SAMANDAR VOHIDOV’S LITERARY MASTERY IN TAXMIS MUXAMMAS

Аннотация

The article highlights several key aspects of Samandar Vohidov’s literary mastery in composing taxmis muxammas. Demonstrating a deep understanding of classical poetic traditions, he skillfully connects his own lines to Alisher Navoiy’s ghazals of various themes—hamd (praise), ashiqona (romantic), and orifona (mystical, philosophical). In transforming the couplets into five-line stanzas, Vohidov meticulously preserves the poem’s original meter, rhyme, and refrain, which is a clear indication of his refined poetic craftsmanship. Key words: The science of aruz, the science of rhyme, ramali musammani maksur, dedication, ghazal, qasida, mukhammas, masnavi, classical poetics.Creating taxmis muxammas is considered the second type of muxammas creation. R. Orzibekov refers to such muxammas as tazmin muxammas. This terminology is justified, as “tazmin” means “basis” or “foundation,” indicating that in creating such muxammas, another poet’s or author’s ghazal serves as the foundational text. Muxammas created by the tazmin method are also called the art of adding five lines to each couplet of a ghazal. This also implies the existence of a basis. To create the five-line additions to ghazal couplets, the poet selects a ghazal written by himself or by a poet from the past or contemporary, preserving its meter, rhyme, and refrain, and adds three lines before each couplet according to certain poetic principles. By doing so, the poet somewhat expands the theme of the original ghazal and demonstrates his artistic skill while maintaining the poetic elements of meter, rhyme, and refrain. This, of course, demands great artistic mastery from the poet. Indeed, when a poet links his taxmis muxammas to a classical poet’s ghazal, he must take into account the original poet’s ideological views, mastery of word usage, and several other factors. Samandar Vohidov, having deeply studied these poetic requirements for creating taxmis muxammas, is considered a talented poet with 58 such works to his name. The fact that 50 of his taxmis muxammas are linked to the ghazals of Alisher Navoi alone attests to the poet’s high talent. The great poet Navoi, as an incomparable talent, skillfully employs mystical terms, expressions, concepts, allegories, and symbols in his ghazal couplets to create artistic discoveries and 98 INNOVATIVE RESEARCH IN SCIENCE International scientific-online conference interpret his divine-spiritual views. Matching his skill in adding lines requires similar talent from the creator of the taxmis muxammas. Samandar Vohidov has also linked taxmis muxammas to the ghazals of other great poets such as Husayniy and Zahiriddin Muhammad Babur, as well as to the ghazals of the contemporary poet Jamol Kamol, who masterfully translated unique masterpieces of Eastern classical literature like Jalaluddin Rumi’s Masnavi-ye Ma’navi. Furthermore, he has created taxmis muxammas on the ghazals of Persian-Tajik poets like Imlobukhori and Hayrat. In these cases, he translated the Persian-Tajik ghazals into Uzbek, using the form “ghazal translated with a ghazal.” To highlight the poet’s mastery in this regard, we consider his taxmis muxammas linked to the ghazals of Navoi, Husayniy, Hayrat, and Jamol Kamol. When adding taxmis muxammas to Alisher Navoi’s ghazals, Samandar Vohidov pays attention to their thematic diversity. He has composed taxmis muxammas on ghazals ranging from the praise poem beginning with “Ashraqat min aksi shamsil – ka’si anvoril - hudo” to a hasbi-hal ghazal starting with “Men jahondin kechdim-u, kechmas mening jonimdan el,” as well as on love-mystical and friendship-themed ghazals like “Har labing oʻlganni tirgizmakka jono, jon erur, Bu jihatdin bir-bisi birla jonajon erur.” All these demonstrate Samandar Vohidov’s deep admiration and thorough study of the magic and mysteries characteristic of Navoi’s ghazals. We attempt to clarify this with an analysis of his taxmis muxammas linked to a 9- couplet ghazal beginning with the line “Ashraqat min aksi shamsil – ka’si anvoril - hudo,” which is complex and adorned with mystical terminology. The first stanza of this taxmis is composed of the following lines: Bu yurak mulkini qay kun ayladı ishq ıstılo, Keng jahon menga jahonmas, boʻldi dashti Karbalo, Hajr oʻti komida tilgʻa kelganida “alvido”, Ashraqat min aksi shamsil – ka’si anvoril – hudo “Yor aksin mayda koʻr” deb jomdin chiqdi sado [Saylanma IV, 180]. When Samandar Vohidov composed a muxammas based on Alisher Navoi’s famous hamd (praise) ghazal, as seen in the opening stanza he incorporated, he preserved the original ghazal’s meter and rhyme. To broaden the meaning expressed in the ghazal’s opening couplet, he begins his first line by interpreting it as the moment love invaded the realm of the heart—portraying the heart as a kingdom overtaken by love. From that day onward, he artistically conveys that this vast world has no longer appeared to him as a world, but as the desert of Karbala. As is well known, the desert of Karb