic thinking and his own literary aesthetic views. From the poet's spring of 1894:
Read on to find out more.
Atorud taSlasun koldin pen in the sky, -
verses can be the basis for such an opinion. He sets before his contemporary poets the task of writing a completely new, virgin poem that will change the mind, reform the rigid thinking.
Kami's creative legacy has come down to us, first of all, in the form of his own manuscripts and manuscripts in his personal archive. In addition, later manuscripts and manuscripts, as well as some newspapers and magazines of his time, are the main sources of the poet's literary heritage.
Romantic lyrics
The main part of Kami's work is romantic lyrics. So what is love in the Poet's Dictionary? We do this:
Love is a perfect work of pleasure in the world,
Mabdayi same siriShku mazhari ahi Sharar, -
as we understand from his verses. In his eyes, love is a "perfect work" that amazes everyone. He is the source of tears and the mockery of the grassy sigh. It is here that the nature of eternal and everlasting love is revealed. A person who does not have such love is not a human being. That is why Kami:
I wish, then there is no father iShq
That andin Sham 'ila propeller is good, -
he says. Naturally, love is renewed once in the heart of every lover. It evokes new experiences and painful feelings.
It is caused by the lover of that lover, his character, his peculiarities. Kami also has his own romantic world and his own lover in poetry. This Yor also has its own image. She is so beautiful in beauty that when she sees the painter Moni, she is stunned and can't even draw her picture. The permission of this Yor illuminates the universe. Even "No, it's not in the heels." It is so beautiful that it is intoxicating. Wine is intoxicating: "Drinking wine is intoxicating." His face was once confronted by the Moon and the Sun, see the result: "One of them died of a spot, and the other of a sucker."
Kami draws the image of his beloved Yor in a masnavi:
O grief-stricken age,
Husn is the only one in the world.
O you handsome cypress ShamShod,
Oh, the eye-catcher is the executioner.
O you whose faces are full of love,
O storehouse of letters and zulfi muShku.
O beast whose lips are the same water,
O the sweetness of his words.
Note that in this poetic passage, after Yor's beauty, stature, eyelashes, lettering, and lips, the word moves to his Sweet language, to the "pleasure of his soul." Language is related to one's spirituality. In fact, in Kami's poems, not only the physical image of Yor, but also his spiritual image is reflected. In one of his poems, he describes the subtlety of Yor's nature, his beautiful morals, the clarity of his heart, and his beauty:
Nozanin khoyu neku ahlaq, ey ravShan zamir,
Sharmu odobu haYo chapter No you minister.
Most of Kami's Love Poems are devoted to the description of such Yor. The poet is in need of this Yor's guardian, but he is in need of a "troublemaker". He wants the evening of Wasl to pass and the morning of Wasl to pass, but his dreams turn into dreams.
In short, Kami's Love Poetry is not only a picture of his beloved Yor, but also an artistic reflection of the endless sufferings and sorrows of the poet's heart in exile. At the same time, this Poetry testifies to the fact that its creator has a poetic heart full of tenderness and emotion.
Enlightenment
Kami’s Enlightenment Poetry began with poems introducing the gymnasium. In this respect, he had become a follower of the Furqat school. However, later stylistic changes took place in the work of the poet. He was mainly inspired by the call of the students of our national madrassas to science. Among them are Kami's poems "Dar tarifi tarifi ilm…", "AYo, ey, mulla Foziljon qori", "Everywhere, O lady, be with the rest". While propagating science in these poems, the poet saw it as the key to the happiness of the two worlds:
Reputation is the science of the world, beShakku rayb,
Learn your profession, be happy in both worlds.
In Kami's view, it is both a science that makes a person considerate and a source of happiness and wealth. According to him, the wealth of the world is dear and honorable not according to lineage, but according to knowledge and manners:
Your sanctity is the property of your number,
The science that creates honor is etiquette.
The poet called the poem "Narrow definition of science" "The Taliban is a program of knowledge."
Indeed, Kami’s Enlightenment Poetry of this period has the character of a unique program for students of science. For example, when the poet calls the children of the nation to science, he also calls them to grace, decency, and life. When describing a seeker of knowledge, he exemplifies not only his knowledge, but also his phase (“Abdulghani, the only time in the phase of knowledge”). If one of them is blessed:
Increase your knowledge of perfection,
Bazudi aylasun Halloqi Boriy, -
He asks the Creator not only for knowledge, but also for perfection. According to the poet, school is not only a science, but also a source of "good manners". It is the source of grace, the abode of grace… In a word, "favki har shay", that is, above all:
The school is full of knowledge and manners.
The school, the fountain of grace and the phase of the Lord melts.
The school, because of its reputation,
Maktabki, fawqi har Shayyu kulli nasab erur.
Kami's Enlightenment Poetry also recommends that students study science with objectivity and good intentions:
As pure and pure intention,
Always strive for knowledge.
Of course, when the poet called for knowledge, he did not forget the deed. He taught the students: Be gentle, be gentle, be gentle. Indeed, useless science is bound to lead man to harm and toil.
According to Kami, enlightenment is a must for women as well as for men. Even the Poet emphasizes that this is the fard of Allah. He refers to a famous hadith about this:
Mardu zanga ilm fard olganligi,
This is a well-known Sweet parable.
By the 10s, Kami’s enlightenment had risen to a new level. Now his call was not on the students of science, but on the nation. He called for national awakening and development, spoke about its shortcomings and shortcomings:
Let no one look to knowledge,
People tend to work in vain.
There is no worth of science,
Saw beilm people how much damage.
Dilki, the blood of the nation died of grief,
Our court has always suffered losses.
Not only the loss of profit, but also the loss of the nation, the loss of all its possessions in the midst of calamities, and even the loss of all its possessions, were the result of ignorance:
Ignorance has produced a salt road,
The ball that covered the front faded to the right,
What is left of our wealth and money,
Gone are our possessions
Westerners, that is, Europeans.
The period was rich in violent events. The events of February took place. The Tsarist government was overthrown. The "hell of darkness" withdrew from the head of the nation, and the "dawn of salvation" became closer and closer. In such a situation, Kami remained faithful to enlightenment.
He saw salvation for the nation, for the Motherland in science, in education:
If you want to be saved, close knowledge and knowledge.
Learn All About Science - Summer and Winter -
You need education, not gold, not silver,
Listen to this word, the whole sect of Pandi.
Drawn horizon Homeland hell hell,
UYON Vatan, uYon, seemed more than dawn salvation.
Until the last years of Kami's life, he wrote enlightening poems and took an active part in school education. There are even reports of excellent work in establishing libraries and opening schools.
Social Poetry
In Kami's poems, from the "raviShi kaj" of the charkh to the tyranny of the tyrant tsar, from the "suubatu alam" of the famine years to the su-sururi of February, from the "oppression of ranju" of October to the "bad deeds" of the Bolsheviks who drowned Turkestan's autonomy in blood. found
One of such poems of the poet is a muhammad that begins with "Alhazar, O tyrant king, alhazar". Muhammad consists of 25 verses, beginning with the following verses, which call on the tyrant King to refrain from oppression:
Alhazar, O Shahi tyrant, alhazar,
Have mercy on the oppressed,
In sukhan xuSh guft on neku sar:
Oh ursa piru zan time sahar,
Bolgay andin yuz tuman zeru zabar.
If you want, there is a sea,
If you want a total of dice,
Therefore, it is necessary to oppress,
Oh ursa piru zan time sahar,
Bolgay andin yuz tuman zeru zabar.
The poem continues in this spirit. He calls on the "oppressive king" to receive "news of the state of the incompetent," and warns of the "afflictions" 'fighting for the truth, "and that the whole state of wealth will be" upside down. " At the same time, oppressed Turkestan was bleeding from the tyranny of an oppressive tsar, Alexander III. The children of this country, which for centuries has lived as a prince and in the veins of the blood of its ancestors, were still not accustomed to the insulting policies of colonialism. This led to revolts against oppression everywhere, often. One of the most horrific of these took place in 1892 in the presence of Kami. Hundreds of local people were killed and dozens of guerrillas were killed in the Tashkent uprising, which went down in history as the "Plague Uprising" and the "Toshotar Incident." Kami was born after this massacre as a victim of the people's hatred of Alexander III and the colonial policy.
In 1895 the Russian emperor died. In this regard, the Turkestan regional newspaper will publish a historical march by Kami. For many years, Soviet literary criticism denounced the poet as "the substance of the white king." But if we pay attention to the content of the lament, we will see the complete opposite of this claim. Let's focus on the text:
If we look at Taammul together, indeed,
Where is Iskandaru Doro bila Jam?
Qani Kayhisravu Kaykovus, Bahman,
Where is AfrosiYobu Zolu Rustam?
Oh Bahrom - take the climate for a week,
Where is Caesar, where is Fagfuri Chin?
Where is Khisrav, where is Parviz Hurmuz,
Where is NoShiravo fair and noble?
Each of them came in turn,
Muaxhar is gone, some earlier.
Did you know that all this,
Be careful, O generation of Adam.
They drank from the cup of death,
Fanoning Sharbatin bari, ba hardam.
Around the world,
Alexander Alexandrovich too.
So Kami means that there have been many people in history who have asked for the world. They were all gone. It doesn't matter which one is simple and which one is later, they "drank" the juice of the "drinker of death". The same goes for "Alexander Alexandrovich." So, everyone is doomed to leave this unfaithful world. Kami wants to say, "Bale, let's still be Shundog, even if it's Shahu and Gado." What, then, is the meaning of the Kingdom? If he conquers the whole world, he will collect all the "dirhams" of this world and go to another world where their interests will not be affected. What's left of it? "Valekin's next name is neku," says Kami. So only a good name can remain. As a proof of this, the poet says: "Is not the witness a just man to this word, One is NoShiravon and the other is Hotam", and shows the justice of NoShiravon and the generosity of Hotam:
It is necessary to call the early method,
Take an example, King of the world.
The poet chose the past tense form in poetic syntax as "necessary". Because he was telling this to Alexander, who had died. Kami continued:
Qayu Shah is not accustomed to this quality.
Listen to the Day of Judgment, -
he says. Indeed, whichever King is not characterized by the quality of righteousness, he will remain in the state of doom until the Day of Judgment. So in general. However, this is said of Alexander III. Moreover, this lament was written for his newspaper by the order of N. Ostroumov, who was well acquainted with the poetic methods of Eastern poetry. In such a situation, it was difficult for Kami to speak more openly about the tyranny of the Russian tsar and his injustice.
Kami's two poems about a king, mentioned above, reveal the atrocities inflicted on the people of Turkestan, regardless of the circumstances and style in which they were written.
Part of Kami’s Social Poetry has been written in the form of Complaints from time immemorial and people. The poet's poems such as "Inevitably, everyone is perfect", "Al-aman…", "Lord, the people of the age…", "Good", "O Saba, come…", "About a drunken young man" His works are among such works. By the 10th century, Kami's poems of this character were combined with the national-enlightenment spirit, which led to the emergence of nationalist poetry in the poet's work. His poem "The State of the Age" includes:
A thousand times a wonderful time died,
Whoever is good, he died bad.
Some female students died,
Some of the inclined shelves died.
Dilki, the blood of the nation died of grief,
He died of grief.
In 1916 the famine began. Zavkiy said about this, "If the Prophet is bread, he is a saint." Kami describes the situation of the people in this period as follows:
The pain of hunger melts,
In the bitterness of a bite the face melts,
A loaf of bread melts in front of them…
Indeed, the years 1916-1919 came to a head. Famine and disease began to kill the people. "Now is the time," wrote Turor Risqulov in those years, "tens of thousands of people are being killed every day, and the time may come when an entire nation will perish." The horror of such a famine shook Kami's heart. He appealed to the rich of the time to help the people.
The turbulent 17 years have also come. On February 17 this year, the Tsarist government was overthrown. On March XNUMX, the Provisional Government was formed. The Turkestan intelligentsia welcomed this revolution with joy. They firmly hoped that the interim government would give us freedom. One of them was Kami. He praised the revolution in the Najot newspaper and wrote:
Tulu 'aylab this day bork Sharqdin oftoboso,
The world has become enlightened, so the victim is freedom.
Congratulations, O Muslims,
NaShast Seven Thrones of Justice
However, the events of October and its aftermath left the poet deeply depressed. An example of this is his poem "Shikoyatnomai Kamiy az revolution of the time and the people of the time." The poet addresses Saba and writes:
Seven de: both time, time people
He is tired of suffering and oppression.
Because this work is modern, and so are the people
The revolution is in full swing.
Is it time for a revolution?
Violated the highs and lows.
Or the people have lost their advice,
The world is corrupt.
NarkuShu fashionable dead people,
This nechuk Shuglu this nechuk af'ol ?!
After the February Revolution, local intellectuals began to work for the independence of Turkestan. They conveyed their views to the public through the press and began to unite around this issue. This is what the poet's verse, "O people, have lost their counsel," refers to. Due to their efforts and dedication, a resolution on the independence of Turkestan was adopted in Kokand on November 1917, 28. On November 81, the name of the future state structure was changed to "Turkestan Autonomy". But, unfortunately, this autonomy lasted only 19 days. Although the Tsarist government had been overthrown, Russian Chauvinism, now in the guise of Bolshevism, stood up to the independence of the indigenous peoples. Kokand, the center of Turkestan's autonomy, was destroyed by them on XNUMX February. Turkestan Regional Military Commissar Perfilev ordered all artillery to fire on the people of Kokand, and that it was not enough to use incendiary shells. The city was engulfed in fire for three days, killing tens of thousands of locals. Kami writes about this in his poem "Regret" dedicated to the tragedy of Khokand:
Woe, woe, woe, Fergana is ruined, darling,
The bullet of oppression died that day, darig,
The people of Chashmi Purob died in this calamity.
Both big and small liver kebabs are dead, darig,
The city was prosperous, because the desert died.
It is not difficult to see that from the very first verse of the poem the verses were written with regret. At least in one place, the people of Fergana say, "Peace debon has long looked at the Russian people." But, unfortunately, the oppression of the oppressed people became known again. Instead of peace, wrath was poured out on them. Kami expresses this with regret in the form of "The Bolsheviks have died on the alar, darig." The city was destroyed, the people were annihilated, and their honor was violated. However, even then the Bolsheviks were not relieved. The oppressed plunder their property. The death of a horse becomes a celebration of a dog. Their appearance is even more evident in the verses of the poet: "The oppression of the Bolsheviks, their evil deeds, Zaru did not leave their possessions, the world was plundered, there was no room for robbery."
In short, in his socially-themed poems, Kami used any method of classical poetry to expose the tyranny of the colonial king, the tyrannical regime. He applauded Hürriyet. He could not hide his anger from those who threatened our national statehood. All this testifies to the poet's longing for independence.
Ismailbek Gasprinsky (1851-1914)
GASPRINSKY (Gaspralik) Ismailbek (1851.21.3, Avjikoy village near Bakhchisaray - 1914.11.9, Bakhchisaray) - the founder of the Jadid movement, writer and publicist. G.'s father, Mustafa Gasprinsky, was a Russian military nobleman (praporShchik), and Yalta Sh. was from the nearby village of Gaspra. G. studied at the Rural Muslim School, the Gymnasium of Oqmachit (now Simferopol) and in the Moscow Cadet Corps in Voronezh (1864-67). After returning to the Crimea, he worked as a teacher of Russian (1867-70). He studied at the universities of Istanbul and the Sorbonne (Paris) (1871-75). Visited Algeria, Tunisia, Egypt, Greece. In Paris he approached the French Socialists and Liberals. In Turkey he met the leaders of the Young Turks movement (1875-77). Boq-chasaroy Sh. was elected mayor (1877). G. studied the history and literature of the Turkic peoples and was able to compare the Eastern and Western worlds. In his first pamphlet, Russian Islam (Simferopol, 1881), G. opposed the blind adoption of a model from European civilization, urging it to be accepted critically, and for Muslims to acquire knowledge and use technological advances. In A Look at the Balance of European Culture (Istan-bul, 1885), he challenged the ideas of socialism and questioned its basic principles. G. paid special attention to the radical reform of the education of all Muslim peoples in the Russian colony, the teaching of secular sciences. He opened the first "jadid" (new method) school in Bakhchisaray (1884). The Governor-General of Turkestan, NO, sent a project to Rosenbach on the reform of Muslim schools. After receiving a rejection, in 1893 y. He visited Turkestan, Bukhara, Samarkand and Tashkent, where he met with progressive intellectuals.
G. For a wider dissemination of the ideas of Jadidism, "The Translator" (from the 1883th century in 10), "The Nation" (1908), "Children's World" (1908-15), "The Awakening" (Cairo, 1908, Arabic language) gaz.lari, "Women's World" jur. (1908-10), "Ha-ha-ha!" released a comic weekly. He wrote the textbook "Khojai sibYon" ("Children's teacher") for the Jadid schools, and the book "The Leader of the Teacher or the Guide to the Teachers" (1898).
G. was recognized as the Leader of the Muslim National Liberation Movement. He traveled to the Caucasus, the Volga region, Egypt, and India, and tried to convene a general Muslim congress. He took an active part in the work of the 3rd Congress of Muslims of All Russia (1905-06). He was one of the initiators of the first All-Muslim political party, Ittifaq ul-Muslimin (1906). “Muslims of Dor ul-Rohat” is a science fiction work, “A Hundred Years Later. 2000sana ”fiction-publicist novel, author of the book“ Turkistan ulama ”.
Mahmudhoja Behbudi (1875-1919)
We Turkestans need to know Turkish, Persian, Arabic and Russian. The reason for the Turks, that is, the Uzbeks, is that the majority of the people of Turkestan speak Uzbek. Persian is the language of madrasa and udabo. Until now, Persian poetry and prose books have been taught in old and summer schools all over Turkestan.
Although Shari'a and religious books are taught in Arabic in all madrassas, the translations of teachers are in Persian. This rule, that is, the textbook is Arabic, the teacher is Turkish, and the Persian translation is very strange.
These three languages have been used in Turkestan since ancient times. For example, it is known from the old labels that in Turkestan the orders of the old amirs and khans were always written in Turkish, and at the same time the editions of Dorulqazou literature were written in Persian. These rules are already good. Gradually, however, Yoinki's method of teaching and writing became obsolete, and now it has reached such a level that the literate Yoinki have one hundred and ninety-nine scholars in these three languages. No. That is, the method needs to be reformed in teaching and learning. Pasture.
There are several Persian-speaking towns and villages in the Samarkand and Fergana regions of Turkestan. The language of the Bukhara government is Persian.
The works of Persian poets are a spiritual treasure that will not go away until the Day of Judgment, and Europeans will spend billions to use them.
We are lucky to know Turkish and Persian without education. Every Turk should know Persian and every Persian should know Turkish.
Firdausi, Bedil, Sa'di, who knew Persian, said, “As much as he knew Masnavi, the Turks knew Fuzuli, Navoi, Baqi, Somi, Abdulhaq Homid, Akrambek, Sanoyi, Nabi, Naji, as well as Tolstoy, Jules Verne and other modern scholars. Such is the enjoyment of translation.
It is possible to use the works of Farang and Russian scholars with Turkish or Russian and French knowledge, because today the Ottoman, Caucasian and Qazal Turks translated and reproduced the works of modern scholars into Turkish, that is, anyone who knows Turkish knows the time. Every new and useful book in Turkish has been translated into all languages. Just as Arab culture used the Greek Socrates, Buqrot, and the Phalotons, modern culture uses Tolstoy, Jules Verne, Kepler, Copernicus, and Newton. We fell far short of the goal.
We need to learn Russian for our own benefit, to study in government schools. Hire for public office. Let's serve our country and our religion. Let's progress as Muslims. The business of this time, the affairs of industry and the affairs of the country, and even the service of the religion of Islam and the nation, cannot be without knowledge. For example, it will be possible for us to speak for the benefit of our religion and our nation. But there is no one who speaks at the moment. It is necessary to go and read the nafi for ten days, to be aware of the time and the law.
In short, today we need editors and editors in four languages: Arabic, Russian, Turkish and Persian.
Just as Arabic is necessary for religion, so Russian is necessary for life and the world.
It is narrated from a hadith that the Prophet (peace and blessings of Allaah be upon him) ordered one of his Companions, Zayd ibn Thabit, to read a Jewish letter. And he used to study the Jewish letter under the protection of the Prophet (peace and blessings of Allaah be upon him) and recite the letters from the Jews to the Prophet (Saheeh al-Bukhari, vol. 4, p. 156).
However, he was the ruler of the power of our blessed prophet. The Jews were doomed and submissive. Al-on is the ruler of Russia, we are subject to him and for our own survival it is necessary to know the letter of alar, and there is no denying the authenticity of the hadith Sharif.
Abdulla Avloni (1878-1934)
In ancient times, human beings did not sleep peacefully in mountain caves and caves to protect themselves from wild animals.
Gradually, they began to pull their heads out of the holes in the mountain and to examine carefully the living and non-living things that nature had created and nurtured. Pictures of animals and other things that appealed to their hearts and minds, as well as sculptures (bodies - AA), were carved out of stones, stones and iron, no matter how difficult it was. Those who left the Monument for the future.
For example, two deer are swimming with each other, or a mountain goat is fattening, or a mountain bull is screaming, wagging its tail, and wandering freely and shakily, or a wild animal is abusing other animals. Those who have been affected. These are the ones who have not been able to stop the influence and emotion in their hearts, and who have engraved this wave of emotion on the rocks with a thousand difficulties, with the intention of understanding it for their children who have left behind them. These bodies (statues - AA) are the notes made to us (Monument - AA).
The leaves are green in the eyes of the tree,
The nature of each leaflet -
This is the first step (step - AA) of human beings in the world of industrial elegance. Did they stop with that?
- No!
Again, they continued their inspections. After inspecting the animals, they proceeded to chase the birds. In the spring, the Cute Birds (sado - AA) of the birds, who were singing drunk in the midst of the flowers, sat down, and they, too, involuntarily tried to imitate these birds, to sing like birds.
«Sayra bulbul, sayra, chinarni Shoxi sindun,
He said, "I'm leaving."
and they began to sing. This period is called the literary period of industrial elegance. But his last art was more important and better than his first, and not everyone was fortunate enough to be impressed.
Friends who lived far away had to come and see. But I had the convenience of this second art, which moved from tongue to tongue, from mouth to mouth, from hand to hand.
Thus, they described the days of joy with songs of joy, and the days of sorrow with sad songs:
"My nightingale flew away from me, where is the guest today?
Losing my nightingale, my heart is pariShondir today.
They would tell other friends that they had lost their beauty, their loved ones, their possessions. Gradually, they were not satisfied with that either.
Hanging on the branches of the trees, the intestines of the animals dried up under the influence of the air, and under the influence of the wind, the sound of the peacock (sound - AA) came to their hearts, and they were welcomed.
They made musical instruments by making "narrows" out of animal intestines to accompany their songs and chants. This art turned out to be the most elegant, the most important, the most spiritual art than its predecessors.
But they took these arts out of inspection and grief, leaving us as a monument, and died on their own.
Tolagan KhojamYorov - Tavallo (1883-1937)
Paid KhojamYorov Tavallo was born in 1883 in Kokcha district. He studied at the Beklarbegi madrasah, a Russian-style school. Poems and articles began to appear in the periodicals in the 1910s. In 1914 he took part in the establishment of the Publishing Company in Tashkent. In 1915 he worked in the "Turon" society.
His only collection of poems, Ravnaq-ul Islam, was published separately in 1916. This collection was republished in 1993 by Professor B. Kasimov with foreword and comments.
The role of the Tashkent literary environment in the formation of Tavallo as a creator is great. He was mentored by the poet Yusuf SarYami. The nickname was also given to him by Yusuf SarYami.
He was an activist of the comic magazine MuShtum in the 20s. Dozens of humorous poems have been published under the signature of Magzawa, but they have not been collected or studied.
On August 1937, 14, Tavallo became a member of the counter-revolutionary Turon, the Islamic Council, the Progressive Union, the National Union, the National Independence, the Son of a Millionaire, and nationalism in his poems. He was arrested and shot on charges of "promoting his verses."
Sofizoda (1880-1937)
Sofizoda is one of the leading intellectuals who contributed to the national awakening of our people with his poems in the spirit of nationalism and progress. Muhammad Sharif Egamberdi oglu was born on January 1869, 29 in Chust district of Namangan region in a family of craftsmen.
His father, Egamberdi Sufi, was a blacksmith. At the request of her mother, Aunt Zaynab, Manzura reads letters from her horse and attends old schools. He wrote humorous poems and ghazals under the pseudonym "VahShiy", participated in the newspapers "Turkistan region newspaper", "Sadoi Turkiston".
He had a close relationship with the famous poets of the Kokand literary environment Muqimiy, Muhyi, Zavqi, Nodim Namangani. In 1893, Sufizoda was accused of "Badasl", "Beadib", and "Dahriy" and sentenced to death for his poems in the native city of Chust, which mocked the bayans, tsarist officials, and fanatics.
The poet lives in every country for 14 years, escaping unjust accusations. He lived and taught in Tbilissi (Georgia), Baku, Arabia, India, Turkey, and Afghanistan. In 1913 he opened a new primary school in Chust.
In 1918, he was appointed Deputy Minister of Education of Afghanistan as a translator of the Afghan mission to Turkestan. In the same year he returned to Uzbekistan and served until the end of his life, on February 1926, 27 he was the first to be awarded the honorary title of "People's Poet of Uzbekistan."
He died of a serious illness in 1937, and the location of his grave is unknown.
Works: "To the Uzbek lady", "In the name of women", "Fatherland", "Muslims", "Happy pens", "Holiday songs" (1934), "Five languages", "Goodbye", "Freedom holiday", "Daka's", "Bedanang", "Election", "Kuvdi meni jahillar o'Shandog 'vatanimdin…" and others.
Abdurauf Fitrat (1886-1938)
A great statesman and politician, poet and scientist, prose writer and playwright, enlightener Fitrat was born in 1886 in Bukhara in a family of intellectuals. He first studied at the old school, then continued his education at the Mirarab Madrasa.
He studied in Istanbul in 1909-1913 with the support of the Tarbiyayi Atfol Society, which was founded at the turn of the century. He created an intense creativity here. As a result, in 1911 he published a collection of poems entitled "Sayha" ("Chorlov"). After returning from Turkey, he taught in Bukhara. He took an active part in the "Young Bukhara" movement, became its main ideologue, one of the ideological leaders.
From April 1917 to March 1918 he was the editor of the newspaper "Hurriyat", published in Samarkand. In 1918 Fitrat came to Tashkent.
11 Here he was mainly engaged in scientific, creative, enlightenment work. He compiles a number of textbooks and takes an active part in the socio-literary organization "Chigatay Gurungi".
In 1921 he was invited to Bukhara. It will do significant work to improve a number of sectors of the economy, especially in the field of education. At his initiative, a group of talented young people will be sent to study in cities such as Istanbul, Berlin and Moscow. Publication of teaching aids, textbooks and manuals for Bukhara schools will be launched.
From 1921 to 1922, Fitrat held a number of high positions and was able to demonstrate his talent as a statesman.
He lived in Moscow and Leningrad from 1923 to 1924 and worked at the Institute of Oriental Languages. He taught Turkish, Arabic, Persian languages and literature to young people. He was elected professor of Leningrad dorilfununi. He wrote and published such works as "Abulfayzkhan", "Bedil", "Qiyamat", "Satan's rebellion against God". After returning from Moscow, he worked in the scientific, cultural and educational life of the republic.
As a linguist, Fitrat wrote "Sarf" and "Nahv" on the rules of the Uzbek language.
As a musicologist, he created such researches as "ShaShmaqom", "Uzbek classical music and its history", "Oriental music". In the 30s, he worked in research institutions, the Teacher Training Institute, and the Dorilfun.
He was arrested in 1937 as an "enemy of the people" and shot in 1938 in a massacre on the banks of the Bozsuv in the present-day Yunusabad district of Tashkent.
Hamza Hakimzada NiYazi (1889-1929)
One of the representatives of the Uzbek literature of the new period, poet and playwright, composer and director, enlightener-pedagogue and public figure Hamza Hakimzoda Niazi was born on March 1889, 6 in Kokand in the family of a doctor. Hamza previously studied in old schools and madrassas, learning Persian and Arabic, and Russian in a Russian-language school.
Hamza's interest in art began early. Between 1903 and 1914, Hamza wrote 197 poems under the pseudonym Nihoni and converted them into Manuscripts. In the poems that make up this divan, Hamza appears as a follower of the traditions of Uzbek classical literature.
During his stay in Tashkent from 1909 to 1910, he became acquainted with such enlighteners as Munavvar Qori, A. Avloni, and S. Rakhimi, and under their influence he joined the Jadid movement. This is done in three ways. First of all, he opened and taught new method schools in Tashkent, Margilan and Kokand. He also creates textbooks for these schools, such as "Light Literature", "Reading Book", "Reading Book". And, finally, his Poems and Drama, in his journalistic articles, calls his people to enlightenment.
His Enlightenment in the National Collection of Poems for "National Songs", published in 1915-1916, in collections of poetry such as "White Flower", "Red Flower", "Yellow Flower" and in prose works such as "New Happiness" ideas were fully demonstrated. Hamza laments the fact that in his poems written at that time, such as "Cry, Turkistan", "Fateless Turkestan", "Address to my compatriots", "He does not want a cure for pain" and emerges from the mire of ignorance and calls for a place among the developed nations. He also advanced the idea that the only way to get rid of oppression and superstition was through enlightenment in his first dramas, such as "The Guide of Knowledge", "Normuhammad's Teacher's Kufr Mistake", "Revenge" and "Poisonous Life". tries to suriSh.
Hamza's work also reflects the events of 1916. His collection of poems "The Purple Flower" (1917) and the trilogy "The Tragedy of LoShman" (1916-1918) are important in this regard.
After the February Revolution of 1917, Hamza's worldview changed, shifting to the workers' side and the autonomy side. After the collapse of Turkestan's autonomy, he sided with the Bolsheviks, served with the traveling drama troupe on the fronts of the Civil War, and wrote the 1917 drama The Rich and the Servant and his revolutionary poems.
During this period he wrote poems such as "Who is right" (1918), "Punishment of slanderers" (1918).
Hamza, who had a very wide range of activities, went to the Khorezm People's Republic in the early 20s and was engaged in school and educational work. After returning from there, he went to the village of Awal only to be engaged in creative work, and created the work "The Work of Maysara", "Secrets of the Paranji" (1926), which was the flower of his dramatic work.
Hamza was sent to Shahimardon in August 1928. She is involved in cultural and educational activities, women's liberation. On March 1929, 18, he died tragically here.
On February 1926, 27, Hamza was one of the first to be awarded the title of "People's Writer of Uzbekistan."
Abdullah Qadiri (1894-1938)
Abdulla Qodiri is the founder of the Uzbek national novel, publicist, comedian, linguist and translator.
He was born on April 1894, 10 in Tashkent. He was educated first at the Muslim school (1904-1906), then at the Russian school (1908-1912), and at the Abulqasim Sheikh madrasah (1916-1917). As a child, he worked as a secretary for local merchants (1907-1915). After the October 1917 coup, he worked as the secretary of the Old City Food Committee (1918), the editor of the newspaper "Food Affairs" (1919), the secretary of the trade union (1920). In 1923 he founded the magazine "MuShtum", for several years he worked in the editorial office of the magazine. He studied at the Literary Course in Moscow (1925-1926). From 1919 to 1925 he published more than 300 articles in the press. He was constantly engaged in creation until the end of his life.
Abdullah Qadiri was arrested on December 1937, 31. On October 1938, 4, he was executed along with his colleagues Cholpon and Fitrat.
Abdullah Qadiri. In the past, in 1914-1915, Abdullah Qadiri's poems such as "Our situation", "Wedding", "To my nation", "Think", stories such as "Juvonboz", "Uloqda", "Jinlar bazmi", "Unhappy" The drama "KuYov" was published. The first novel in Uzbek literature was "Last Days" (1919-1920). The work was published in the magazine "Revolution" in 1922, and in 1924-1926 each chapter was published as a separate book. In February 1918, he completed his second major novel, The Scorpion from the Altar. The novel was published in 1929 in Samarkand. In 1934, the writer wrote the story "Obid Ketmon".
Abdullah Qadiri also did a great job as a linguist and translator. He translated into Uzbek the works of Tatar physicist Abdulla Shinosy "Physics" (1928), NV Gogol's "Marriage" (1935), AR Chekhov's "Olchazor" (1936). He participated in the compilation of the "Complete Russian-Uzbek Dictionary" (1934), published in Kazan.
"From the Memory Notebook of Kalvak Makhzum" written by Qadiri in the mid-20s, "What does Toshpolat Tajang say?" condemns heresy and superstition in his comic works. They reflect the goals and ideas of modern literature, which seeks to change the lifestyle and spiritual world of the people.
The ideas of enlightenment, national liberation and independence are the leitmotif of Abdullah Qadiri's works.
Abdullah Qadiri's works, especially his novels, have spread around the world. His works "Last Days", "Scorpion from the Altar", "Obid Ketmon" have been translated into Russian, English, German, Italian, Arabic, Azerbaijani, Tajik, Kazakh, Uyghur and Tatar languages. German literary critics such as N. Tun, I. Baldauf, American researchers E. Alworth, Christopher Murphy, Eden Nabi have done serious work on the work of Abdullah Qadiri.
Professors of the National University of Uzbekistan U. Normatov, M. Kushjanov, B. Karimov are conducting effective scientific research on the life and work of Kadyri.
As soon as Uzbekistan gained independence in 1991, Abdullah Kadyri was awarded the Navoi State Prize by the decree of the President of the Republic of Uzbekistan. In 1994, the writer was awarded the Order of Independence. In the same year, the Abdullah Qadiri State Prize was established. The Tashkent Institute of Culture, the Tashkent Park of Culture and Leisure, one of the main streets, the People's Heritage Publishing House and many cultural institutions are named after Abdulla Qodiri.
Abdulhamid Cholpon (1897-1938)
Abdulhamid Sulaymon oglu Cholpon is one of the founders of the new Uzbek poetry.
Cholpon was born in 1897 in Andijan in an intelligent family. Cholpon first studied at the old school, then at the madrasa. He studied at the Russian-language school in Andijan. He studies Oriental literature, Arabic, Persian, Russian language and literature. Cholpon has been engaged in social and creative activities since the mid-10s. He appears in the press under the pseudonyms "Kalandar", "Andijanlik", "Cholpon" with articles, poems and various news.
His "Doctor MuhammadYor", "Railways in our homeland Turkestan", "What is literature?" We can see that the ideas of Jadidism were openly expressed in his first stories and articles, as well as in dozens of his poems.
During his short life, he published such collections of poetry as "Secrets of Dawn", "Awakening", "Springs". His work in the field of theater is also noteworthy. In addition to working as a literary assistant at the Uzbek State Drama Theater, Cholpon has created about a dozen plays and theatrical articles, including "Yorqinoy", "Ortaq QarShiboyev", "Chorinin isYoni", "MuShtumzor", Plays such as "Zamona Khotuni" have made an important contribution to the development of Uzbek drama.
Cholpon published a novel "Night and Day", which had a great impact on the development of Uzbek novels. In this work, depicting the life of our people at the turn of the century, it artistically reflects that oppression and ignorance are abominable phenomena that stifle the progress and freedom of the nation.
Cholpon also made an invaluable contribution to the development of the Uzbek school of literary translation. He skillfully translates into Uzbek M. Gorky's novel "Mother", ASPuShkin's "Dubrovsky", "Boris Godunov" and Shakespeare's tragedy "Hamlet" and dozens of other foreign works.
Throughout his conscious life, Cholpon cared for the freedom, liberty, and future of his homeland, and wrote Burning Poems, creating works in a variety of genres. He was under pressure from 1928 until the end of his life, because throughout his career the national idea was a red thread. He sang of the nation, the people oppressed under the tyrannical regime. But he did not back down from his faith, even in a situation where the pressure was so intense. Because of this belief and will, he became a victim of repression in 1937.
Cholpon was executed on October 1938, 4 in Tashkent on the banks of the Bozsuv.
The development of Uzbek literature in the twentieth century is inextricably linked with the socio-political life and its legitimacy, the development of fiction under the pressure of the dominant ideology.
The existence of three major stages in the development of Uzbek literature of the twentieth century, the emergence of which are independent of each other and at the same time on the basis of succession. Justify that each stage of development is a system of specific aesthetic principles, not only in terms of theme, idea and ideology, but also the reflection of reality.
The first stage is Jadid literature (1900-1930). The promotion of the idea of leading the people and the nation from the swamp of ignorance to the sky of enlightenment and the commitment to practical work on this path as the Axis stage of the Jadid movement (1900-1917). In addition to the ideas of enlightenment, the promotion of the ideas of national freedom and independence as the last stage in the development of the Jadid movement (1918-1929).
The emergence of ideas of national awakening, the "birth" of the national theater, the role of local press and creative organizations in the spread of ideas of independence. The emergence of new aesthetic principles in the artistic perception and reflection of reality; the establishment of nationalism and populism in literature, the tendency to figurative thinking and simple folk style, the growing importance of the national cultural heritage and the richness of the vernacular.
The second stage - Soviet literature (1930-1980). This stage of development of the Uzbek literature of the XX century, in turn, consists of two independent stages:
a) The establishment of the dominance of political ideology in literature and the phase of recognition of this rule (1930-1960), the class and party subordination of literature, the adoption of socialist realism as the only creative method in Soviet literature, literature
the "glorification" of the ideas of socialism and socialist construction, the call of the proletarian literature to a ruthless struggle against the rich feudal and religious clerical literature, the glorification of the ideas of the socialist ideal and communist internationalism. Ideology in the literature of this period
its strength led to its artistic decline.
The repression of the leading intelligentsia in the country, the high status of forgery, poetry and dry rhetoric in literature. As a means of artificially bringing "national, content-socialist literature" closer to each other and eliminating the diversity of national literature, to make literature a modern item, to turn the country into a country with a powerful art, agriculture. collective farming, eradication of illiteracy and
the realization of the cultural revolution has become a major theme in literature;
b) the stage of advanced socialism or stagnant literature (960-1989). During this period, the emergence of a state of stagnation under the guise of stability in the life of the country, insecurity in the national literature, always and everywhere to the standard level of the image of the wise communist
The transformation of the image of the heroes of socialist labor into the leading principle of literature, the transformation of this principle into a symbolic, figurative means and methods of artistic reality, reflected in poetry, drama and epic works under the core of national and human destiny. Image Or expression oaduy The principle of conditionality figchayiShi; The development of artistic talent and style by the creator, the emergence of new talents in the field of art, the emergence of ShakUammg in poetry as a free poetic system and mansura. It is obvious that during the recession there were great changes in social life, but there were certain changes in artistic thinking.
c) The third stage - the period of independence of Uzbek literature (1990 to the present). After the Uzbek people gained national independence, the national literature entered a new stage of development. this is the social-historical root of a huge phenomenon. The main feature of the Uzbek literature of the independence period is that it is not a class, political and state literature, the art of speech is freed from the bondage of the dominant ideology, creativity has become a free artist, the diversity of literature and the work of his true conscience. The fact that modern Uzbek literature is recognized as a pure art, its role in the development of the people, the nation's spirituality and its significance is greater than ever. The stagnation of the literature of the early period of independence as a legitimate literary phenomenon. This is due to the fact that in the literature of the daw, the artist is not ordered, and the work of art has become a work of the heart and conscience. However, the creative person and the process are responsible for the spiritual perfection. In the literature of the independence period, the process of increasing the quantity and quality of creative output is an undeniable law.
Avaz Otar (1884-1919)
Avaz Otar - Son of Avaz PolvonniYoz (Otar) (1884.15.8- Khiva-1919) - Uzbek enlightened poet. He studied first at school and then at the Inoki Madrasa in Khiva. At the age of 18 he became known as a poet. Muhammad Rahim Sani (Feruz) paid great attention to the talent of Avaz Otar, invited him to the palace and appointed Tabibi as his mentor. However, Avaz Otar leaves the palace without leaving life.
The national awakening and independence ideas that emerged in the early 20th century have a strong influence on Avaz Otar's work. In Avaz Otar's work, the ideas of freedom, liberty, enlightenment, and satires against the vices of life began to appear. During this period, the poet wrote lyrical poems, verses, and rubais glorifying high human qualities and true human love. The series of comic poems "Faloniy", which has a special place in the work of Avaz Otar, is also a product of this period. Avaz Otar "Nation", "Hürriyet"; In his poems "Topar erkan, kachan", "Xalq", "Zamon" and others, he reinterprets the fate and future of the nation. Some of his poems were published in the periodicals of that time ("Mirror", "Time", "Mulla Nasriddin" and others). 2 devons ("Saodat ul-iqbal", "Devoni Avaz") and a number of ghazals included in the Ba'yaz. Manuscripts of his devons are kept at the Institute of Oriental Studies of the Academy of Sciences of Uzbekistan (inv. № 942, 7102, 3451). Schools, streets and alleys in the country are named after Avaz Otar. A house-museum has been established in Khiva, and a statue has been erected. Works of art have been created about him (E. Samandar's epic "Erk sadosi", A. Bobojon's drama "Gazal tragedy", S. SiYoev's "A remedy for time" and others).
Send your child to the House of Science,
What you read at the moment is a unique world.
* * *
I wish you friends all over the world,
Behave a habit, O Beloved.
* * *
What a good idea, okay,
If my voice is shed for my people, my blood.
* * *
Do not flirt like a flower,
Don't sound like a nightingale!
Try a foreign language Knowledgeable YOUNG PEOPLE,
Who knows the development of science and crafts.
You need to know every language as a mother tongue,
Encourage the mother to know, the benefits are endless.
* * *
If everyone doesn't love you, don't go.
* * *
If you say you don't regret it, again,
The circumference is not bad.
* * *
You didn't appreciate Vuslat until he fell on his head,
You didn't appreciate the pleasure of working with Ranj.
* * *
Truth be told, you will not perish!
In the world of drinking for the faithful,
In fact, it is difficult to swear.
* * *
Someone who works hard,
Good luck everyone.
TIL
Knowing every language is the lifeblood of a human being,
The language tool is the world of communication.
Try to learn a foreign language, YOUNG PEOPLE,
Who knows the professions and the professions.
You need to know every language as a mother tongue,
Encourage the mother to know, the benefit is the land.
Send your child to science,
It is a time of learning.
Don't let them die, they don't know the language,
If you don't know the language, your mother's heart is full of blood.
MY DEDICATED PEOPLE
My selfless people, my soul,
I am the soul of the victim.
If I die for the oppressed,
That is the purpose of my heart.
Mani solsa fano Yoliga davron,
Yurur is my generation.
Umidim: YaShasin schoolboy,
Each of them is a Sheri world.
I don't think so, I like it,
The voice, if my blood is shed for my people.
POLICE WANTS A BRIBE
Sipohi wants a bribe
Mullah wants to rent,
Poor remedy,
Is there a remedy time?
KNOW, I'M SAD THIS TIME
You know, I'm sad at this time,
I am the master of the burning people,
My voice, I am a Hellenic cholokidur,
I am the khan's purifier.
Information about the life and creative activity of the poet. One of the leading ideological features of Marifatparvai Avaz Otar's poetry is the quality of bin. In his lyrics, the traditional spirit of the human psyche and social life prevails, as well as the desire to demonstrate some critical direction.
The direction of humorous pathos in the work of Avaz Otar and in this. Influence of Alisher Sher's comedy: Poems in the series "Faloniy". Its continents are a condemnation of the ideas of social inequality and injustice. "Know that I am sad at that time," "Sipohi wants a bribe." Analysis of the continents "YomonJami Yam (the only person in the world).
Motives of freedom and liberty in the work of Avaz Otar. The ideological and artistic features of his poetry.
Abdullah Qahhor (1907-1968)
Abdulla Qahhor is one of the great representatives of the Uzbek literature of the XX century and one of the talented writers who won the love and respect of the people.
Abdulla Qahhor was born on September 1907, 17 in the city of Kokand in present-day Uzbekistan (according to some sources - in the Asht district of Tajikistan) in the family of a blacksmith. He was the only surviving of ten children in the family. Abdullah's childhood was spent in poverty and homelessness. His family moves from village to village in the Fergana Valley in search of a better life. As a result, Abdullah received insulting nicknames such as "Nomad" and "Alien", which will remain in his memory for a lifetime. Earlier, Abdullah studied at a religious school in the village under the tutelage of an illiterate Sufi teacher named Valikhan. Angered by the teacher's illiteracy, his father sent him to the New School, which opened after October 1917. Abdulla, who received a good education at this school, continued his education in the early 20s at the technical school in Kokand. At the same time, in the early 20s, Abdullah began his first exercises in literature and sent them to newspapers and magazines in Tashkent. One of them, the poem "When the Moon Burns", was published in the 1924th issue of "MuShtum" magazine in 8. This first poem of Abdullah, published in the press, showed that he had a talent for creativity, that is, the ability to express a particular idea through literary means. In it, the idea of enlightenment was expressed through artistic symbols, which were the first element of literature. It was obvious that the word "enlightenment" was never used in the poem. The idea of The first stage of Abdullah Qahhor's work begins with the poem "When the Moon Burns". This phase of research and training will last about ten years. During this period, Abdullah first sought a pseudonym and published many stories written in the 20s, eight poems, fifty feuilletons with signatures such as "Norin Shilpiq", "Mavlon kufir", "GulYor", "Erkaboy". The first stage of creation was mainly research. It was marked by the fact that stories, feuilletons and poems written by Abdullah during this period, such as "Two Laws", "Young Girls in the Hands of a Stepfather", were ideologically and artistically weak. was weak. Abdullah understood this very well and did not include many of these works in his later multi-volume books. At the same time, the exercises in the first stage of creation had some positive results. One of them is Abdullah Qahhor's story "The Headless Man", published in 1929, which testifies to the author's ability to deeply analyze human nature and the spiritual world. At that time, Abdullah Qahhor was studying at the Central Asian State University in Tashkent.
As a result of his research, his books The Village Under Judgment in 1932, The World Will Live in 1933, and The Birth of a Killer were published. These books can be considered as a kind of end to the rehearsal phase, as from 1934 Abdullah Qahhor began to create works that differed sharply from the helpless results of the above collections of research. In 1934, Abdullah Qahhor published such works as "Maston", "The Opening of the Blind Eye", proving that the principles of realistic depiction of life in the story are firmly established. Therefore, with these works and stories such as "The Thief", "The Woman Who Didn't Eat Raisins", we can say that the second stage of Abdullah Qahhor's work, that is, the stage of creating truly realistic works, has begun. In one group of these stories (“The Thief, the Horror”) Abdullah Qahhor portrays the tragic scenes of the working people's lives in the past, while in the other group (“The Woman Who Did Not Eat Raisins”, “The Wingless Chittak”, “The Prophecy”) 30 For many years he tried to burn the social evils of life, such as moral depravity, spiritual depravity, with the fire of satire.
The beginning of a new phase in Abdullah Qahhor's work in the mid-30s was marked by the publication of the novel "Sarob", the second peak of Uzbek prose after Abdullah Qadiri's "Last Days". In the novel, it was clear that Abdullah Qahhor's ability to deeply analyze the human psyche had greatly increased. Through an in-depth psychological analysis of human characters, Abdullah Qahhor revealed that at that time in our country, those who fought for the fate, prosperity and happiness of the nation suffered a terrible tragedy. In this way, the idea of nationalism was confirmed in the novel. Only literary critics are now realizing this fact, which is hidden in the essence of the novel.
After the war, Abdullah Qahhor was influenced by the "theory" of non-conflict, which he wrote extensively in our literature. He wrote stories such as "Picture", "HamqiShloqlar" and the novel "Koshchinor lamp", in which he described the ruined Uzbek village of that time. It artificially reflects the landscapes, making them more shiny and beautiful. A similar image was left in the author's comedy "Shahi Sozana" (1951), which became famous far from Uzbekistan. Although the lands of Mirzachul, which are now being developed, are presented as a gulistan, this work testifies to the author's bold step in the field of comedy with its richness of funny, interesting scenes and memorable human characters. Probably, due to similar qualities, this work was performed on many stages of the world and won the State Prize of the former Soviet Union.
Inspired by his first success in drama, Abdullah Qahhor in 1954 published another comedy, Painful Teeth. This work marked the beginning of the third period of the writer's work, the period of maturity, because it was probably the first comedy in Uzbek literature about the flaws of socialism, such as imperfection of leadership, moral depravity, moral depravity, economic inequality. through which the obvious truth was expressed. Abdullah Qahhor's comedies, such as "The Rooster from the Coffin" (1962) and "My Grandmothers" (1967), also skillfully directed satire on the above-mentioned vices of socialism, an irony of the dominant method of socialist realism in the literature of the time. testifies to the fact that he began to slowly break out of his molds.
In the mature stage of his career, the writer was also prolific in the field of prose, writing stories such as "A Thousand and One Souls", "Mahalla", short stories such as "Sinchalak", "Fairy Tales from the Past", "Love" and many other literary-critical articles. Some of them have become a significant event in our literature. In particular, the story "Fairy Tales from the Past" attracted the attention of readers and was awarded the Hamza Republican Prize for its portrayal of the writer's childhood in a brutally realistic way.
It turns out that the People's Writer of Uzbekistan Abdullah Qahhor left behind hundreds of stories, five short stories, two novels and four comedies, and in some of them he showed great talent. His best works became a unique contribution to the development of Uzbek realist prose and drama.
Maqsud Shaykhzoda (1908-1967)
Maqsud Shaykhzoda is a talented poet, playwright, literary scholar, translator and pedagogue who has made a significant contribution to the development of Uzbek literature in the twentieth century.
He was born on October 1908, 25 in the city of Oqtosh in the famous Ganja region of Azerbaijan in the family of a doctor. In 1921-1925, he studied at the Darulmuallim in Baku with such well-known poets as Abdullah Shaikh and Hussein Javid. He then taught in Darband and Boynak, Dagestan, and graduated from the Baku Pedagogical Institute by correspondence. In those years, the Prince was unjustly accused of nationalism for some of his views, and in 1928 he was exiled to Tashkent, where he remained for the rest of his life. In Uzbekistan, he taught at the school named after Shaykhzoda Narimonov, worked in the newspapers "Sharq Haqiqati", "Kizil O'zbekiston", "Yosh Leninchi". From 1933 to 1935 he studied at the graduate school of the Committee of Sciences of Uzbekistan, then as a researcher at the Institute of Language and Literature (1935-1938). From 1938 to the end of his life he taught the history of Uzbek literature at the Tashkent State Pedagogical Institute named after Nizami.
Maqsud Shaykhzoda began to practice art in Azerbaijan. In 1921, the first poem "Song of the Red Soldier" was published in the "Communist" newspaper. In 1923, his drama "April 28 Revolution" was published in the Azerbaijani language, staged by amateurs, but was never reprinted due to his artistic weakness. In 1927, the Prince's first epic poem, The Folk Tale of Nariman, was published in the Azerbaijani magazine Maorif va Madaniyat, which showed that the young poet was striving to cover a wider range of life and was experiencing the process of research.
In Tashkent, Shaykhzoda began writing in Uzbek, a language very close to his native language, and continued his research in the world of fiction. As a first result of this research, in 1929, the newspaper Sharq Haqiqati published the first poem of the Prince in Uzbek called "Tractor". Although this poem was artistically weak, it testified to the fact that the Young Poet set himself the noble goal of finding appropriate metaphors to glorify human labor. After that, one by one the books of poetry of the young poet Maqsud Shaykhzoda will be published. These include "The Worthy Guard" (1932), "Ten Poems", "My UndoShlarim" (1933), "The Third Book" (1934), "Republic" (1935), "Twelve", "New Devon ”(1937),“ Election Songs ”(1938). In his poems in these books, the Prince was influenced by Russian classical poetry, especially the work of VV Mayakovsky, and began to use the free weight in Uzbek literature, and managed to confuse the traditions of Russian and Oriental poetry. As a result, the achievements in life, the beautiful nature of our country, the daily worries, hard work and love of ordinary people began to occupy a prominent place in Prince's Poems. In particular, the Prince sought to reveal the rich spiritual world of the Uzbek people in its own unique colors. In his poems the enthusiastic publicist spirit began to join with philosophical depth. Most of the poems included in the first collections were distinguished by their connection with time and politics, the spirit of the time, the richness of rhyme and weight. To admit this, it is enough to read the following verses from the poem "Republic":
Look out of the bourgeois mirror, of course.
As you walk, the truth aside.
The revolution we have made is bigger than kurra…
Beloved republic is a place like gold
We are a thousand times richer than the Greatest!
In his poems in his first books, the Prince was still looking for a suitable style and voice, so he used the same word or rhyme over and over again, copying it from exercise to exercise. To admit this, you can read the following verses from the poem "I became a neighbor to the stars":
Three Homelands, Three Homelands,
As fast as YASHIN,
The head of a snake
Like YASHIN!
In his early books, research was still ongoing. It was clear that the poet was copying the imagery and symbols he liked from poem to poem, or repeating it over and over again in the same work. An example of this can be found in the poem "Vatan":
I'd like to have a lip balm
Cigarettes from the Asian sun, -
The young poet uses the same symbol in the poem "Yurtim" as follows:
The Father in you,
I'll light a cigarette for you, Comrade.
In the 30s, the Prince wrote many epics and tried to express the spirit of the time, the warmth of the political situation. Such works include such epics as "Common Property", "Light", "Comrade", "Inheritance", "Soil and Truth", and show that the poet did not achieve significant success in this genre.
Maqsud Shaykhzoda's creative pursuits yielded much better results during the war years, which led to the birth of his more artistically successful works. During the war years, the Prince's collections of poetry, such as "Why Fight?", "War and Song", "The Heart Says", epics "Eleven", "Jenya", "Third Son" It has been announced. In them, the poet was able to penetrate deeper into the human spiritual world and express the feelings of hatred for the enemy and love for the Motherland in influential forms. Suffice it to recall the Prince's poem "Why Fight" as a shining example of such an expression:
The fate of tomorrow is worse than the night,
They are born no later than this day.
Therefore, therefore holy struggle,
When a thief is caught, we say, "So, fight!"
Lands that tasted of victory:
"If you want freedom, win the war!" - they say!
Similar poems testify to the fact that the epic "The Elder" about the famous historical figure Yuldash Akhunboboev, Shaykhzoda, went through a period of research during the war years and entered the path of true creativity. His reference to drama, the most difficult genre in fiction, and his creation of the play Jaloliddin during the war confirmed this conclusion. The prince's first drama was ideologically condemned at the time. Critics have criticized the play's idealization of Jaloliddin's image and unjustly accused the author. There were no ideological errors in the drama "Jaloliddin", which depicts the struggle of the people against the Mongol invaders. Only this play was not artistically perfect, because many of the events in it, especially the plot of Jalaliddin's sister, were not successfully intertwined with the main direction of the drama, the spirit. Such a shortcoming was natural, of course, because this work was the author's first experience in the field of drama.
Now, when he entered the true path of creation, that is, after the war, tragic events took place in the life of the Prince. In September 1952, Prince was arrested. He was accused of having counter-revolutionary ideas in his works and of being the leader of such a secret organization. Twelve well-known intellectuals of the time testified to this accusation. As a result, the Tashkent regional court sentenced Shaykhzoda to 12 years in prison and eight years in prison. Due to the changes in life after Stalin's death, the Prince returned from prison in the mid-25s, and a new stage of maturity began in his work. Now it is in the process of creating more ideologically and artistically perfect works. His collections of poetry, such as "Years and Roads" (8), "Poems" (50), "Alley" (1961), testify to the beginning of such a period of maturity. The main feature of the poems included in these books was that they deepened the poet's philosophical views and thoughts about life, time, man, the artist:
I wish my song was a bowl of water.
If you catch a thirsty passenger!
Such a song is a participant of the journey,
Such a poet can be a beggar of beauty!
The same feature can be seen in the poet's epic "Tashkentnoma" (1958). In it, the author praised the city of Tashkent, but focused on revealing the spirit and thoughts of the people living here, expressing their philosophical views on the meaning of life, the meaning of life:
Whenever and wherever it is said "Tashkent",
You mean, like, saltines and their ilk, eh?
Yes, if you say "Tashkent", you will remember Summer…
Yeah Al that sounds pretty crap to me, Looks like BT aint for me either.
The sun is shining on the generation,
Here everyone says: - “Live in the sun”…
Cities are eternal, life is temporary,
Rivers are stable, water is nomadic.
At the peak of his career, more precisely in the 60s, the Prince created his own masterpiece tragedy "Mirzo Ulugbek". It depicts the last years of the life of Mirzo Ulugbek, the famous grandson of Amir Temur, and the image of the great scientist and the owner of this tragic destiny, his struggles, his emotional experiences, his worldly thoughts in vivid scenes, conflicts, wars. In the vortex, Shakespeare was embodied in paint. Through this image, the author sought to express his noble views on the just ruler and the great scientist, the ideal of the times. Only in the tragedy, under the extreme class pressure of the Soviet era, did the playwright portray Hodja Ahror as a reactionary and fanatical figure, contrary to the truth of history. Nevertheless, the poem "Mirzo Ulugbek", the second serious example of this genre in Uzbek literature after Fitrat's historical tragedy "Abulfayzkhan", is one of the most significant achievements of the drama of the 60s.
Throughout his career, the Prince was engaged in criticism and literary criticism. In 1948, he defended his dissertation on the artistic features of Alisher Navoi's lyrics and published many scientific works on the works of the great Uzbek poet. These include such articles as "On the characteristics of the lyrical hero in Navoi" (1947), "On the artistic style of Navoi" (1958). Prince's research on the works of Babur, Muqimi, Furkat, Oybek, Gafur Gulam and other writers is also of great scientific value.
Part of the prince's work is artistic translations. He read the poem "Mozart and Saleri" by AS Pushkin, the epic "Copper Horseman", the poems of M.Yu. Lermontov and N.A. Nekrasov, the epics of VV Mayakovsky, Shota Rustaveli, Nizami Ganjavi, Fuzuli, Mirza Fatali Akhundov, Shakespeare. , Byron, Goethe, Aeschylus, Aesop.
Thus, Maqsud Shaykhzoda is a multifaceted talent and one of the great representatives of the Uzbek literature of the XX century.
Hamid Olimjon (1909-1944)
Hamid Olimjon is one of the brightest figures of Uzbek poetry of the XX century. He was born on December 1909, 12 in Jizzakh. His father's name was Olim Buva and his mother's name was Komila Aya, and they paid great attention to Hamid's upbringing. Hamid Olimjon first studies at the old school, then at the New school. After that he studied at the Samarkand Pedagogical Academy.
Hamid Olimjon's first poems appeared in the mid-20s. These Poems form the "ChimYon Daftari" series. When his first poem "Someone" was published, the poet was seventeen, and at the time of publication of his first book - "Koklam" he was twenty years old. From Hamid Olimjon's book "Koklam" to express his impressions of life, to perceive life with dramatic situations, to express the experience of the lyrical hero in the poem in an effective and convincing way, especially in the context of events. He tried to express his thoughts, feelings and state of mind. Of course, his first poems are a stage of practice and research. In his poem "On the Moon", life is officially interpreted as a false interpretation of that period. In this case, life is described as carefree, painless, destinyless.
The second stage of Hamid Olimjon's work is the 30s and the war years. His spirit of faith and hope is in such wars as "Sending young men to the front", "Take up arms!", "Proximity", "I know Moscow", "Warrior Tursun", "Russia", "Nihol", "Love". The period was deeply rooted in the achievements of Uzbek lyric poetry. The dramas Muqanna and Jinoyat were also written during the war years, and Muqanna became an important event in Uzbek literature during the war. The playwright was able to serve a distant historical event to reflect the most important political event of our time, to fulfill the tasks and needs of the war. The poem "Crime" became a drama about Hamid Olimjon's ability to interpret the complex, contradictory problems of life through sharp collisions and collisions.
During the war, the poet wrote such ballads as "Warrior Tursun", "Samarkand in January 1924", "Russia", "Tears of Roxana".
Hamid Olimjon has 9 epics and 7 collections of poems. Poems such as "GriSha", "From the life of a father", "Shohimardon", "The story of two girls" are weak epics. The epic "The Story of Two Girls" embodies Hamid Olimjon's brightest vision of life.
The epics "Aygul and BakhtiYor", "Semurg or Parizod and BunYod", "Zaynab and Omon" are famous. In the poem "Zaynab and Omon" it can be said that the poetic arts have survived. This epic has a literary trinity tradition. These are the symbols of Zaynab, Oman and Sabir, and are subordinated to the purpose of showing the celebration of true worldly love. Only in this epic, as in the poems "Valley of Happiness", "Uzbekistan", "When the apricot blossoms", "Zaynab grew up full of beauty", the author gives a much brighter, more uplifting picture of life in the 30s. .
Hamid Olimjon is not only a poet, but also a translator. In 1936, on the occasion of the 100th anniversary of Pushkin, he translated the epic "Captive of the Caucasus", the drama "Mermaid" and a number of poems. He wrote articles about PuShkin and Gorky. He co-authored the articles On the Way to Socialist Realism and Menshevism under the Mask of Marxism. In this article, Saadi is accused of pushing literature and the arts away from politics. The poet's article "On the Creativity of Fitrat" was written by order and was based on accusing the writer of nationalism and hostility to the people.
The study of Hamid Olimjon's work began in the late 30s with an article by Yusuf Sultanov, Hamid Olimjon's Tales. Lydia Bat and G. Karimov also wrote articles about the poet. Accordingly, in the 1944 article "Song of Joy and Happiness", his image is interpreted by a supporter.
Hamid Olimjon, as a mature representative of Uzbek poetry, won the love of the people and the interest of critics.
Mirtemir
Mirtemir (Tursunov Mirtemir) was born on May 1910, 30 in the village of Iqon, Turkestan. People's Poet of Uzbekistan (1971). After studying at the old school (1919-20), he came to Tashkent and studied at the Almai Model Business School (1920-23) and the Uzbek Land School (1925-29). The first collection of poems - "In the arms of the rays" (1928) was written in a new genre for the national Uzbek poetry - sochma (prose poetry). Author of collections of poems "Zafar" (1929), "KaynaShlarim" and "Bong" (1932). He wrote epics such as "Barot" (1930), "Khidir" (1932), "DilkuSho", "Suv qizi" (1937), "Oysanamning toyida" (1938), "Kozi" (1939). The lyrical story "Surat" from the series "Karakalpak, Notebook" (1957) had a great influence on the development of the genre of epics and the development of the genre of lyric epics in Uzbek poetry in the 60s and 70s. Poems by AS Pushkin, NA Nekrasov's "Who Lives Well in Russia", Sh. He translated Rustaveli's "Hero in the Tiger's Skin", Abay, Makhtumkuli and Berdakh, as well as the Kyrgyz folk epic "Manas" into Uzbek. Laureate of the State Prize of Uzbekistan named after Hamza (1979), the State Prize of Karakalpakstan named after Berdakh (1977). He died on January 1978, 25 in Tashkent. Winner of the Order of Merit (2002).
* * *
Ka'bamsan, Poetry, my noble ihram,
Ogu is also a completely priceless jam.
My deeds and my love, my hopes and dreams,
My sleepless nights are my crazy inspiration…
You don't need pearls, you really do.
Unnecessary Shaddod is both you and me
Life is meaningless to you too,
Not even a minute goes by without you.
* * *
It will be dark,
Bagrim uviShar,
I am born again in solitude.
It seems to be cracking
It's over,
I'll suffocate until dawn.
Light in my eyes,
Light to my word,
I ask for light in the morning.
Armonli Yolchiman,
I am a harmonious singer,
I ask the Light of the world in the morning.
IN MY BETWEEN
Put me under the willow,
In the flames of roasting,
Put me under the willow,
In the shadow of my breath.
Put me under the willow,
I listen to the sound of birds.
Put me under the willow,
Rest in the corner of your imagination.
Put me under the willow,
To this day, I have limited myself.
Put me under the willow,
Let me cry for you I cried.
* * *
Don't roll your eyes, don't laugh, don't look,
You don't need your flirtatious looks.
Don't think I'll tie it anymore…
Those "oh" s are not yours.
On the roads that dragged many days,
I also went dumbfounded.
When I wandered, I knew, in the deserts,
Now I understand…
I UNDERSTAND: those sweet dreams are dreams,
Do not be deceived, this heart is in your sweet words.
Go away, you deceiver, Don't go away, Go away,
TermuliSh No to your face anymore!
Don't smile, don't look, don't talk to me,
Don't sing the old legend to me…
HORSINIQ…
I can do anything, countryman,
Strangeness, ugliness - I've seen it all.
I also drove, I learned to mow,
I'm so young A
I also planted cotton, corn, sesame,
TeShayu randa dances in my hand,
There are plenty of roads and stops in this country,
I was also flawed, dark, cheerful and idol…
I sewed dung and raised cattle,
I dug a well for eleven cubits,
Washed hair in clear water,
I wore tulips in my girl's hair.
I will never regret my fate,
There are few professions that I can't do.
Sometimes my eyes are wet…
I still don't know how to write poetry.
AT THE RISE OF DEATH…
The steppe blooms at the height of death,
Time awakens at the height of death.
At the height of his death,
At the height of death, the world is full.
Love is born at the height of death,
It is born at the peak of death.
When you die, there is no color, no feeling of light,
Life is on the lips uch
I KNOW…
Tagorga erShib…
A cry always rings in my ear,
I sigh and wipe my tears.
Why sacrifice your life for this call -
Only I know.
A fire burning in my heart,
As if to say: I fry, I wish.
DoSh beraman nechun hanuz men beun -
Only I know.
Months go by, dawns go by, life goes by,
I weep for the distant.
Whom my heart waits for, swallows blood -
Only I know.
I was waiting for the spring news,
I hope, what do I do without iShonmay?
When will it come, how will it look -
Only I know.
CANCER
Cancer umbrella baby,
If you climb a mountain, I'll be a blue pass,
Don't go, my dear, tired of separation,
I'll be there in the middle of the night.
If you want to go to my garden,
A sting in my heart,
Don't go, my dear, tired of separation,
Don't be silly when I'm happy.
You do not need flowers or chaman,
Neither Kandahar nor Yemen is needed.
Don't go, my dear, tired of separation,
Neither gray tarlon nor straw is needed.
Smile without polluting my pure world,
Don't smile without the world in grief,
Don't go, my dear, tired of separation,
Don't smile without a heart full.
As long as I'm alive, I'll be that stubborn boy,
I have no rest, I can't search,
Don't go, my dear, tired of separation,
Anyway I'll find you.
FROM THE KARAKALPAK BOOK
BROTHER-IN-LAW
Humor
Yengajon! I said.
Mother-in-law hunting! He said.
Come on! I said.
Aynima! He said.
The round was merry, the conversation was fun,
There was not a speck of dust in the heart.
He remembered his youth, his humor,
This location was very convenient for humor.
I looked up and sighed. "Yengajon," I said.
Come on, charity for you, - I said…
"You are my brother-in-law, my brother-in-law," he said.
I'm like a madman, 'he said.
IF I…
He found the grave of an ancient warrior at the foot of Eshikkol. Gold sucking to the skull. Dagger, boots, sword, helmet, light-headed, sheepskin, bowl, cup of cast gold, coffin…
This is one of the ancient underground tombs of our forefathers. It is the tomb of one of the most famous and influential people in the tomb. The dead, buried until the seventh century, were a young man from the desert, a warrior. He lived only eighteen or twenty-three years.
If I am allowed to take anything on the day I go to sleep…
What should I take?
First of all a handful of white flowers in my yard;
Then there is the same line of Navoi at the height of Halimakhanim;
Teacher Oybek gave me a pen;
When I came back from distant lands, the pain of those forty years that had sunk into my bones because I could not find my mother's grave;
Even a picture of my sweetheart as a nail face;
The same sadness, the same spark in the blue eyes of Nazim Hikmat like the waters of the sea, in a word, his dreamy vision in my mind;
A bunch of Fergana grapes;
Youth Festival in Samarkand;
A jug of Kazakh girl;
A jug from the Tashkent Sea;
At least in the same Alatov pasture the mare drank the mare's cup;
That unforgettable stealthy kiss;
Lojuvard brick pot from the lame grandfather lame;
Even when he dies, his name is the lash and the tin of the deep love in someone's eyes;
A bowl of cotton wool grown on the hills of Andijan;
What else? That's it, Shekilli.
No, the only memory I have of my mother is a small parchment - if I put it on my head in my coffin, and a pair of basil twigs under that part…
If you were allowed to take something after you died, I would like to take only that. But there is no fool who still dies.
MORNING BIRDS
Morning birds sing, Noise in the gardens…
Grandma, I'm going to the exam today.
I repeat without leaving Light in my heart
Any confusing issue, question Yo knot…
Teachers will sit, the hall will be full,
How many eyes will be fixed on me.
Grandma, if I pass this test well -
The pride in my father's heart will be great!
My homeland is my pearl - my dear mother!
This is my starting school for the White Road!
I am very happy in my youth, I know this,
I will rise, the time of sorrow is my time!
Yes, exam days are a demanding time,
Burro will answer, I will never be less…
It will remain in the history of enlightenment for a lifetime,
What a beautiful name on a notebook!
Morning birds sing, Noise in the gardens…
Grandma, I'm going to the exam today.
I repeat, in my heart without leaving
Any confusing issue, question Yo knot…
HANDLEBAR
The smell of melon wafted from the melon,
When I wake up in the morning by the river.
In the perfume, a person shines,
The air is like an elixir, I wish I was bleeding…
Beats Cute cool,
The flowers are glistening - a flirtation in the flowers.
All, all to heart,
Everything is charming, sweet, beautiful, word…
Handalak stretches cold and bright,
Beqasam handalak - chipor handalak.
The flames in my hand are like a flame,
I'll be fine, ifor handalak.
Yes, in fact, a particle of the sun,
Mother earth flavor, soil juice.
This is also an unequal bar of fruit,
In Heaven No, that's the point! ..
PULL
A torrential downpour from the village,
The waves hit the green sea,
Wave flowers are white, red,
It's made of milk, cream, cheese.
A torrential downpour from the village,
Chuchmoma-yu rovoch is worth eating,
Mushrooms, tulips are worth,
From hills, streams and even rocks to
STILL
… My mother bakes bread, snorts,
It burns from time to time when we win.
Chiviq toycham gijing, Yorgalab-Yortib,
I'm going around.
I can't go far from the oven,
How much is a toy, even if it's running?
More delicious sometimes than minced meat,
Every time a patir called me…
Mint, basil Or jindak jizza,
Loose, round, coarse and sandy.
Sometimes I'm embarrassed by someone,
If broken, even a small rope.
All I had to do was touch that patir
I will ride and go hunting immediately.
Bear Or Tiger - I don't care,
While hunting in Patir satiety, hunting.
… There is a wish in my heart, taste it for life,
How many days are there in my forehead.
I REMEMBERED IN THE VILLAGE
I still have a taste.
FROM MY GRANDMOTHER'S CHICKENS
Ola crow
The raven lived three hundred years,
Can't a crow live, even an elephant,
Ancestors say: one eye sucking on the top,
Strong and alert. One eye sucking bullet.
The mountain is also on a steep peak - a mountain,
I can't get a big bird,
Ola raven taShlamasmiS koshogin,
Dear friends,
Don't you ever know what to do?
Don't be rude to him,
If you accidentally touch a bullet,
This also does not immediately suck itself.
Loyalty, fun, fun,
For this reason, the Way-Way is white on the wing.
Although it is worth sucking white wings,
Even if you are a good horseman…
Black crow
The black crow eats no less,
“I live a little less” is not a grief.
In the steep mountains, black is also a nest,
Elga aYon wing's moth.
He also comes down from the pass in winter,
From the caravan of ravens,
He is also alert, always one eye on the top,
Olazarak, always one eye on the bullet…
He is also a very patient bird, a left-handed bird,
If you teach, there is a handful of es-huSh.
Not appreciated, but added,
Abandoned breastfeeding is even worse,
If you accidentally touch a bullet,
sucking on the other - frustrated.
For this reason, the black sucking face,
Face to face - black sucking itself…
1975
BEAUTY
Don't spill
Remember, Beaver! A day when the cool winds blow your hair and joy grows in our hearts?
Spring.
The sun is smiling, the hills are bright in the distance, and you are an innocent girl! - You have collected something, free from sins, my dear friend! "Remember, you covered your face like Shafaq with your braided hair."
* * *
Childhood ..
Though there is sorrow in the heart, there is unhappiness in the environment that surrounds the heart - a game-loving childhood!
At noon - all the shadows fall, flowing under the willows. At the command of our pure heart, which had wavered since childhood, we walked along the stream. Let's go, let's play hib
Waterfront…
Spring ornaments are completely scattered along the water…
"Aries, huv… Aries!"
I went to you, I picked blue flowers with you, I gave them to you and I gave flowers to your scattered hair, I stared at your face that opened like flowers…
Do you remember that?
I miss you so much in the sweet moments of early spring…
Dreams envelop me when the hammers drag me over the hills, when the unhappy fields are laughing!
Can I finish?
Maybe Kunduz is an innocent Kunduz, again, barno… Laughs are a hundred girls, full…
Shall I go?
* * *
- Beaver!
Remember, sleeping plows roamed the hills - as children - in the days when we played…
Did grass plows sing these days?
Is your hair scattered in the wind and your eyes play?
Do you remember the day when the waves broke and the child gave us endless joy?
* * *
Remember, Beaver!
Asqad Mukhtor
Askad Mukhtor is a writer who made a significant contribution to the field of poetry and especially novels in the Uzbek literature of the XX century.
Askad Mukhtor was born on December 1920, 23 in the city of Fergana in a working class family. His father died when he was 11 years old. After that he was educated in an orphanage.
There was a growing interest in the study of science and art. He came to Tashkent from Fergana in 1936 and studied journalism. During the war he continued his studies at UzSU. From 1943 to 1945 Askad Mukhtor taught at the Andijan Pedagogical Institute. Subsequent work is associated with newspapers and magazines. His first poem was published in 1935. During 1938-1940, several of his poems were published in national newspapers and magazines, such as "Wish", "Eternity", "Sweet moments", "Poetry and Life". will be loaned. In 1939, his poem "Our Generation" was published.
Askad Mukhtor, along with his teachers G. Gulom, Oybek, H. Olimjon, M. Shaykhzoda, Mirtemir, his peers Hamid Gulam, Turob Tola, Mirmuhsin, Shuhrat, Shukrullo, also wrote poems on topical issues of his time. He took an active part in the creation of Poems written during this period, such as "Bukunning khitobi", "Ona khursand", "Galaba iShonchi", "Jangchiin bayram kechesi", "Sog'iniSh" are among them. Although not all of these poems are ideologically and artistically perfect, later there are features that played an important role in the style of the poet. Askad Mukhtor continued his creative research and wrote in his "Foreword" to the collection of "Poems" published in 1966:
“For thirty years I have been thinking about poetry. My views on the forms, means, and spirit of his expression have changed many times: Poetry is a piece of wood taken from the hearth of life, that it must be based on a life episode, that other forms of poetry are different. I walked for many years without acknowledging; Poetry is a high feeling, a feeling of pleasure, it can be compared only with music genres.
The changes of the period, the problems of the time were also reflected in the work of A. Mukhtor. For example, we can see this in the poem "My dreams, my troubled dreams." A special place in Askad Mukhtor's multifaceted work is given to the way of perceiving reality through symbolic means and symbols. Poems such as "Maysa mavj urar", "Khazon", "TovuShlar", "Umr", "Bogim", "Nihol", "Tong", "Ozak", "Amu", "Boychechak" see in the example. As a result of Askad Mukhtor's creative trip to Bekabad in 1946, he wrote the essay "Steel City", the poem "Steel Cast" and the story "Where the rivers meet". Askad Mukhtor had been trying his hand at prose epic genres since the second half of the 1950s. In 1956 he published a collection of essays and short stories "Steel City", in XNUMX - "Call to Life". They played an important role in the sharpening of the writer's pen. Stories such as "Oksana", "Dog", "Khayri" included in the collection "Call to Life" testify to the fact that Askad Mukhtor's character creation skills are gradually growing.
Askad Mukhtor's novel "Sisters" was also a great success. Her main problem was the issue of women’s freedom. In 1958 he published the short story "The Story of Karakalpakstan" and in 1961 the novel "Birth". His novels "Time is in my destiny" and "Chinor" also have a special place in the prose of the 60s. The author also calls "Time in my destiny" "Epic of three seasons". It refers to the years before, during, and after the war. The protagonist of the work, Ahmadjon, considers his personal happiness in selfless service to his people. Askad Mukhtor describes the historical past of our people, its exact details in the novel "Chinor", in the short stories "Bukhara's jinkochalari", "Lightning on the banks of the Jar". In the novel "Amu", written at the end of his life, in the stories "Pleasure in the Storms", "Silver Fiber", the author tried to cover the current problems of the time, but did not succeed in their artistic interpretation. Askad Mukhtor, known to readers for his poems such as "Samandar", "Goodness for Goodness", "Peak of Courage", "Dawn on the Rising Shore", made a worthy contribution to the enrichment of Uzbek literature. One of his most recent works, entitled "The Diaries", is particularly noteworthy for its aesthetic, life and philosophical views. Yes, as the author says, “Time passes! we say! In fact, we are passing… ”(“ Tunnels ”).
Although Askad Mukhtor introduced Uzbek readers to many examples of foreign literature, the greatest success in the field of translation was the translation of Sophocles' "King Oedipus" into our native language. Among his critical works, his essays on translation and youth work have not lost their value.
-
In his first poems (1935-1938), such as "Wish", "Dawn", "Sweet Moments", Mukhtor sought to define the purpose and function of poetry, the poet's duty to society. He sees poetry as a "wing to the heart," a "cure for pain." With the outbreak of the Great Patriotic War, the poet created a number of poetic works, such as "Victory Believer", "Warrior's Holiday Night", "Birthday Returned", "Missing", "Heart of Moscow" and defeated the Nazi invaders. pushes the boiler. Describing the beauties of the homeland, its inexhaustible wealth, the great changes in the life of the people, "Steel Cast" (1947), "My Cities" (1949), "Thank you, my dear" (1954), "From the heart" (1956) riy books are among the great creative achievements of the Poet.
Mukhtor's plays such as "Peak of Courage" (1948), "Goodness to Goodness" (1949), "Samandar" are important in our drama in terms of coverage of children's lives, as well as the life of the working class.
The author's short stories "Where the rivers meet" (1950), "The story of Karakalpakstan" (1958), "Demon streets of Bukhara", "Sisters" (1954-1955), "Birth" (1963), "Period" in my destiny ”(1964) and“ Plane ”(1973).
The book of poems “From the Heart” (1956), the collection of short stories “Call to Life” (1956), “Children of the World” (1962) enriched the treasury of Uzbek children's literature.
Poetry books “99 miniatures”, “Caravan bell” became a great event in the Uzbek Soviet poetry of the 60s and 70s. In them, the reflections of the human soul are interpreted artistically through a deep intellectual emotion.
In the autonomous translation, the works of Sophocles, Tagore, Pushkin, Lermontov, Mayakovsky, Gorky, Shevchenko, Blok, Korneychuk, Pavlenko became the spiritual property of Uzbek readers.
The lyric poet, as a well-known writer, a skilled translator, is one of the creators who makes a worthy contribution to the enrichment of our Autonomous Culture.
DIFFICULTY
My books are page by page,
Where are you?
My life was a green tree,
You are its leaves.
I breathed with you,
You were hurt.
Every time my heart aches,
You were blown away by the winds.
A white cloud floated,
No more drops…
Am I used to it,
No more painful thoughts?
Well, if you're not full
The slices of my tongue,
Let the storm stop
Leaves of my life:
MY HEART WAS BROKEN
New Year's Eve:
The children look forward to the night.
An elegant spark of snow that flew last year
The New Year crosses the border.
The children are anxiously waiting for the new year,
And for me, the observation of the year:
Not a single leaf was cut off
It touches my heart…
Said Ahmed
(Born in 1920)
Said Ahmad has a worthy place in modern Uzbek literature with his colorful stories, journalistic articles, realistic stories and novels, comedies. He is especially famous as a master of satire and humor.
Said Ahmad Husankhodjaev was born in 1920 in the city of Tashkent. He studied at the Tashkent State Pedagogical University named after Nizami (1938-1941). He first came to our literature as a journalist-essayist. The press played an important role in the writer's upbringing. He worked in the newspapers "Young Leninist", "Red Uzbekistan", magazines "MuShtum", "Eastern Star", the Radio Committee of Uzbekistan.
Said Ahmad was first known as a storyteller. In 1940, his first collection of short stories - "Tortik" was published.
Said Ahmad calls this collection of many stories "exercise." But Abdullah Qahhor, a youth coach, has been sharply critical. He said: “Said Ahmad has a drum in his hand, he seems to be able to play a better exercise than twisting his ear, pressing the curtain, clicking, but he has not practiced yet. "Every story in Tortiq shows that," he said. Abdullah Qahhor also claims that the writer was irresponsible in his writing, that there was no purpose in the story, that the stories were "nonsense" and "a mess of words." In short, this is how the entry of a young artist into literature began. During this time he again wrote the story "Dear Fields". These are the products of the first stage of the writer's work (late 30s - early 40s).
The second stage of Said Ahmad's creative path began in 1956. The writer created a series of stories during this period. They can be divided into two groups according to their content. The lyricism is strong in the first group of stories ("Spring flowers", "Spring songs", "Treasure", "Lights of Iqbol"). In them, the writer evokes the reader's emotions by reflecting on various events in the lives of workers, especially the bitter traces of war in people's lives and in their hearts. In particular, the story of the patient father in the story "Turnalar", the pain and suffering caused by the birth of a child, all the people who suffered from the war, were indelible wounds in the hearts of parents. In the story "Spring Flowers", Said Ahmad describes the thoughts of a patient who was bedridden due to the war (he was a man, he did not want to lie on the bed staring at the ceiling while his wife was struggling to earn money). Expressing the enthusiasm, springiness of women's feelings, as well as loyalty to their families, the reader can easily find his way to the heart.
The second group of stories focuses on the humorous spirit. Among them are such stories as "Desert Eagle", "Desert Winds", "Indian Game", "Puppy", "Sausage Snow", "Apricot Teacher". The language, askiya and rhymes of our people in these stories make the language of the work very attractive. In the author's humorous stories, such as "Stranger", "Khanka and Tanka", "My friend Boboev", the flaws of life, such as arrogance, provocation, deception, are masterfully exposed. Said Ahmad founded a cheerful miniature theater on Uzbek radio and television with his small comedies.
The novel "Horizon", written in 1964, was the greatest achievement of the second stage of the writer's career. The novel is a trilogy consisting of forty-five days, "In the days of Hijran", "On the threshold of the horizon." It reflects the labor heroism of the creative villagers during the war, the generosity and generosity of the Uzbek people, selflessness and diligence. The novel was so successful that Abdullah Qahhor, once a fierce critic of the Young Writer, praised the work in his 1965 article, The Fruit of Inspiration and Mastery: “Said Ahmad took his tanbur in his hand many years ago. Seeing that he came, we dreamed of being a good musician and playing good exercises. That dream is coming. "Horizon is an exercise he played with inspiration and skill."
The third stage in Said Ahmad's creative path is the period of his creative maturity. This was especially evident in his 1988 novel Silence. The play exposes the shortcomings of the stagnation period, the weaknesses of society, the abuse of power by leaders, injustice and corruption on this path. The novel "Silence" is characterized by a broad and multifaceted coverage of the years of stagnation, aimed at revealing the general spirit. The author gave the novel a symbolic name "Silence" because of its focus on the essence of the period.
The main events of the novel take place in the early 80's in the villages of the Qashqadaryo oasis. At the same time, one of the heroes of the work, the Taliban, after nearly twenty years of loss, returned to his native village and tried to live peacefully in his arms. What kind of person is the Taliban? Why was he looking for silence? To answer these questions, the author uses a variety of myths and legends to show what kind of people live in the Taliban's countryside and where their spiritual roots go. It is as if, with the help of the legend of Kiyiksovdi momo, he dug up the historical roots of the villagers from the depths of centuries and showed them to us. According to legend, in ancient times an old woman tried to save the people from the plague. After the destruction of the people in the civil war, she took care of deer, won the pure love of people and animals, and was named Kiyiksovdi momo. By reading the legend, we realize that the Taliban are a generation of pure-hearted humanists. If the legend were more closely connected with the main events of the novel and its influence on the Taliban spirit was better revealed, we would have a clearer idea of the spiritual state of the protagonist when he came to the village. In any case, with the help of the legend, when the Taliban points out that he is a pure man, the author tries to convince us of this and to make an artistic analysis of the reasons for the hero's search for silence. That is why he imagines the Taliban's nearly two decades of life through retreats. When we look in the mirror, it is as if the horrors and vices of the stagnation period have passed from our eyes one by one. In the mirror world, it is as if the Taliban first appeared as a graduate of the postgraduate school, an educated regional committee member, and addressed a large gathering before the head of the republic Shavkat Rakhimov, criticizing the shortcomings in our lives and activities. He will be sent abroad for a long time to tell the truth. There, the Taliban lost his wife and son. He barely escaped the clutches of the disease.
Thus, in the novel, the idea that one of the main causes of the defects of the years of stagnation is the suffocation of the truth is put forward, and it is proved by the subsequent course of events. During them, first of all, many human qualities of the Taliban are revealed. In particular, the Taliban's sincerity in relation to Shavkat Rakhimov, his sincere human feelings in his closeness to Jayrona, his depth of mind in making a new wheel, his generosity in giving his books to the village and the money he collected to his relatives, his love for Azizbek, who was separated from his parents. a very delicate heart is clearly understood. The writer does not portray the protagonist as absolutely flawless. Despite his many virtues, the Taliban, because of their sincerity, stagger in the face of adversity and do not know how to fight injustice. Jayrona says this openly on her face:
- Tolibjon aka, - says Jayrona, - you are a person who is not able to fight, you have a weak will… You once became a hero. Your heart stopped beating for the second time. Recognizing your destiny, you are wandering in other countries. You are powerless to rise up against violence… I don't like you. A man must live like a fire. He must devote all his will, energy, and mind to proving that he is right.
It is clear from the ideological philosophy of the novel that the same weakness, the inability to resist injustice, that is, the inability of people to fight, is one of the serious reasons for the root causes of stagnation.
The novel provides a comprehensive analysis of the factors that have made people unable to fight, and have led to the brutal suppression of the truth. To do this, the writer portrayed the images of Mirvali and Shavkat Rakhimov in a large-scale mirror of the world. Mirvali stands in front of us as if he were standing side by side with the Taliban, as capable of good deeds as he is, but in essence he is completely the opposite. The writer seems to have portrayed Mirvali, the director of the state farm, in parallel and in comparison with the Taliban. As a result, unlike the Taliban, Mirwali appears in the image as a disgusting creature who has completely lost his human form, who teaches Satan in Cruelty and Evil. There are many events in the novel that prove this. For example, Mirvali beat women like Bodomgul, Sedona, dried the pillows of their families, killed Askarali and Rasulbek with his own hands because he was aware of their wealth and secrets; left a general named Manman; rali Finally, Mirvali tries to kill Jayron, who is aware of his secrets, and causes the Taliban to die.
It is clear from the philosophy of the novel that the roots of such horrors go back to the flaws in the leadership of society during the years of stagnation. Shavkat Rakhimov and the "father of Uzbek cotton growers" are depicted in the novel. In these lines we can clearly see that Shavkat Rakhimov almost always supported Mirvali, knowingly began to lead the Evil Ones, earning great titles. In particular, the recognition of the Taliban in the crowd and the fact that Shavkat Rakhimov issued a fatwa to expel him from the village shocked the reader and gave him a clear idea of who the real suffocators of the truth were.
From the ideological philosophy of the novel it is understood that the roots of the flaws in society go back to the highest, ie the central layers of leadership, because Shavkat Rakhimov's deceitful deeds, injustices, additions were attributed to the supreme leader, the "father of Uzbek cotton growers". like a skillful conductor, he guides and directs with his staff. Surprised, Jayrona asked, “In what country do we live? Who can be trusted? Who needs to be trusted? When will we get rid of these diseases? ” - are fried in the fire.
According to the author's philosophy, this situation cannot last forever, because, as Said Ahmad has repeatedly said, man lives not in a coffin, but in a cradle. He also moves forward, not looking underfoot, but towards distant horizons. The protagonist of the novel, the Taliban, eventually admits that "this is a crazy search for silence in the turbulent twentieth century." One of the reasons why stagnation cannot last indefinitely is that in our society, the struggle for truth, justice and goodness cannot be completely eradicated. As their brightest symbol, the image of Jayrona shines in the novel. Her image is therefore radiant, Jairona's head is "not smashed against the rocks, she is not bowed to anyone," and her impure life is not "mixed with impurity." These qualities, which radiate the image of Jayrana, are realized by the author in many very interesting events. For example, Jayrona does not hesitate to undress and wash the Taliban, who are dying in other countries; He manages to find a way to escape by taking the documents that expose Mirvali from a secret nest among the mountains. Most importantly, Jayrona believes in her multifaceted knowledge, travels and experiences around the world, is not afraid of anything and never deviates from the path of struggle for truth. Critics say some of his actions, especially his escape from Mirwali's residence, were not very convincing. True, there may be some difficult places to believe. However, it must be acknowledged that the Writer sought to substantiate almost every action of Jayrona as perfectly as possible. Perhaps that is why the novel embodies the bright, attractive, sincere and hard-working image of a modern Uzbek woman in the image of Jayrona. The actions of such heroes began to bear fruit, and a number of events at the end of the novel, in particular the death of the "father of Uzbek cotton growers", Shavkat Rakhimov's panic and Mirvali's fall into the abyss, marked the end of stagnation.
Thus, the idea that stagnation is a temporary phenomenon in the history of our society, that our people are cleansed of its vices and the path to a just life is inevitable, is more convincingly expressed in the novel. In the absence of some shortcomings, the novel could have risen to an even greater level in our literature. One of such shortcomings is that the spiritual world of the protagonists in the play is not revealed in the same depth everywhere. Suffice it to recall the analysis of the Taliban's spiritual world as proof of our point. The Taliban are dissatisfied with Mirvali's arbitrariness, deceit, and evil, and often go to him, but every time he says almost nothing and cannot act more seriously. Similarly, Azizbek, a teenager, is aware of many things that are not appropriate for his age and thinks like an adult. In particular, his mother's remarks about his unclean deeds seem unnatural.
Even today, Said Ahmad's novel "Silence" is one of the most comprehensive, interesting and influential works that illuminates the essence of stagnation in our society and the process of purification of our people from its remnants.
Said Ahmad also gained fame with such comedies as "Kelinlar qozgoloni", "Farmonbibi arazladi", "KuYov".
He is actively involved in creative translation work. He translated the works of B. Polevoy, A. Musatov, O. Gonchar into Uzbek.
Another achievement of Said Ahmad in life is that destiny made him the wife of a creative woman like Saida Zunnunova. During the years of persecution, Saida remained faithful to her husband, despite many persecutions. That is why this woman is highly respected.
Said Ahmad is an advanced writer who has made a great contribution to the development of Uzbek prose with his cheerful, relaxing stories and weighty novels.
Adil Yakubov
Odil Yakubov with his high talent, journalistic and creative activity has been effectively influencing the modern literary process. His series of short stories and journalistic articles, novels on historical and modern topics attracted the attention of the general public and became the center of heated debates. The author's works are distinguished by their authenticity, boldness of the sharp social, spiritual and moral issues of the time, the discovery of the truth about man and his heart, passionate debates about the purpose of human life. The writer brought a lot of innovations to the poetics of the Uzbek novel.
In addition to the influence of talent and the literary environment, Odil Yakubov's great love for literature, as well as the events and life experiences of the writer played an important role in his rise to this level.
Odil Yakubov was born in 1927 in the village of Karnok (now Otaboy) near the city of Turkestan. This village, which is well-preserved the ancient customs and traditions of our people, fascinates with its natural beauty, has left a deep mark on the creative destiny of the future writer.
According to the author, his father, Egamberdi Yakubov, was hired in 1916 to cut down trees in the forests of Belarus, studied Russian, and after graduating from SAGU in Tashkent, worked in various positions in the Shymkent region. The father paid special attention to the upbringing of his children. In the family, such works as "A Thousand and One Nights", "Last Days" were read with great enthusiasm. Thanks to his father, mastering the Russian language from an early age allowed the future writer to get acquainted with Russian and world literature and culture. Later, in his native village, he continued to study in his native language, and the support of knowledgeable teachers strengthened his interest in literature.
After graduating from high school in 1944, Odil Yakubov served in the army in 1945-1950. A young soldier takes part in the war against Japan. From 1951 to 1956 he studied at the Department of Russian Language and Literature, Faculty of Philology, Tashkent State University. Odil Yakubov has been working as a correspondent for Literaturnaya Gazeta in Uzbekistan for almost ten years. The writer remembers with interest his time as a reporter. "During this period," he writes, "according to the newspaper's instructions, I traveled around the country from beginning to end, seeing with my own eyes the life and worries of an ordinary cotton grower."
The purpose of recalling these facts about the biography of the writer, his life experience is that they served as a living ground for the author's works, reflected in the works of his childhood impressions, life experiences, which left a deep mark on his heart.
Odil Yakubov's creative path can be divided into three stages.
The first phase begins in the 50s. In general, the writer's career began during his military service. His first work to appear in the press was the story "Peers" (1951). Even before "Peers" he wrote many stories and a novel. The author later wrote in his essay "Children's Duty" that they were unsuccessful Uzbek versions of works created under the influence of the "theory" of non-conflict, which was widespread in the postwar years. He considers "Peers" to be a "mediocre" work, and criticizes a number of critically acclaimed plays staged by Hamza: "Now I know the level and value of these works. Ligini I now understand the whole complexity of art. I understood after mistakes, ”he recalls. Those weak dramas included such poems as "First Love", "When the Apple Blossoms", "The Heart Must Burn", "If I Say, My Tongue Burns, If I Don't Say, My Heart…". O. Yakubov's drama "Fatihi Muzaffar or a prisoner of parivaSh" created in recent years has not risen to the level of a pesa, which is a significant event in literature due to the power of narrative, the articulation of ideas.
The second stage of his career began with the story "Muqaddas" (1961), which introduced Odil Yakubov as a writer. Because the period from "Peers" to the story "Holy" was, for the writer, the years of searching for the face in the way of self-discovery in the work, uncompromising with the usual literary patterns, overcoming the biblical inertia. In the story "Muqaddas" the writer expressed his joy in life, his heartache, his excitement, he was able to convey to the reader the events he wrote with all their complexity, contradictions and true subtlety. The word "sacred" is not only associated with the name of the protagonist of the story, but also includes the interpretation of such concepts as conscience, duty, religion, which the author explores ideologically and artistically in the work. All the author's remarkable works, from "Holy" to "Religion" and "White Birds, White Birds" revolve around this problem. The author's story "Wings become a couple" (1968) plays an important role in the creative development of the writer. The writer raises not one, but many social, spiritual and moral issues.
In almost every work, starting with Muqaddas, Odil Yakubov raises a serious issue and seeks to unravel the vital roots and causes of the conflicts.
The works of the author in the 70s and 80s, "The Treasure of Ulugbek", "Old World" mark a new stage not only in the work of the writer, but also in the development of Uzbek novels. These works marked the beginning of the mature stage of the writer's creative path.
Whether the writer writes about his contemporaries or distant history, he draws attention to the great social problems that excite many people, and creates sharp dramatic characters. The novel "Treasure of Ulugbek" brought fame to Odil Yakubov. The great writer of our time Chingiz Aitmatov writes about the novel "The Treasure of Ulugbek": "It is a high and noble example of prose. This historical novel, weighty in terms of its artistic power, shocked me. This is the first sign of the work. More importantly, when I read the novel, I felt a sense of pride in the history of our Turkic peoples. " In his novel, Odil Yakubov cites the historical facts that Mirzo Ulugbek was a just sultan and a great scientist, had a large library and struggled to save it, and eventually the Shah was dethroned and brutally executed. But the Writer is not limited to these. If limited, a scientific book, not a historical novel, would emerge. In the novel, Ulugbek is described as "wearing a blue-and-green mauve robe, which he usually wears in the palace, a triple black velvet hat, which he wears in the observatory and in the madrasa, and wide warm boots with fur on his feet." we see without. The events of Ulugbek's removal from the throne and his beheading, as well as his previous hunting for argali, are described in the same way. The portrayal of Ulugbek in the novel in connection with the struggle for books also serves this purpose. As the writer portrays the protagonist in the course of various events, he also describes what changes have taken place in the heart and mind of the character, and what thoughts have been born under their influence. Thus, Ulugbek's sad experiences, sufferings, his sacred duty to preserve books, his care for them, his struggle for them are reflected in the interconnectedness, in the eyes of the reader. The spirit of the period is also evident in the way the protagonist speaks. While reviving the speech of the writer Ulugbek and his contemporaries, he managed to individualize the speech of the characters and make it understandable even today, while preserving the features of the Turkic language of that time.
In the novel, Odil Yakubov follows the traditions of Maqsud Shaykhzoda to some extent in the image of the famous historical figure Khoja Ahror, creating a more inconsistent image with the reality of history. Although Khoja Ahror is not as reactionary, cruel, or evil as in Prince's tragedy "Mirzo Ulugbek" in the novel, the writer tries to create a negative image of him, that is, to some extent an enemy of the just King. tried to show.
In the novel "Old World" Odil Yakubov also managed to rediscover the historical truth, the fate of historical figures, the multifaceted contradictions of the time, the lessons of the past. Unlike many Uzbek historical novels, the author focuses on the images of Abu Ali ibn Sino and Abu Rayhan Beruni and depicts them side by side, almost like the main characters. In this way, he portrays these heroes as independent minds, representing the main ideological goal. In the actions of these heroes, in general, from the very beginning to the end of the novel, the spirit of the people's rebellion against oppression is felt. The principle of truth and justice in the attitude of the common people towards the great scholars is a guide. For example, Abdusamad first proclaimed Beruni's treatise on the Qarmatians as his own and hanged himself, thus saving the great scholar from death. At the end of the novel, when Ibn Sina was expelled from the palace and found himself in a very dangerous situation, Malikul Sharab, a representative of the Qarmatians, rescued him.
Thus, in this way, the writer brings to the fore the idea that "the true respect for the scientist, the man belongs only to the working people, the torch of truth and justice, the banner of true humanism is in his hands." Review of the work On the basis of a holistic concept, which none of the critics have correctly interpreted, lies this deep ideological philosophy.
This ideological philosophy and the problems of the long past, written for the purpose of its expression, are extremely important for the present. In an interview with Literaturnaya Gazeta, critic A. Kondratovich, Odil Yakubov commented: “If everything about Ulugbek's fate was only historical, I would not have taken a pen in my hand. . I will not open America, but I am convinced that any modern writer will turn to history only when he is deeply moved by today's problems. "1.
In the novel, O. Yakubov interpreted the problems of long historical life and the ideological philosophy arising from them, which are important for the modern world and excite the people of our time, following the path of the great Russian writer FM Dostoevsky in a polyphonic way. Accordingly, "Old World" is the first historical-polyphonic novel in Uzbek literature.
Thus, with its deep philosophical content and original form, the novel "Old World" deepens the modernity, humanistic essence of our literature, expands the range of genres, diversifies the palette of styles and enriches the spiritual world of our people.
A large group of Odil Yakubov's short stories and novels consists of works on modern themes. In them, such as "Larza", "A feuilleton story", "Matluba", "I'm looking for", "Crystal chandeliers", "If there is work on the earth", "Religion", "White birds, white birds" and In the novel "Address of Justice", the author wrote about many complex, controversial issues of his time, and tried to illuminate them with the help of various figures and new forms. One of the serious examples of such aspiration is the author's novel "Address of Justice". The novel "Address of Justice", full of the spirit of faith in the future of mankind and the world in which it lives, is distinguished by its unique genre features. There is no crime in it, but there is a phenomenon called "crime". There is no real criminal in the play, but there is an honest man who has been declared a "criminal." In this regard, the element of search for crime or the desire to create it plays an important role in the play. Criminal investigation is a necessary element of a detective story. Given the existence of this element in the absence of a real crime, it is appropriate to call it a "crime-free detective" if we are determined to define the genre of the novel "Address of Justice". It is not surprising that this unique example of the detective genre is a novelty in the work of O. Yakubov and in Uzbek literature. Only when the death of Lochin in it was more convincingly reflected in the level of the death of his father Suyun the eagle, the novel could have risen to a more significant level in modern Uzbek literature. In general, the author explores the new possibilities of the novel genre, and in a more vivid and effective way to express the humanistic idea, imbued with the spirit of faith in the transformation of the world in which we live into a place of justice.
From the experience and value of the last major works, it is clear that the writer Odil Yakubov has risen to the level of one of the most mature novelists in modern Uzbek literature.
Pirimkul Kadirov
(Born in 1928)
Writer Pirimkul Kadyrov has a special place in the history of Uzbek literature of the XX century. Pirimkul Kadyrov made a significant contribution to the literary treasury by creating a number of works of art. During his creative career, he created many meaningful works of art, history, science, translation, journalism.
One of the greatest representatives of modern Uzbek prose, the writer Pirimkul Kadyrov was born in 1928 in the village of Keng Kol, Uratepa district of the Republic of Tajikistan.
Pirimkul Kadyrov's labor activity, which began in the post-war years of economic regulation, began with the construction of roads, and then continued with work at the Bekabad Metallurgical Plant.
After graduating from the Tashkent State Medical University in 1951, he entered the graduate school of the Institute of World Literature named after Maxim Gorky. He defended his dissertation on "Post-war Uzbek prose."
From 1954 to 1963 Pirimkul Kadyrov worked as a consultant on Uzbek literature at the Union of Writers. From 1965 to 1976 he worked as a senior researcher at the Institute of Language and Literature of the Academy of Sciences of Uzbekistan.
The preface of the author's work was published in the student years, and the story "Students" was published in 1950, which artistically reflected the life and inner world of the student. Only because the story was a weak exercise, the writer Abdullah Qahhor sharply criticized it. P. Kadyrov, who drew the right conclusions from the criticism, did a great deal of creative work, and in 1958, like a thunderstorm on a sunny day, he published his first major work - the novel "Three Roots". This novel, called "Warmth", which embodies the spirit, changes and innovations of the time, quickly gained the attention of a wide range of readers and famous writers. In particular, during the Decade of Literature and Art of Uzbekistan in Moscow in 1959, the world-famous Kazakh writer Mukhtor Avezov praised the novel "Three Roots" as a work that vividly reflects the spirit of the times and the spiritual world of people. He was followed by "John Shirin", "Kayf", "Olov" stories, "Five Years Child" collection, "Qadrim", "Erk", "Meros" stories, "Salvation" fairy tale, "Adventures", Students were presented with books of short stories and short stories "Yayra wants to enter the institute."
In the novels "Three Roots" and "Diamond Belt" the writer enriched the Uzbek prose, showing the sharpening of his creative skills. Both novels determine the level of artistic maturity of Pirimkul Kadyrov's work. In particular, the novel "Black Eyes" was characterized by a true depiction of rural life in the early 60's, the difficulties, complexities and contradictions of life. In it one could also find the interpretation of problems concurrent to the present day. In particular, the novel is relevant for almost all periods, as it clearly embodies the illusions of leadership, economy, additions, moral depravity and the existence of opponents.
Just as in the novel "Black Eyes" P. Kadyrov, following the path of revealing the contradictions of life in all its sharpness, in the story "Heritage" truly tells the truth about the weight of labor in cotton production, full of hardships and even tragedies. was able to express through horse means. For his time, this work of the writer was a great courage. Due to its great artistic value, the story "Heritage" has become one of the most significant achievements of the writer in the field of literature. Unfortunately, it is difficult to say such a conclusion about P. Kadyrov's story "Erk" and the novel "Diamond Belt", which cover the life of metro builders, the inner world. In particular, in the story "Erk" the author's call for extreme freedom in the field of love seems controversial, while in "Diamond Belt" it covers many aspects of city life, including the construction of the subway, youth education, extravagance at weddings, family conflicts. However, due to the fact that they were not mutually exclusive, the novel was incomplete in composition.
Almost all of the stories and novels mentioned above were on a contemporary theme. Since the mid-60s, P. Kadyrov has been working on the genres of drama and historical novels. For example, he first published the drama "Insof", which drew people's attention to the moral issues that were important for that time, and promoted the ideas of spiritual purity and beauty. Only because this work was the first experience of the writer in the field of dramaturgy, that is, it did not rise to the level of perfection, the ideas of noble humanity did not resonate.
As P. Kadyrov himself was an expert on the history of the East, for a long time the past, struggles, bloody tragedies, great personalities of the native people attracted his attention. As a result, first with his works "Starry Nights" ("Bobur"), then "Passage of Generations", Pirimkul Kadyrov raised the Uzbek historical novel to a new level after his teacher Oybek. In the novel "Starry Nights" the writer Zahiriddin Muhammad Babur embodied the image of a complex historical figure. By deeply studying the historical facts and information, he was able to absorb the image of Babur into the basis of the work of art. In this novel, Pirimkul Kadyrov tried to show the inner world of Babur, with all its complexity and contradictions.
After that, the author wrote "Passage of Generations" as a sequel to the novel "Starry Nights". The second novel, like the first, is a historical work, in which the passages of Babur Mirzo's descendants are reflected in complex stages of life. The play mainly depicts the life of Babur's eldest son Humayun Mirza and his grandson Akbar Shah. Pirimkul Kadyrov writes about this work: "I wrote this novel in accordance with the requirements of many readers, and in the process of creating this work I studied the history, literature and culture of our people in the XY-XYI centuries."
These two works are very rich in historical information and are a bit artistically weak. The writer did not raise the artistic level of the work, paying great attention to the historical facts. It seems that the writer's main goal is not to create a work of art, but to write a historical book.
The Passage of Generations was recently republished as Humoyun and Akbar in the form of a new book.
Pirimkul Kadyrov also wrote in the popular genre of literary creation, such as journalism. As a result, his first essay "Our Family" was published in 1953. His popular scientific works "Folk language and realistic prose", "Language and language" are the product of research of writers and scientists.
Based on the writer's screenplay, a feature film "Your Traces" about the hardships of the blue fire was shown.
As a translator, the writer translated into his native language L. Tolstoy's "Cossacks", K. Fedin's "First Joys", N. Thomsen's "Trace", H. Deryaev's "Fate".
In 1982, Pirimkul Kadyrov was awarded the Hamza Republican State Prize for his novel Starry Nights. Pirimkul Kadyrov is a People's Writer of Uzbekistan.
Abdulla Oripov
(Born in 1941)
Abdulla Aripov entered the Uzbek literature in the 60s along with such artists as Erkin Vahidov, Omon Matjon, Halima Khudoiberdieva, Aydin Hojieva. From the very beginning of his career, the poet created a novelty in our poetry with his own style and unique voice, which attracted the attention of many.
Abdulla Aripov was born on March 1941, 21 in the village of Nekoz, Kasan district, Kashkadarya region. In 1958 he entered the journalism department of the philological faculty of Tashkent State University and graduated in 1963. Then in 1963-74 he worked in the publishing house, in 1974-80 in the magazines "Sharq Yulduzi" and "Gulkhan". After that he held various positions in the Writers' Union of the Republic of Uzbekistan.
Abdulla Aripov briefly chaired the Copyright Committee. Currently, the poet is the head of the Writers' Union of Uzbekistan.
Feelings such as the innocent life in the village, the tranquility of nature, love inspire him to poetry. The source of inspiration for the poet's heart was opened.
The first poems of the poet began to be published in the press during his student days. Abdulla Aripov's first collection was published in 1965 under the title "Little Star". In some of the first poems of the poet there were signs of abstraction, controversial and contradictory places. However, they should not be seen as ideological shortcomings, but as growth challenges. The collection "Little Star" was published as a book that testifies to the poet's true creative path.
Abdulla Aripov in his poems included in this collection gives more space to the description of natural landscapes. For example, in the poem "Archa" the poet tried to show that his feelings have reached a new height. Suddenly, the stonemason drops a stone on the arch. But the spruce does not bend. Years later, the returning master froze in astonishment: the spruce tree grew taller as it lifted the stone on its head… What does the poet mean by this far-fetched description of the event? In this poem the whole truth of life is revealed.
Initially, Abdulla Aripov expressed his goals and basic aesthetic principles from his youth as follows:
I am a Poet
That's it if you want.
This is my word.
I didn't get the feeling from anyone
I will not give my voice to anyone else.
Poet A. Aripov published several more books after the collection of poems "Little Star": "My eyes are on your way" (1966), "Mother" (1969), "Spring", "My soul" (1971), “Uzbekistan” (1972), “Hayrat” (1974), “Yurtim Shamoli” (1976), “Salvation Fortress” (1980), “Harmony of the Years” (1984), “Trust” priklari ”(1989),“ Munojot ”(1992),“ Dunyo ”(1995),“ Haj daftari ”(1995),“ Saylanma ”(1996).
Today, Abdulla Aripov is well known throughout the country and his works are loved and read. Of course, he did not reach creative maturity easily. Indeed, from a young age, the poet took a great responsibility for creative work. Therefore, the teacher A. Qahhor: “I like one of Abdullah's qualities. He writes only what he sees and knows. ” Moreover, the poet never tires of polishing and polishing the work. Because he considers poetry to be a matter of conscience. That is why he says with sincere sincerity and pleasure:
BoShin eggay hamiSha
Ostonangda Abdullo,
My greatest happiness,
Mother, Poetry,
The crown I found is mine,
My dear poetry, -
he sings.
Abdulla Aripov's poems are full of philosophical depth and intense lyricism. His “Uzbekistan”, “Listening to Munojot”, “Letter to the Generations”, “My Thoughts”, “Spring”, “My First Love”, “Face to Face”, “Othello”, “Autumn”, “Cancer This feature is evident in his poems "To the sea" and others. These fascinating and profound poems are classic examples of Uzbek national literature, characterized by high art, logical strength, enthusiasm, charm and richness of lyrical sentiments:
A melody that sings and fills,
"Munojot" mourns the centuries.
If so, to the grief itself
How can a man endure.
Apparently, Abdulla Aripov is a poet of thoughts and passions. His creative scope is wide, his thoughts are deep and independent, his artistic observations are strong, his passion is strong, his flight is high. He does not know indifference. That is why the Poet's Poems fascinate readers with their enthusiasm and richness of lyrical emotions.
Abdulla Aripov's dramatic epic "The Road to Heaven" tells the story of such concepts and fantastic events as the mythical scales of doomsday and the hereafter, hell and heaven, good and evil. Along with such life heroes as Yigit, Ona, Ota, Dost, Ospirin, Qariya, the epic also contains such symbolic images as Tarozibon, FariShta, Hur qiz, Yugurdak, Sado. Through them, the poet was able to wisely use both religious concepts and symbolic images in the promotion of universal values, noble qualities of justice and righteousness, conscience and integrity, morality and goodness. The purpose of the poem is expressed in the last verses:
According to a legend, I told a story,
Embracing various destinies,
I thought it would be an example for people.
Due to the richness of philosophical thoughts about man and his life and their New Interpretation, the epic "Path to Heaven" and, in general, the book "Fortress of Salvation", which includes this work, testify to the deepening humanistic nature of Abdulla Aripov's work. At the same time, this book appeared as a serious literary event, marking the beginning of the maturity of the poet's career, and was awarded the Hamza State Prize of the Republic. As the poet himself said, true humanity, knowledge and intelligence, love always motivates a person to goodness and kindness.
The same ideas are clearly reflected in the Poet's "Book of Hajj" series of poems:
Destiny has become like a millstone,
The caravans were destroyed, the soldiers were defeated,
There was a band, the Great Land, after all,
I have come, help me, O Ka`batullah.
Fraud, insults,
Orphan justice aside.
Is there happiness, after all, a guarantee,
I have come, help me, O Ka`batullah.
Another epic created by the poet is called "Ranjkom" (1988). In this, the poet puts forward philosophical ideas.
My dear, do not enter the palace of the tongue,
There are a couple of snakes and dragons.
Don't ride in vain to find someone -
Everyone has their own sun, their own horizon…
The epic shows the structure of the Company of those who strive to find beauty in the lives of people in society. The story is based on a conversation between the members of the "Ranjkom" and the fact that the cleaner ate a duck and was ashamed. Apparently, the epic "Ranjkom" reflects a real-life event, trying to show the actions of members of an imaginary organization. Abdulla Aripov's epic "Judge and Death" (1980) uses the scenes of the distant past in the embodiment of the idea of the work. This epic, written about the great genius of world medicine Abu Ali ibn Sina, raises issues that are relevant to human life in general and are eternally modern. It artistically embodies deep social ideas about life and man, science and death, nobility and envy.
In the epic, the jealous disciple of the ruler, Mirzo, cannot contain his love for the princess and kills his teacher, and the world waits for the awakening of the body of the wise man in silence:
There is no end to this silence,
There is no end to this life, there is no time.
He sees, he has no tongue to speak,
He hears, there is no way to get up.
The originality of A. Aripov's poetry is also reflected in his ability to find wonderful images. For example, the poet created our exhortation, which is similar to the article "Yellow gold under patience", in the "Ballad of Silence" and clearly demonstrated the ability to find unexpected symbols:
Step on the ground, my child,
The earth itself will revolve.
It is clear from Abdulla Aripov's aesthetic views that lyricism is one of the wonders of human artistic thinking, creation and creation, and a spiritual treasure that calls people to goodness and purification of the soul through a person's emotional attitude to the world and being. Every nation has its own spiritual wealth. The translator of such riches is the Poet. A.Oripov, as a translator, translated the poems of A.PuShkin, TGSHevchenko, V.Charens, N.Ganjavi, K.Kuliev, Dante's "Divine Comedy". In particular, the philosophical views and figurative symbols in Dante's "Divine Comedy" had a strong influence on the poetry of A. Aripov, in particular, on the emergence of the epic "The Road to Heaven." The poet expressed this impression in the following verses:
Now I can lift it in good waters,
My genius is sharp again,
He was lost in the waves.
In his famous work, Abdullah Qadiri says, "It is better to return to Mazi and work." In addition to his poems and epics, A. Aripov also wrote dramaturgy. He wrote the drama "Sahibqiron". The drama consists of five scenes, and the writer tries to show the state, life and feelings of our great ancestor Timur. "I tried to write down what I saw and felt," says the poet. In this sense, A. Aripov's desire to know the secrets of man, to develop artistically, to paint a picture of a complex spiritual world, to reveal the essence of the heart is always reflected in his poems:
Do not joke with the human heart You,
In it the mother lives, the Motherland lives.
Don't think of it as a bad thing,
Hayhot! Don't move, this Heart suddenly! ..
About the poet |
||
|
||
Notification: DevOps Solutions & services
Notification: khliph̄ludh̄im̀
Notification: read here
Notification: where to buy mushrooms online vancouver bc
Notification: totopokesmon
Notification: for more information
Notification: Pointeu holdeom
Notification: roof skylight
Notification: buy adder all online
Notification: weed store mississauga
Notification: tibiwiki
Notification: Muha meds cart
Notification: news ball
Notification: Euro 2024 football