Министрство высшего

No one is equal to you - Nizami!

And yet, there was one among the people -

There is only one singing nightingale on the Indus.
Not a nightingale - but Khyzr. After all, we know:
Hindustan was a land of darkness for him.
And the speech was that sonorous, that lively,
They found in the darkness - living water.
But he is not with me on the lists, -
I am forced to fight Nizami.
Hand, grabbing such a "five",
Will I keep my strength in my hand for a long time?
Everyone's fingers were cracking so far,
Who with Nizami entered into such a dispute.
You need to be a lion to sit next to a lion,
Moreover - to get into a fight with a lion ...
And in front of me are elephants: a Ganja elephant,
In truth, he is a gigantic elephant!
And the second one is not so gigantic elephant,
But an elephant, however: the Hindustani elephant.

Navai built his work in a completely different way than his predecessors: he glorified not King Khosrav, but Farhad, a hard worker. This is emphasized even in the title of the poem - "Farhad and Shirin". Creating a work, he did not want to repeat the words already spoken .... Ignoring the tradition of imitation, he boldly rethought the main plot, and created a great, new version. Navai chose the version of Emir Khosrav: Farhad is of royal origin. The poem begins as if with a biography of the hero, talks about his upbringing, describes his life.

Navai cannot be called only a poet. He was a wise political figure, a major scientist and philanthropist, a great thinker, musician, and artist. Navoi is great. Multifaceted talent puts him on a par with world geniuses. His work has long been the property of all mankind. It played a particularly important role in the development of literature in the Turkic languages.
The significance of Navoi for Uzbek literature is determined by the fact that he brought it into the world orbit. He opened a wide opportunity for the Uzbek people to build their culture in their native language. The strength of Navoi's talent is that his creations have survived centuries, entered the memory of the people, and inspire them to this day.
Control questions and tasks:
1. Who is the founder of the tradition of writing the Five?
2. Tell us about the life and work of Nizami Genzhavi.
3. Which of the classic poets are imitators of the Five?
4. Who created "Khamsa" in the Turkic language?

4. Creativity of Zahiriddin Muhammad Babur. "Baburname"

A well-known statesman, commander, talented poet, historian, geographer, translator Zahiriddin Muhammad Babur was born in 1483 on February 14 in Andijan, the capital of Fergana.

His father was one of the Timurids and ruled Fergana. Babur's father Umarsheikh Mirzo died in 1494 at the age of 39, when he fought with his brother Sultan Ahmed Mirza, the ruler of Samarkand. Then Babur was only 12 years old, and after the death of his father became the ruler of Fergana. Young Babur, relying on the advice of mother Nigarkhanum and the viziers, managed to force the army of Sultan Ahmed Mirzo to retreat. This was his first victory as a commander. Babur, after coming to the throne of Fergana, decided to expand the territory and borders of his state and preserve the strength and power of the state that was created by his great-grandfather Amir Timur.
However, these efforts were unsuccessful. The struggle for the throne between the Timurids hastened their disintegration. Having won the throne of Samarkand twice (in 1498, 1500), Babur could not rule it for a long time. In 1501, in the village of Saripul on the coasts of Zarafshan, he was unable to resist the troops of Shaibaniykhan. Having lost the throne of Andijan and Samarkand, after several years of wandering in 1504, with his faithful 300 soldiers, he moved to Afghanistan.
He easily conquered Afghanistan. By this time, Shaibaniykhan had won a victory over all the Timurids. Therefore, Babur realized that he would not be able to fulfill his dream of returning to his homeland. Babur strengthened his state in Afghanistan and became famous among the local population.
In 1525, Babur started a war in Hindustan, conquered the Punjab and successfully completed military operations in 1527. On a very large territory, from the Amu Darya to Bengal, from China to Gwalior, he founded the "Great Mongol Empire".
During the reign of Babur and the Baburids, Hindustan became a single highly developed country. Babur died on December 26, 1530 in the city of Agra in the Zarafshan garden, which he himself irrigated. In 1533, his grandson Shahzhakhan transferred his grandfather's ashes to Kabul.
Babur wrote several works in his short and full of confrontations, but, unfortunately, some of them did not reach us. His most famous work "Baburname" tells about the history, geography, ethnography of the peoples of Central Asia, Afghanistan, Hindustan and Iran.
The beauty of the language and style, as well as the content of this work, attracted the attention of scholars - orientalists of the 18th and 19th centuries. Found several handwritten versions were translated into Western languages.
The scientist - Turkologist Ilminsky in 1857 published this book in the printing house of Kazan. In 1905, the English scholar Beverizh published in English a found copy in Hyderabad. Based on these copies, in 1948-49, "Baburname" was published in the modern Uzbek language. "Baburname" has been translated into Persian, Dutch, German, English, French, Russian and other languages ​​of the world.
5.Uzbek literature of the 17th-19th centuries
In the works of poets of this period, motives of dissatisfaction with the social system begin to appear. Civic pathos is characteristic of the literature of the 17th-19th centuries. In the 17th century, Uzbek literature acquired new features.
It was no longer concentrated in Herat or Samarkand. The main literary centers are the Fergana Valley, which nominated the poets Khuveydo, Akmal, Nizami, Gulkhani, Makhmura, Nadira, Uveisi and others:
Harezm, where such poets as Ravnak, Rokim, Nishati, Andalib worked. In the 19th century, the poets Munis, Ziyrak, Agakhi, Dilavari came to the fore in Kharezm.
The third literary center was Bukhara with its traditions dating back to ancient times; already in the 10th century it became the birthplace of the revived Iranian culture and literature in Farsi. Bukhara was the main center of interweaving of cultures of two fraternal peoples - Uzbeks and Tajiks.
In the 17th-19th centuries, the poets Saikali, Shavki, Khirami, and others came to the fore in Bukhara. It is characteristic that during this period there was a need to write in two languages ​​and among poets who wrote only in Farsi. For example, in the Khanate of Bukhara, such famous poets as Abdulla Mulham Bukhari, Shamsutdin Shahin, Ahmad Donish, Sadr Ziya, later Sadriddin Aini and others also wrote in the Uzbek language.
During the period of economic decline in the Khiva Khanate, the poet and historian Ravnak Palavankuli came to the fore. Almost nothing is known about his life and work, except that he wrote poems on traditional themes. Ravnak's historical writings are in the nature of an obituary. For example, his poems have come down to us, written on the occasion of the murder of Timurgazikhan in 1773 or on the death of Muhammad's daughter Amin Mehtar in 1785. The poetic work of Ravnak is pessimistic.
The same motives of disappointment characterize the work of another representative of Uzbek literature of the 18th century, a native of Khiva, the poet Nishati Kharezmi. Almost no information has been preserved about him either.
The ideas of Sufism, according to the apt definition of Bertels, were so versatile that any idealistic worldview and a different concept can be summed up under this concept: from the complete denial of life and earthly goods (for example, Ahmed Yassevi) to humanism (Khurufit Nasimi). There were adherents of Sufism who criticized the basic dogmas of Islam. This trend developed in Central Asia and was officially called "Naqshbandism", in honor of its founder Bahouddin Naqshband (XIV century), who strove to closely follow the life of Muhammad. He demanded to be satisfied with the minimum means of subsistence. People must provide for them themselves, by physical labor. Nakshband preached not solitude and complete renunciation of everything earthly, but service to one's neighbor.
A follower of Nakshbandism, in particular, was Jami. He lived on very meager means, spending his fortune on socially useful construction and charitable causes.
In the 17th and early 18th centuries, a prominent representative of Nakshbandism in Uzbek literature was the poet Boborahim Mashrab (1657-1711), who was executed by the decision of the Muslim clergy for apostasy.
Mashrab, who went through school with prominent representatives of the clergy, wandered like a dervish through the countries of Central Asia and the Middle East and distributed his writings. The dastan "Divana Mashrab" is associated with the name of the poet. Dastan is mainly religious and mystical in nature.
Civic pathos is characteristic of the legacy of the poet of the second half of the 17th century, Turda Faragi, about whose life almost no information has been preserved. Obviously, at the beginning of his life, he had a sufficient fortune, as evidenced by the words:
Who will remember me? And there were times -
The head of revelers - I watered my friends drunk.

The reasons for his impoverishment are unknown, but it is certain that the poet was a participant in popular uprisings (in 1680, 1685 and 1694) against the tyranny of the khan's power and feudal exploitation. In his sharply accusatory satire, he attacked the ruler Subkhankulikhan.

Only one manuscript of the entire creative heritage of the poet has come down to us, discovered in 1924 and containing 17 poems, two of which are in the Tajik language. But even these verses are sufficient to illuminate Turdi's poetic talent.
Khojanazar Khuvaido was born in the 18th century in the city of Osh. He was a follower of Mashrab with his philosophical views. Father Khuvaydo Gaibnazar was one of the murids of Ofokhozh. He later moved to Chimion and lived there until his death. He was buried in Chimian. In his sofa there are over 300 gazelles, several rubais, muhammas, musaddas, musammans. The poet sings in them earthly and spiritual love, as well as human pain. In his dastan "Rohati dil" love for wealth, bribery, gluttony is criticized, the moral and spiritual traits of a person are glorified.
Muhammad Sharif Gulkhani was born in the 70s of the 18th century. His father was Tajik and his mother was Uzbek.
In his youth, he entered the military service of the local ruler and lived at court until the end of his days. When the khan's power changed, the new ruler, wanting to get rid of the people who served the former khan, ordered the poet to be thrown into the river. Thus ended the life of one of the prominent representatives of the Uzbek-Tajik poetry.
Gulkhani's gazelles did not go beyond tradition. However, he left many beautiful lyrical poems in Uzbek and Tajik, which he mastered equally brilliantly.
Gulkhani's poetic work is assessed sharply negatively by his contemporary, the court poet Fazli Namangani.
In his book "Collection of Poetry" Fazli writes:

He is a warrior, not a poet, Gulkhani,

That's why he hates you and me
They said a lot, but all in vain.
In the gazelles, he reveals his need.

The poet really felt a strong need and spoke about this in his poems: "O my lord, I am dying of hunger, give me a piece of bread." Is it not this "begging" that evokes the squeamish attitude of the aristocratic poet, who knew no need? Gulkhani's words addressed to the king are an accusation against a society that cannot provide a well-fed life even for those who are called upon to protect its inviolability.

Gulkhani is known in Uzbek literature as the author of the unfinished work "Tales of the Owl" or "Proverbs", as well as several poems in Uzbek and Tajik. He is considered the founder of fable writing in Uzbek literature.
Gulkhani, although he did not receive a systematic education, knew well the Persian-Tajik and Uzbek classics, as well as works of folk art. In his sharply satirical works, he ridicules the vices of his environment. The courage of the poet, in all likelihood, cost him his life. Since it was impossible to openly speak out against those in power, the poet wrote allegorical works, often borrowing themes from the classics. This poetic device gave him the opportunity to express his judgments about the system in which he lived. The leading characters of his parables and fairy tales are birds. Gulkhani went down in the history of Uzbek literature as a talented satirist, an accuser of those in power.
Another satirist of the same era, Makhmur (the year of birth is unknown - he died in 1844.), unlike his countryman Gulkhani, received an extensive education for that time. He studied at one of the best madrasas in Kokand, where he got acquainted with the works of the great classics - Navoi, Saadi, Hafiz, and others. Makhmur's father was a famous teacher (mudarris), composed good poetry; many connoisseurs and connoisseurs of the elegant word visited his house, so Makhmur from an early age joined poetry. However, later, during the years of independent life, the financial situation of the poet was almost no different from that of his contemporary Gulkhani. He also served Umarkhan and also lived in need. He wrote a poetic message called "Mahmur's Appeal to Emir Umar Sultan", in which he painted an unsightly picture of his life:

There is no roof over me to while away the nights.

I don't have a sip of water to drink during the day.
There is not even a handful of grain in my house.
Not even two meters of coarse calico to cover the head.

The poet knew well that not only he, the servant of the sovereign, suffers the pangs of hunger, unable to provide for his family. The majority of the population was in the same position. The poet completes the realistic picture of the people's grief with an appeal to the khan, an appeal to his mercy. He naively believes that the one who brought the village of Khafalak to such a state will save it from final destruction:

Khafalak, having gathered yesterday, flew away like a moth,

There is no way he can bring in a new huge tribute!
I am sure you will help the village return.
You are glorified by kindness, you are the great magician's generosity:
You will not take a tax from people, no matter how small, -
I, Makhmur, am sure of this - you will pity the poor fellows.
It would be naive to think that the almighty khan would take pity on the "poor fellows". But Makhmur, like many idealist poets, believed in the triumph of kindness.
Of the poets of the democratic circle of the late 18th and early 19th centuries, Muniz and his nephew Agakhi should also be noted. Munis Kharezmi (1778-1844), the son of a mirab (water distributor), was born in the kishlak of Kiyat of the Khiva Khanate. His father highly appreciated the culture of his native people and gave his son a good education, developing and supporting his scientific and literary interests. Muniz was brought up in the traditions of the great classics.
Muniz's legacy consists of the Lovers' Interlocutor divan, with an appendix entitled A Treatise on Literacy, and the historical work The Garden of Happiness. He also translated Mirkhond's well-known historical work "Clean Garden" from Farsi into Old Uzbek. The main work of Munis "The Garden of Happiness" covers the history of the Khiva Khanate until 1812. This work was not completed by the poet.
His nephew and pupil of Muniz, the poet Agakhi (1809-1874), continued. He, like Munis, was born in the village of Kiyat of the Khiva Khanate. He lost his father for three years, was brought up by Muniz, who introduced him to literature. Not being financially secure, Agakhi combined his studies with physical labor. Agakha's poetic heritage, consisting of gazelles, kasyds, mesnevi, etc., is collected in the "amulet of lovers" divan. The poet wrote many poems in Farsi, which are also included in his divan. Of considerable interest is the translation activity of Agakhi, which he reports in the preface to his divan. He translated more than twenty works from Farsi into Old Uzbek. These are mainly works of fiction: the poems "Salamon and Absal", "Yusuf and Zuleikha", as well as "Bakharistan" by Jami, the famous didactic work of Saadi "Gulistan", the poems "Seven Beauties" by Nizami, "Eight Paradises" by Emir Khosrov, "Shahu Gade" by Hilali, etc. These translations are distinguished by great artistic merit, testify to the great erudition, talent and artistic taste of Agakha. Of great value are also the historical writings of Agakhi and his translations from Farsi into the Old Uzbek language of numerous historical literature.
It is impossible not to note the merits of Agakha in compiling various poetry collections, thanks to which information about the work of many poets has survived to this day.
The poetess Nadira (1791-1842) was born into an aristocratic family in Andijan. In one of her poems she writes:

I myself am from the royal family: Babur's blood flows in me.

Have mercy on my great-grandfathers, great, merciful God.

She was brought up in the best traditions of her environment, received a good education, including in the literature of the Middle East of the Middle Ages. Nadira was the wife of the poet and ruler Umarkhan, known in literature as Amiri, and was influenced by his work. In the work of the poetess, one can trace the mood of longing, soul-rending pain. Obviously, these verses were caused by her suffering in the last years of her life, when she became a victim of internecine strife. The emir of Bukhara Nasrullakhan killed her beloved grandson in front of Nadira, in 1842 the poetess herself was executed. All this was reflected in one and beautifully written by the poetess of ten lines (muashshar).

It is known that after the death of her husband (1822), when power passed into the hands of her son, the country was actually ruled by Nadira. During this period, many madrasahs, baths, and mosques were built.
Nadira had a high poetic gift. Her poems, especially the poetic contest (mushaira) with Amiri, enriched Uzbek literature in many ways:

Take my greetings to my friend, O predawn breeze.

I don't know who but you could fulfill this request.

I will not speak for a long time about the pain of my heart,

Respectfully you explain to him all the bitterness of these lines.

I wanted to quench my thirst with a sweet cup of meeting with him.

But merciless fate filled my heart with bitter poison.

The poetess wrote poems in two languages: Old Uzbek and Persian, which she was fluent in.

Sources point to the philanthropy of the poetess. One of the noble deeds of Nadira was the patronage of poets, including the poetess Uveisi.
Jahanatin Uveisi (1780-1846) was born into a poor family of a poet in the city of Margelan. From childhood, she rotated in the literary environment. Her failure in her personal life pushed her to engage in poetry, and her influential peer Nadira helped her in poetic work, who brought her closer to her and took her to the palace.
Apparently, Uveisi's life in the circle of nobles was not very sweet. In the sofa of the poetess, for example, there is a hint that her children (son and daughter) were in financial need. Nadira's husband, the lord Umarkhan, exiled the son of the poetess to Kashgar, not heeding his mother's grief:

Today, friends, I lost my beloved son,

It doesn't matter if I'm impoverished, I've lost my master.

The upheavals of life left a deep imprint on her poetic work. It is full of sadness and grief. Obviously, the tragedy of her personal life dictated to her the themes of her dastans "Shahzade Hasan" and "Shahzade Hussein", known under the general name "Karbalanam", and the unfinished historical poem "The Biography of Muhammadalikhan". The poetic heritage of Uweisi is collected in a divan, copied between 1857 and 1858.

Fazli included in the anthology "Collection of Poetry" the name and several poems of another poetess of that time - Makhzuna, about whom he says: "She surpassed men in the content of her speech" and adds: "Her poems lived among the people like proverbs." The poetic competition between the author of the anthology and Makhzuna is especially noteworthy. Poetic competition, as a literary form, has been known in the East since ancient times. Competitors had to follow certain rules: one of them asked a question, the other answered it. At the same time, the respondent was obliged to preserve the size, melody and rhyme of his opponent's verses.
The process of development of literature in this era prepared the further democratization of literature. The formation of a democratic direction can be attributed to the second half of the XIX century.
Literature

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   H. Kor-oglu Uzbek literature. Moscow. "High School" 1976.
   
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   F.M. Khamraliev. Literature of the XX century. T., 2005.
   
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