AMIRIY DEVONINING IRFONIY TADQIQI mavzusidagi magistrlik dissertatsiyasi ANNOTATSIYASI Amir Umarxon Qo‘qon adabiy muhitini madaniy, ijtimoiy-siyosiy jihatdan shakllantirgan siymolardan biridir. Shoh-shoir adabiy muhitning yuksalishida o‘zining ko‘plab islohotlari bilan ulkan hissa qo‘shgan. Amiriy fan va adabiyot ahliga rahnamolik qilishi bilan birga o‘zi ham yuksak iste’dodli shoirdir. Undan bizga lirikasi jamlangan devoni yetib kelgan. Mazkur devonida g‘azal, muxammas, musaddas, tarji’band, ruboiy, tuyuq kabi o‘nga yaqin janrlar jamlangan. Har bir janr devonda o‘z o‘rniga ega, ya’ni janrlar devon tuzish an’anasiga muvofiq ravishda tartib bilan joylashtirilgan. Amiriy devonidagi janrlarning mavzu ko‘lamida, asosan, ishq mavzusi yetakchilik qiladi. Ishqni shoir turli yo‘sinda tarannum etadi. Bunda asarlardagi timsollar ishqi majoziy va ishqi haqiqiyni anglab olishda kalit so‘z vazifasini bajaradi. Yana bir unsur borki, shoir ishqini yorga yetkazishda muhim o‘rin egallaydi. Bu – diologli misralar hisoblanadi, ular g‘azallarning ta’sirchanlini boyitgan, oshiq va ma’shuqa munosabatlarini oydinlashtirishda yetakchi unsurlardan hisoblanadi. Shoir lirikasi ma’rifiy ma’no zuhur etishi bilan ajralib turadi. G‘azallarida hamd, na’t, munojot, mav’iza, manqabat mavzusi qalamga olingan bo‘lib, irfoniy mazmun yetakchilik qiladi. Devondagi dastlabki g‘azallar Alloh taologa hamd va munojot, Payg‘ambarimizga na’t, bundan tashqari mav’iza va manqabat mavzusida bitilgan. Bunday mavzudagi asarlar yaratish har qanday shoirning ham qo‘lidan kelavermaydi, shundan kelib chiqib shoirning salohiyat darajasini belgilash mumkin bo‘ladi. Albatta, Amiriy ijod jarayonida salaflarining yo‘lidan borib, ularning yo‘nalishini asarlariga olib kiradi. Lutfiy, Alisher Navoiy, Fuzuliy, Bedil kabi bir qancha ijod darg‘alari Amiriy lirikasida muhim ahamiyat kasb etgan. Amiriy asarlarida an’anaviylikni davom ettirgan holda o‘ziga xoslikni ham 1

namoyon etadi, ya’ni ko‘r-ko‘rona g‘oyalarni davom ettirmasdan ularni boyitishga harakat qiladi. Xususan, shoir yaratgan taxmislarda bu yaqqol sezilib turadi. Amiriy g‘azallarida an’anaviy obraz va timsollar o‘z o‘rniga ega bo‘lib, asar badiiyatini boyitishda va mavzu mundarijasining oydinlashishida muhim ahamiyat kasb etadi. Amiriy lirikasida payg‘ambarlar, tarixiy shaxslar, oshiq va ma’shuqlikni tarannum etuvchi obrazlar, xalq og‘zaki ijodiga ishora qiluvchi obrazlar va timsollar juda ko‘p o‘rinlarda uchraydi. Yusuf, Ya’qub, Sulaymon, Xizr, Iso, Muso kabi payg‘ambarlar nomlari, Doro, Iskandar, Jamshid, Faridun kabi tarixiy shaxslar, Farhod va Shirin, Layli va Majnun, Vomiq va Uzro kabi oshiq va ma’shuqlikni ifoda etib keluvchi obrazlar Amiriy ijodining badiiylashishida o‘z o‘rinlariga ega. Obrazlar turli maqsadlarda qo‘llanilgan. Masalan, oshiqni o‘sha obrazga taqdirdosh sifatida yoki bo‘lmasa undan ham ortiq ishqqa egaligiga ishora tarzda turli obrazlar tanlangan, tarixiy shaxslarning nomlari esa mol-u mulkning o‘tkinchiligi hamda ishq oldida ularning qiymati yo‘qligiga ishora qilib keladi. Bundan tashqari shoir ijodida pir, soqiy, may, mayxona, lab, ko‘ngil, jom, qadah, xarobot, zohid kabi bir qancha timsollar qo‘llanilganki, ular yordamida shoir g‘azallaridagi asosiy g‘oyani anglab olish mumkin bo‘ladi. Shoir g‘azallaridagi umuminsoniy g‘oyalar esa insonni komillikka chorlab turadi. THE GNOSTIC RESEARCH OF AMIRI DEVAN 2

master’s thesis on the subject ANNOTATION Amir Umarkhan is one of the figures who shaped the literary environment of Kokan from a cultural, socio-political point of view. The king-poet made a great contribution to the rise of the literary environment with his many reforms. Amiri is a highly talented poet in addition to leading people of science and literature. From him, a collection of lyrics has reached us. About ten genres such as ghazal, mukhammas, musaddas, tarji’band, rubai, tuyuq are collected in this divan. Each genre has its place in the divan, that is, the genres are arranged in order according to the tradition of creating a divan. In the scope of themes of genres in Amiri’s book, the theme of love is the leading one. The poet praises love in different ways. In this case, the symbols in the works serve as key words in understanding figurative love and real love. There is another element that plays an important role in conveying the poet’s love. These are dialogue verses, which enrich the impressiveness of ghazals and are considered to be the leading elements in clarifying the relationship between a lover and a lover. The poet’s lyrics are distinguished by the emergence of educational meaning. In his ghazals, the themes of praise, praise, prayer, and mangabat are written, and the gnostic content is leading. The first ghazals in the Dewan were written on the subject of praise and prayer to God Almighty, praise to our Prophet, and also on the subject of mawiza and manqabat. It is not possible for any poet to create works on such a topic, based on this, it will be possible to determine the level of the poet’s potential. Of course, Amiri followed the path of his predecessors in the creative process and brought their direction into his works. Lutfiy, Alisher Navoiy, Fuzuliy, Bedil, etc., have gained importance in Amiriy’s lyrics. In his works, Amiri shows originality while continuing traditionalism, that is, he tries to enrich ideas without blindly continuing them. In particular, this is clearly noticeable in the assumptions made by the poet. 3

Traditional images and symbols have their place in Amiri’s ghazals, and they are important in enriching the art of the work and clarifying the content of the subject. In Amiri’s lyrics, prophets, historical figures, images glorifying the lover and the beloved, images and symbols referring to the folklore of the people can be found in many places. Names of prophets such as Yusuf, Ya’qub, Suleiman, Khizr, Isa, Moses, historical figures such as Darius, Iskandar, Jamshid, Faridun, Farhad and Shirin, Layli and Majnun, Vomiq and Uzro, which have been expressing love and affection images have their place in the art of Amiri’s work. Images have been used for various purposes. For example, different images were chosen to indicate that the lover is destined for that image or, if not, to have more love, and the names of historical figures indicate the transience of possessions and their worthlessness in front of love. In addition, several symbols such as pir, soqi, may, maykhana, lip, heart, cup, glass, ruin, and hermit are used in the poet’s work, which help to understand the main idea of the poet’s ghazals. The universal ideas in the poet’s ghazals call a person to perfection. MUNDARIJA KIRISH ……………………………………………………………………….. 8-13 4

I BOB. QO‘QON ADABIY MUHITIDA LIRIK JANRLARNING MAVZU KO‘LAMI I.1 Amiriy she’riyatining kompozitsion tuzilishi va devonchilik an’anasi …………………………………………………………………………………14-24 I.2 Amiriy she’riyatida an’ana va adabiy ta’sir masalasi………………………24- 40 Bob yuzasidan xulosalar……………………………………………………….42- 42 II BOB. AMIRIY DEVONIDAGI G‘AZALLARNING IRFONIY TADQIQI II.1 Devondagi g‘azallarning mavzu ko‘lami va badiiyati……………………43- 53 II.2 Amiriy g‘azallarida hamd, na’t, munojot va manqabat mavzulari badiiyati..53- 66 Bob yuzasidan xulosalar…………………………………………………….. 66-67 III BOB. AMIRIY IJODIDA AN’ANAVIY OBRAZ VA TIMSOLLAR BADIIYATI III.1 Shoir g‘azallarida an’anaviy obrazlarning irfoniy talqini……………. 68-83 III.2 G‘azallarda tasavvufiy timsollarning badiiy ifodasi. ………………….. 84-88 Bob yuzasidan xulosalar……………………………………………………... 88-89 UMUMIY XULOSALAR ………………………………………………….. 90-92 FOYDALANILGAN ADABIYOTLAR RO‘YXATI …………………….. 93-97 5