Stylistic Functionalization of Words and Phrases Related to Sufi Mysticism in Alisher Navoi’s “Nasoyim Al- Muhabbat” Ubaydullaev Abdullo Khabibullo ugli

Аннотация

This paper examines the stylistic and linguistic features of Alisher Navoi’s Nasoyim al-muhabbat, with a focus on the functionalization of Sufi terminology and symbolic expressions. Inspired by Jami’s Nafahāt al-uns, Navoi’s work demonstrates a distinct narrative style, rich in mystical imagery and spiritual symbolism. The study analyzes how terms like Mahbub (Beloved), Soqiy (Cupbearer), Lab (Lips), Qosh (Eyebrows), Bel (Waist), and Ko‘z (Eyes) are recontextualized to convey deeper Sufi meanings. A particular emphasis is placed on the use of parcellation—a stylistic device that separates syntactic units for expressive and communicative effect. The article argues that this technique enhances the poetic and aesthetic quality of the text, especially in dialogues. Through textual analysis, the study reveals how Navoi’s language reflects a profound engagement with Naqshbandi teachings and Sufi thought, elevating his work beyond mere hagiography into the realm of spiritual philosophy and stylistic mastery. Keywords: Alisher Navoi, Nasoyim al-muhabbat, Sufism, stylistic functionalization, parcellation, Naqshbandiyya, Jami, symbolic language, mysticism, linguistic expressiveness, Persianate tradition, dialogue in literature. Jami’s tazkira introduces 608 Sufi figures, Navoi Introduction: The heritage of Islamic mysticism, expands this circle by including 770 personalities, particularly within the Naqshbandi tradition, has notably Turkic and Indian sheikhs. This extension not deeply shaped the cultural and spiritual landscape of only reflects Navoi’s cultural vision but also his aim to Central Asia. Among the literary monuments that integrate the Turkic-speaking spiritual legacy into the reflect this influence, Alisher Navoi’s Nasoyim al- broader Persianate Sufi canon. It is precisely in this muhabbat holds a unique and distinguished place. This integration that Navoi’s individuality and literary work, though composed under the inspiration of creativity become most evident. Abdurahman Jami’s Nafahāt al-uns min ḥaḍarāt al- quds, transcends mere imitation by weaving together What makes Nasoyim al-muhabbat remarkable is not elements of Sufi doctrine, hagiographic narrative, merely its documentary function but the way it poetic metaphor, and linguistic artistry. Written during elevates hagiographic narrative into the realm of a time when the Naqshbandi Sufi order had established symbolic-poetic discourse. The work’s language is deep roots in both Mawarannahr and Khorasan, densely layered with metaphysical and allegorical Nasoyim al-muhabbat became not only a literary references. Terms such as Mahbub (Beloved), Soqiy contribution but also a reflection of the author’s deep (Cupbearer), Lab (Lips), Qosh (Eyebrows), Bel (Waist), spiritual engagement. and Ko‘z (Eyes) serve as more than poetic ornaments; they function as semantic keys to the hidden Alisher Navoi, as both a statesman and a thinker, was architecture of mystical meaning. Each word, rooted in profoundly influenced by Jami, especially during his Sufi symbolic tradition, opens a path for multi-layered intellectual and spiritual formation in the 1470s. While interpretation depending on the spiritual station of the American Journal Of Philological Sciences 251 https://theusajournals.com/index.php/ajps American Journal Of Philological Sciences (ISSN – 2771-2273) reader. 1497, which holds a central place in the Turkic-Islamic literary tradition. The text serves as a rich source for Navoi’s engagement with Sufism was not superficial or investigating the stylistic functionalization of mystical opportunistic. He formally pledged allegiance to Jami vocabulary and Sufi terminology, particularly within the and accepted the Naqshbandi path in 1476–77. context of the Naqshbandi order. The edition used for However, his inclination towards Sufism dates back to this research is the academic transliteration published his youth and is deeply connected to his mentor Sayid in Cyrillic script, which standardizes the original Hasan Ardasher. In his writings, Navoi reveals a manuscript and offers a textual basis for syntactic and consistent and evolving concern with the major stylistic analysis. The Cyrillic version facilitates access to doctrines of the Naqshbandi order—fanā’ punctuation marks and sentence structure, thus (annihilation), baqā’ (subsistence), sohbat enabling the identification of parcellative (companionship), safar dar watan (travel in homeland), constructions, though with due attention paid to the and rejection of khalwat (seclusion). These concepts fact that punctuation was absent in the original Arabic- are not presented in an abstract manner but are subtly script manuscript. embedded in the textual fabric of his narratives and lyrical compositions. In addition to Nasoyim al-muhabbat, this study draws on comparative textual material from: The central research problem in this paper revolves around the stylistic functionalization of Sufi lexicon in Abdurahman Jami’s N