The Sufi Interpretation of a Historical Figure in Navoi’s Works

Аннотация

In his literary activity, Alisher Navoi portrayed numerous historical figures, including characters from the pre-Islamic era. This article deals with the image of one such figure Nushiravan and examines its sufi interpretation within Navoi’s creative framework. The methodological approach is based on auto-interpretation, meaning the poet’s own hermeneutic lens. A selected couplet from Navoi’s ghazals serves as the basis for analysis, wherein the artistic imagery and symbolic essence are interpreted through a comparative lens alongside a character from the narrative poem “Hayrat ul-abror” (The Wonder of the Righteous). The study concludes that although Navoi’s literary tradition is historically situated within the Islamic period and geographical sphere, he often references figures from pre-Islamic history solely for their names or symbolic resonance, without aligning them ideologically with Islamic doctrine. Specifically, in the portrayal of Nushiravan, Navoi employs the figure as a symbolic vessel for conveying Sufi ethical ideals, rather than a historical or religious endorsement. Keywords: Alisher Navoi, ghazal, auto-interpretation, sufism, futuwwat (a chivalric code of conduct), perfect human. phenomenon intimately connected to specific socio- Introduction: By its very nature, the poetry of Alisher historical circumstances” [Ulughov, 2018:14]. Navoi is didactic; in other words, for the poet, literary creation is not merely a pastime of the heart concerned Literature review solely with love and passion. Rather, it is a profound Although Alisher Navoi’s Hayrat ul-abror has been the and weighty responsibility to acquaint his reader with subject of extensive scholarly inquiry by numerous knowledge and wisdom, and to guide them toward an Navoi specialists, the story and character of Nushiravan understanding of the true meaning of life. It is for this within the poem have yet to be examined in depth from reason that Navoi, in the preface to his first divan a sufi perspective. In her dedicated study of the poem, Badoye’ ul-bidoya (“The Beginning of Art”), criticizes N. Sharipova concludes: “In this narrative, the poet poetic collections limited to a single theme. In this acknowledges modesty and a sense of decorum as respect, Navoi maintained a highly self-critical attitude essential virtues for a human being” [Sharipova, toward his own creative output. 2018:492]. Meanwhile, I. Pardayeva, who has explored Consequently, every image and symbol in Navoi’s the literary artistry of Navoi’s historical works, poetry possesses not only its primary, literal meaning, emphasizes that the poet highlights two particular but also layers of secondary, metaphorical significance. qualities of the just ruler Anushirvan, his commitment On the other hand, when analyzing and interpreting to justice and his sense of shame ,not as imaginative literary works created throughout the history of exaggerations, but as qualities grounded in historical literature, it is essential to consider the historical period reality [Pardayeva, 2018:111]. Literary scholar A. Malik, in which a work was written, the prevailing social who has written an in-depth commentary on Hayrat ul- environment, and the philosophical worldview of its abror, builds upon these interpretations, asserting that time. As rightly stated, “At the foundation of literary Alisher Navoi presents Nushiravan’s purity of intention history lies the principle of historicism. This principle and modesty as the very qualities that elevate him to demands that the literary process be studied as a kingship and make his justice a source of protection for International Journal Of Literature And Languages 146 https://theusajournals.com/index.php/ijll International Journal Of Literature And Languages (ISSN: 2771-2834) all humanity. In doing so, Navoi implicitly calls upon of contemplating Allah recognizing him as the one who rulers to embody modesty, decorum, and justice sees, hears, and is fully aware of every state of being. [Malik, 2021: 267–268]. Notably, the word “mushohid” (witness/observer), derived from the same root as mushohada