FIGURATIVE FEATURES OF THE IMAGE OF MIRRIKH IN ALISHER NAVOI'S "KHAMSA"

Аннотация

This article talks about the use of images of the planets in the "Khamsa" epics of the great Uzbek poet and thinker Alisher Navoi. The style of expression of these characters used in the prologues of the epics, the symbolic meanings they mean will be briefly looked at. Among these images, there are various variants of Mars, a relatively active image, including Mirrix, Bahram. The use ofthe image in Navai's epics, including "Hayrat ul-Abror", "Farhad and Shirin", "Layli and Majnun", "Sabai Sayyor" and "Saddi Iskandariy", this page is about the skill of the author and the gradual interpretation of the image. is spoken. Certain conclusions are drawn usingthenecessary scientificliterature. Key words: Alisher Navoi, "Khamsa", planets, symbolic images, Mirrih, Bahram, Mars, Aris, thepatron of battle, loveconflicts. The image of the seven planets, associated with the pen of the great poet and thinker Alisher Navoi, the sultan of the realm of ghazal, appears as a significant motif in the Mi'rājnāmas traditionally presented in the introduction to each epic of his Khamsa [6:84-97]. In all of these works, theMi'raj event is depicted against the backdrop ofseven planets. Why exactly seven planets? Because this number is the most renowned among magical numbers and is particularly revered in the East. Providing information about the origin of this number and its connection with planets, S. Hasanov explains it in relation to the religious beliefs of the Sumerians who inhabited southern Babylon [13:151-161]. In literature, it is quite common to interpret the Sumerians as ancestors of Central Asian peoples [6]. In the Epic of Gilgamesh, considered an example of this people's creativity, the harmony of seven is regarded as one of the importantimages, serving as asacred number. In Babylonian civilization, which assimilated and developed Sumerian culture, astronomy occupied a central place. The seven planets around the Earth (according to the understanding of that time) were perceived as seven deities influencing the world and human life. The seven-day week was formed based on this concept. Seven deities were designated as the guardians of each day. Under the influence of Islam's monotheistic idea of Tawhid, the significance of the harmony of seven in understanding the balance of the universe decreased in the Muslim East. The celestial bodies, assimilated through Babylonian religious beliefs and culture, were no longer considered gods, but simply planets surrounding the Earth. However, this harmony had already penetrated people's consciousness so deeply that it did not completely disappear from their thinking and practices. As a result, beliefs about the seven planets influencing the seven days of the week, the seven climates, and human consciousness, their patronage, and whether they were auspicious or inauspicious, were preserved in the astrology of the Muslim East. Although they were no longer regarded as gods or angels, they survived in popular imagination. As described in the Mi'raj accounts, they even kissed the stirrup of the Islamic prophet and were proud of his arrival https://ijmri.de/index.php/jmsi volume 4,issue4,2025 694 [7;8;9;10]. The planets are featured in the same order in each of the Mi'raj accounts in Navoi's Khamsa. These accounts, like most Eastern Mi'raj narratives, begin with the Moon, the ruler of the first heaven, and end with Saturn, the ruler of the seventh heaven. In this regard, Navoi perfected the tradition initiated by Nizami. He not only perfected it but also enriched it with originality, deep thinking, and creative innovations. Navoi scholar S. Azizov correctly noted that Navoi relied on theknowledge he gained at theschool ofUlugbek: "Alisher Navoi's astronomical worldview was perfected in Samarkand, and with this knowledge, he returned to Herat, which had its own astronomical environment." [2:13] This principle is also followed in the Mirajnama of Sabai Sayyar. This arrangement is based on the Greek order, which is used in Beruni's works, the structure of Kutadgu Bilig, and also forms the basis of Ulugbek's school.[1;5:35-42;2:128] Only in the stories of Sabai Sayyar does this rule lose its significance, indicating the indirect influence ofBabylonian cultureontheBahromnomas in Khamsa. As we observe Navoi's work, we see the development of these images over several millennia, intertwined with Islamic views, while simultaneously discovering new facets through the poet's brilliant talent. Here's one point of contention. Literary scholar H.Eshonkulov, reflecting on the images of planets in his monograph "Samovot ishq mazhari," states, "The seven planets and twelve zodiac signs, which we have examined in the spiritual and creative heritage of Alisher Navoi and other creators, are celestial symbols widely used in classical poetry. They serve, firstly, in theirliteral sense (as celestial bodies), and secondly, as active metaphors forexpressing complex mental processes related toloveand romance" [12:6