Informations about Alisher Navoiy His poems and handwritten His popularity over the world

Plan

1. 
   Informations about Alisher Navoiy
   
2. 
   His poems and handwritten
   
3. 
   His popularity over the world
   

Alisher Navoi - poet, thinker, humanist

"More than all the riches, you are given

A priceless pearl is one.
And this is the mind. Do not compare with him
Rubies and diamonds are expensive "

Alisher Navoi

 

February 12, 2018 in the Branch of the Gubkin Russian State University of Oil and Gas (NIU) named after I.G. Gubkin in Tashkent hosted the scientific and practical seminar "Alisher Navoi - a poet, a thinker of a humanist".

The seminar was attended by the head of the department "Мананавият ва майрифат" Ruzmetova Kh.A., professor Mansurova G.Kh., associate professor Namazova Sh.A. and first-year students of the group EE-17-01.

Outstanding poets of the East named Alisher Navoi as their teacher and mentor. The great Azerbaijani poet Fuzuli called Alisher Navoi the king of the verse, learned from him the skill of the word; In the 16th century, Kishvari testified that the greatness and nobleness of Navoi's creativity brought the peoples of the earth friendly. Abai ranked him among the greatest poet of the East, from whom he drew inspiration. The Karakalpak classic Berdakh called him in his poems the lord of thought.

The great poet did not restrain himself by the narrowness of fanatical nationalism. Arabs, Armenians, Slavs, Greeks live on the pages of Navoi alongside his compatriots.A significant place in the work of A.Navoi is the theme of love. He sang a sacred feeling for the mother, giving life, carrying the light of good and mercy.

The peak of all Navoi's creativity is the "Five" - ​​an epic cycle consisting of five remarkable poems - "Confusion of the Righteous", "Farhad and Shirin", "Leili and Mejun", "Seven Planets", "The Scene of Iskander".

Alisher Navoi was a patriot, the true son of the Uzbek people, and his brilliant lines emanating from the heart of fire, suffered, deeply lyrical and philosophically meaningful, which have become our life credo, are still relevant today.

He highly appreciated the role of upbringing and observance of moral norms in the mutual relations of people, in the spiritual perfection of the individual, praised in his creations the fidelity to the cause of the state and the people, friendship, fraternity, truthfulness and conscientiousness, devotion to science and enlightenment, and the power of his talent embodied all the best ideas in their immortal works.

The names of our great compatriot are museums and monuments, architectural works and cultural and educational institutions, schools, gardens, parks, metro stations, streets and libraries throughout the republic and beyond.

His real name is Nizomiddin Mir Alisher. He wrote his poems under the pen-names of Navoi (in his poems which were written in the old Uzbek language) and Foni (in his poems which were written in Persian language). Navoi is a great Uzbek poet, a representative of the Uzbek literature which is called Chigatoy leterature in the West. He was born in Herat and spent the main part of his life there. Navoi's family was close to Timurid's palace. According to the information of great historian Hondamir, an old poet Lutfi met with Alisher Navoi, when he was a child and Lutfi appreciated his talent.During 1464-65 the fans of Navoi's creation collected all of his poems and copied them to make "devon". Since 1469 Navoi had lived far from Herat because of the inside fights which were going in Timurid's state.

One of the Timurid's Husayn Boyqaro took the crown of Herat in 1469, and a new period began in Navoi's life. In 1469 he was given a title as a stamper and in 1472 as a minister of the state (vazir) by Husayn Boyqaro. He was famous as a poet and a statesman and owned a great wealth at that time. During 1480 he built a number of madrasahs, 40 robots (the place where Karavan could have a little rest), 17 mosques, 10 honaqohs, 9 bath-houses, 9 bridges, 20 pools in Herat and in other parts of the country for his own money (from his own account). Navoi was sent to Astrobod as a governor (head) in 1487. Husayn Boyqaro gave a title to Navoi as "Muqarribi hazrati sultoniy (the closest person to sultan)". One of the main features of that title was that who could do state work instead of Husayn Bayqaro. (See: Bartold V.V. Selections. Vol. II (2), Moscow, 1964).
According to the capacity of Alisher Navoi's work is more than 60000 verses. His "Hamsa" includes the following dostons (plays): "Hayratu-l-abror", "Farhod va Shirin", "Layli va Majnun", "Sab'ai sayyor", "Saddi Iskandariy". Navoi was the first poet who created completed "Hamsa" in turkiy language (the old Uzbek language) and proved that such great work could be written in turkiy. (See: Bertel's Y.E. Navoi Djami,Moscow,1965).

More than 120 dostons (plays) which called "Layli va Majnun" were written in Eastern literature. Navoi also wrote "Layli va Majnun" and he described this theme in quite another way (the professor of the faculty of Uzbek Philology, the Tashkent State University Saida Nazrullaeva (1917-1988) wrote about it in her following book: (Nazrullaeva S. Tema “Leyli i Medjnun” v literaturax narodov sovetskogo Vostoka (Theme "Leyli i Medjnun" in the literatures of the Eastern nation). Tashkent, 1983).Navoi expressed his tasavvufiy thoughts also in "Farhod va Shirin", "Hayratu-l-abror". (see: Erkinov S. Navoi "Farhod va Shirin" and its comparative analysis. Tashkent, 1978). The problems which are connected with the leader were the main plan in "Sab'ai Sayyor" and "Saddi Iskandariy" which are the parts of "Hamsa". In the tradition of writing Hamsa Alisher Navoi's "Hamsa" is distinguished with its social-political character and being original (see: Aliev G.Y. Themes and subjects of Nizami in the literature of Eastern Nation. Moscow, 1985). Having read Navoi's "Hamsa" Abdurahmon Jomi, who was the teacher and adviser of Navoi, was impressed and appreciated his work. (see: Erkinov A. La quarelle sur l'ancien et le nouveau dans les formes litteraires traditionnelles. Remarques sur les positions de Yani et de Nava'i. In: Annali del' Istituto Universitario Orientale, vol. 59 (Napoli 1999), p. 18-37).There are many manuscripts and printed copies of Navoi's "Hamsa" in Central Asia (the catalogue of Alisher Navoi's "Hamsa". Compiler K. Munirov, M. Hakimov. Tashkent, 1986) 166 manuscripts which were copied during XV-XX centuries, are kept in the fund of manuscripts of the Institute Oriental Languages in the Academy of Sciences of Uzbekistan. In 84 of them all dostons (plays) of pentas are given in it.

Spreading the manuscripts of Navoi's "Hamsa" till the XX th centuries and finding out the number of it showed the important part in the intellectual life of the people in the Middle Asia (The assistant professor of National University of Uzbekistan A.Erkinov did some research works).

The descriptions of Alisher Navoi's "Hamsa" in the sources of the XV-XX th centuries. The thesis of doctor of Sciences of Philology. Tashkent, 1998; Erkinov A. Les manuscripts du Hamsa de "Ali Shir Nava'i et la vie culturelle de Hanat de Bouhara sous les Mangits. Bouhara-la-Noble. In: Cahiers. I'Asie centrale №5-6. 1998. 169-180; Erkinov A. The perception of works by classical authors in 18th and 19th century Central Asia; the example of the Xamsa of Ali Shir Nawa'i. In: Muslim Culture in Russia and Central Asia from the 18th to the Early 20th centuries. Vol. 2: Inter-Regional and Inter-Ethnic Relations. Ed by A.V. Kuegelgen, M. Kemper, A. Frank, Islamkundliche untersuchungen. Band. 216, Berlin, 1998, 513-526).

Navoi's thoughts, the quintessence of philosophical views - tasavvufiy ideas of the last days of his life were described in "Lisonu-t-tayr" (see: Bertel's Y.E. Sufizm i sufiyskaya literatura, Moscow, 1965).

During 1491-1498 Alisher Navoi created 4 devons (collection) called "Hazoinu-l-maoniy". The general capacity of it is more than 50000 verses. There were 21 lyric genres in Eastern literature and Navoi used 16 of them in his poems. The collection of his poems in the Persian language is called "Devonu Foni". These two devons include 3150 poems which were written in gazal genre. Navoi collected his qasidas in Persian and made 2 miscellaneas called "Sittai Zaruriya: ("Olti Zarurat") and "Fusuli arbaa" ("Four seasons").

Alisher Navoi put forward the global problems with the sufizm in his poetry (see: the research work of B. Akromov, professor of the faculty of Uzbek philology, National University of Uzbekistan. Akromov B. Fasohat mulkining sohibqironi. Tashkent, 1991)After the independence of Uzbekistan Navoi's poems about religion and sufizm are widely studied. Especially from this point of view the objective study of Navoi's poems are increased. (Komilov N. Tasavvuf. Tashkent, 1996). The religious poems of Navoi called "Arbain", "Munojot" were adopted firstly. The work "Nasoyimu-l-muhabbat", which includes information about 750 shayxs of tasavvuf was adopted (Navoi, the collection of complete works. Vol.17. T.: Fan (Science), 2001)

Navoi's "Muhokamatu-l-lugatayn" is devoted to the comparative analysis of Turkish and Persian. His tazkira "Majolisun-nafois" was written in the way of literary criticism (Hayitmetov A. Alisher Navoiyning adabiy-tanqidiy qarashlari (Literary critic thoughts of Alisher Navoi). Tashkent, 1959). His "Mezon ul-avzon" was written about the theory of aruz, "Mufradot" was written about the rules of problems.Also he created the works called "Tarixi muluki ajam", "Tarixi anbiyo va hukamo". In the base of his collection called "Munshaot". In memorialistic genre he wrote "Hamsatu-l-mutaxayyirin" ("Besh hayrat") devoting to Abdurahmon Jomi (1494), "Holoti Sayyid Hasan Ardasher" (Sayyid Hasan Ardasher hayoti bayoni) and "Holoti Pahlavon Muhammad" (Pahlavon Muhammad hayoti bayoni). In Navoi's nasriy work "Mahbubu-l-qulub" (1500) the social and political thoughts were expressed in high level.

254 handwritings of 24 works of Navoi are kept in the Academy of Sciences of Uzbekistan, in the Institute of Oriental Languages (3rd fund) (Hakimov M. Navoi asarlari qo'lyozmalarining tavsifi. Toshkent, 1983)The list of handwriters who copied the works of Alisher Navoi and some information about them can be a Risola. (Hakimov M. The handwriters who copied the works of Navoi, Tashkent, 1991)
he Alisher Navoi National Park is one of Uzbekistan's largest urban parks situated in Tashkent. It was founded in 1932 and was named Komsomolsky in Soviet times. Nowadays it bears the name of a great medieval enlightener Alisher Navoi. The park covers 65 hectares area with a lake and a network of canals.

The A. Navoi park is in Almazar street, which is one of the main arteries of Tashkent. The main entrance of the park faces Beshagach Square. It is a beautiful green area of alleys and flower beds creating a special romantic atmosphere. The park allows one to scull a boat, ride a bike or roller-skate. There is also a big artificial lake, where swimming is allowed in hot seasons. There are different kinds of attractions and children's railway. It's an exact copy of a real railway built in the 1940s with rails and carriages with a smaller size than originals.

In the centre of the park is the memorial of Alisher Navoi as if blessing young people to keep the traditions of great people. The territory of the Alisher Navoi Park is a site of a number of buildings and monuments: Oily Majlis-The Uzbek Parliament, the main register office, restaurant Navruz, concert hall Itsiklol, a series of fountains, an exhibition hall, the Abulkasym madrasah, which is a 16th-century building.

Alisher Navoi was a great poet, Statesman and the founder of Uzbek literature. He was born in Herat, on February 9, 1441. Navoi became a very famous poet. He was active for many years in the society which was torn by endless wars after the death of Temur. Alisher Navoi got a very good education for those days. He knew all poetic forms. Navoi wrote mostly in Turkic and used Persian very little. Navoi was well known as a literary scholar. He supported poets, scientists and artists. He was a great master of fine arts and knew how to handle a painter’s brush himself. He was a very good architect, and designed many schools, hospitals, inns, bridges, roads and channels. Navoi’s poems in old Uzbek were collected into four parts, which were called “Chor-Devon”. His poems in Persian were collected and called “Devoni-Foni”. His most important work is the “Quintuple”, five poems written between 1483 and 1485.

The first, “Hairat ul-Abror” is a philosophical work. The second poem is “Farhod and Shirin”. The third is “Laily and Majnun”. The fourth, “Seven Planets”, consists of seven short works around a common theme, the quarrel between King Bahram and his beloved Dilorom. The fifth is “Saddi Iskandari”.

Alisher Navoi spent his last years in Herat. His last book, “Mahbub-ul-qulub,” which was written in prose, is very popular with the Uzbek people to this day. Alisher Navoi died on January 3, 1501. His works have entered the treasury of world literature and have been translated into many languages.

My collection A New Diwan (h/t Alisher Navoiy) is a sequence of 84 short poems inspired by Uzbekistan, its literature and its culture, with the 15th Century poet as the inspiration presiding over it. Alisher Navoiy was the first great poet to write in Chagatai (a Turkic language which modern Uzbek developed out of), establishing it as a literary language in the same way that Dante established Italian. About a quarter of the poems are either directly about him or in response to his poems. I am not a scholar, not an expert, and I am a newcomer to Central Asia. So this sequence is really about my discovery of it all. I first became curious about Uzbekistan a few years ago when I read Georges Ivanovitch Gurdjieff’s Meetings With Remarkable Men (1963). He lived in Bukhara for a while and visited a mysterious monastery somewhere in the vicinity (or maybe not). As soon as I saw some photos and saw how beautiful Uzbekistan is, I wanted to visit. I had already written some poems before my first visit, in February this year, just before lockdown, and wrote the rest after I returned to London.

I think there are three main strands of poems in the sequence. I will give you an example of each of them. The first strand has poems that are my impressions of the country and culture. This one needs no introduction:

The fingers’ fork-like grabbing from
an omphalotic pile of plov,
Its greasiness upon them, is
a form of all-absorbing love.

Mouths open, round a midday ta-

ble, sharing in it, if they feud
For this bit, that bit, shut up and
become familiar by food.

The second strand has poems that draw on connections and comparisons between England and Uzbekistan, English poetry and Uzbek poetry. I did not use the phrase “The Silk Road” (except in the blurb on the back cover, which seems to be a editorial requirement for any book about Central Asia). But I think the term is useful as an analogy for the fine threads that connect us all. The next poem continues the culinary theme. To anyone from England, an apple is quintessentially English. But, as you may know, they originate in the mountains of Central Asia:

This apple, ample as it is,
is the enthusiastic aunt
Of a young Cox, a pippin from
an orchard on a farm in Kent.

Up there, the apple’s Adam and

the Eve were on a wild tree, for
Its mountainside to order on-
wards. It has sent the seeds so far.

The third strand is the Navoiy strand. Unfortunately, I cannot read Chagatai and I could only find a few slim volumes of translations in English and French. I thought the French translations were better, partly because, in my opinion, English doesn’t suit the ghazal form (there are too many hard endings for the repeated refrain to work well). Also, it is my impression that the greatness of Navoiy’s poetry is in the elegance of the verse, in the subtle variations on the same subjects and themes, both of which are lost in translation. So I wrote poems about him, about approaching his poems and even about the translations. He likes to play with the word navo (melody) and his pen name derived from it. Here is a poem about him that plays with a few nav- and nov- words:

A navigator of a new-
ly metered idiom he has
No match in, this is Navoiy,
as much an innovator as

An institution that is, e-

ven in an Uzbek novel now,
As unavoidable as when
a novice dabbed a nib to know.

There are also poems inspired by motifs and images in his poems. It is easy to say that his love poems are also allegories of mystical and spiritual experience. But is there more to them than that? What is the specific spiritual teaching in any one poem, as down-to-earth and straightforward a love poem as it is? I did not write any love poems (well, maybe one). But I did write some poems about spiritual experience, as well as analogous poems about the experience of poetry, such as this one:

A line of light along the low
horizon, as the night is end-
Ing, is the ah of an ide-
a, in its impulse to ascend.

A ruba’i is written, then,

in ribbons on the eastern sky,
In red ink or in blue. It is
the rhyme that, rising, is its key.

I am now thinking ahead to my next collection. I hope I will be able to visit Uzbekistan again soon and be inspired by it again. And I hope more (and better) English translations of Navoiy and other poets will soon be available, so many more literary interactions  and exchanges will be possible.