A DETAILED DESCRIPTION OF THE STRUCTURAL AND SUBSTANTIVE CONTENT OF THE "TUHFAT UL-ABIDIN WA ANIS UL-ASHIQIN" BAYAZ

Аннотация

Начало XIX-XX веков успело дойти до рукописей и разрывов, и без нашего времени в этом процессе социально-политические и культурные изменения затронули узбекскую литературу. Новые направления, новые веяния и новые темы, а также новые литературные течения вошли в узбекскую литературу. В этот период в узбекской литературе появились новые имена, и их произведения были освещены в Талантных проектах. Многие из них были опубликованы в виде баязов, сборников, деванов. Название баяза служило основным литературным источником среди произведений, опубликованных вэтотпериод. Ключевые слова: Баяз, Мукими, Хазини, Дигар, Ками, Хувайдо, Дилкаш, Швки, литография Шахди, литография, мухаммас, мурабба, мусаддас, газель, дугох, чоргох, тарджебанд,муноджат,фард. Among the many bayazes and collections produced during this period, such as “Armugoni Khyslat”, “Turkish Gulistan or Morality”, “Bayazi Haziniy”, “Tuhfai Shavkat”, “Majmuai shoiron”, “Bayazi Miriy”, “Bayazi Nodim”, “Bayazi Kamiy”, “Haft shuaro”, “Bayazi Tabibiy”, “Tazkirai shuaro”, the unpublished and unstudied bayaze “Tuhfat-ul obidin va anis ul-oshiqin” (“The Gift of the Obids and the Love of Lovers”) is also of particular importance.[5] Although the term bayaz is not entirely new to us, we found it necessary to briefly explain thisterm. Its lexical meaning is“whiteness”, andas a term it means “acollection of poems”.[9:2] Bayazes usually consist of poems by two or more poets. Bayazes are mainly composed of lyrical works by famous poets and do not promote or advocate a particular idea or worldview, and there is no periodicity in the selected works. How much of whose poetry to include depends on the desire of the compiler of the bayaz. Bayazes consist of a sarbayoz (introduction), lyrical poems (the main part), a conclusion, and an appendix.[9:2] In some bayazes, the names of thepoets whose works are included are given as a table of contents. Such page1755 INTERNATIONAL JOURNAL OF ARTIFICIAL INTELLIGENCE ISSN:2692-5206,ImpactFactor:12,23 AmericanAcademicpublishers,volume05,issue06,2025 Journal: https://www.academicpublishers.org/journals/index.php/ijai collections were compiled by the authors themselves or by literature lovers and calligraphers, andplayed an importantrole in thepromotion ofliterature. We know that there are two copies of the bayoz that we are going to talk about below: one that is kept at the Imam Bukhari International Research Center in Samarkand (in its full version) and another that is kept in the museum-reserve in Bukhara under inventory number 12/443 (some pages are missing), and we will try to provide detailed information about the Bukhara copyofthis lithographed bayoz "Tuhfat ul-obidin vaanais ul-oshiqin". Since the cover of the book has not reached us, we have witnessed that it is conditionally titled “Bayaz: Muqimi, Shawqi, Haji Sabir, Hazini, Mukhlis, Huwaydo”. Also, the fact that the first six pages of this work and some pages in between are missing has caused us considerable difficulties in transliterating this lithographed bayaz. For example, the first five pages mentioned above, twenty-one, twenty-two, twenty-three and twenty-four, eighty-three and eighty-four, one hundred twenty-one and one hundred twenty-two have not reached us. We learned valuable information about the fact that this lithographed bayaz "Tuhfat-ul obidin va anis ul-oshiqin" (hereinafter abbreviated as "Tuhfat ul-obidin") was printed in Tashkent in 1326 AH - 1908 CE by Mulla Hasan Orifjonov in lithography (lithography) from the article "About theera ofObid Namangoniy" published in theonlinepublication "bukhari.uz". If we pay attention to the content of the Bayaz, the first pages of this lithographed bayaz, which consists of a total of one hundred and forty-two pages, contain a mukhammas by an unknown author. This mukhammas complains about the fashion of the times and the arbitrariness of the wheel. From pages 10 to 17 of the Bayaz, 3 five-line poetic samples entitled “Mukhammasi digar” are given, which talk about the Islamic religion and Sharia. From this, we can assume that the mukhammas in the first pages also belong to the same author named “Digar”. On page 17, we can find lyrical samples belonging to the author named Haji Sobir. This lyrical sample is in the ghazal genre, and its radifi is the word “khotun” and the behavior ofbad wives is criticized. Thesatirical spirit of the poet Mukimi is noticeable in this ghazal. At the beginning of the examples of Haji Sobir's work, he was sometimes referred to as Haji. Under this name, starting from page 18, a large ghazal with the phrase "Andijan" is given, and it covers the socio-political situation of theAndijan region in its time. This ghazal, consisting of 21 verses, has come down to us incompletely until page 20. Two sheets, that is, four pages, are missing. On page 25, another poetic example of Haji Sobir's travelogue, starting with "The Tsar's son went to Samarkand...", is given. On page 28 of the Bayoz, another example