Foydalanuvchi munozarasi:Bekova Nazora Jo'rayevna
Life and literary heritage of Abdurahmon Tamkin Bukhari
[manbasini tahrirlash]Bekova Nazora Jorayevna, Associate Professor of Bukhara State University, Candidate of Philological Sciences
Choriyeva Mehriniso Qiyomiddinovna, researcher of Bukhara State University
Annotation: This article is about the life and literary heritage of Abdurahmon Tamkin, a prolific poet, poet and one of the leading scholars of his time, who lived and worked in the late XIX and early XX centuries. Most of his works are written in Tajik, but there are some poems written in Uzbek and Arabic, which show that Tamkin is fluent in all three languages.
Methods: Comparative-typological, contextual analysis, biographical methods were used in the analysis of the life and literary heritage of Tamkin Bukhari.
Conclusions: It is safe to say that the beautiful poems he wrote were the basis for A. Tamkin Bukhari's recognition as a poet in his time. This is because the fact that the poet's poetry is determined by his skill in ghazalism, and only then he has the right to compose a devon, is one of the traditional requirements of the dream system, which indicates that Tamkin's devon was decorated with high-level ghazals.
Conclusion: Thus, the information about the life and work of the Bukhara poet Abdurahmon Tamkin, who was born around 1851-1852 and lived until 1915, and his works have not yet found a perfect conclusion in Uzbek literature. Questions about the poet's way of life, the historical conditions in which he lived and the literary environment, as well as his creative world, need to be answered and conveyed to the reader. Through the work of A. Tamkin, a brilliant representative of the Bukhara literary environment of the XIX-early XX centuries, it is safe to say that the literature of this period reached the school level as a brilliant literature. In Tamkin's work there are beautiful examples of the ghazal genre. His poems are dominated by traditional elements. The language of Tamkin's poems is simple, rich in metaphors, skillful use of poetic means, use of linguistic elements and closeness to the language of the living people. At the same time, he was able to describe examples of mystical literature in his own way. In his poems, romantic and orifona, romantic and rindona spirit are uniquely combined.
Keywords: Abdurahmon Tamkin, late XIX, early XX centuries, tazkira, Mulla Abdukholik, Bukhara madrasas, qasida, ghazal, "Rubouyot", mufradod, chiston, problem.
Introduction. Every nation has its own history. It draws strength from its rich cultural and literary heritage to move forward into the future. History is an ancient world. It is the duty of history to revive and put into words the times, the peoples and the times. Immortalizing the sacred memory of our ancestors is the sacred duty of today's and future generations. For “a nation ignorant of its history is oppressed, and a nation whose history is written falsely is doomed; The people who have preserved and known its history are powerful and equal among the people, ”the head of state said.
The scientific work describes the views of one of the creators who is waiting for his reader in such historical moments.
Abdurahmon Tamkin Bukhari lived and worked in the late 19th and early 20th centuries he was a prolific writer, a brilliant poet, and one of the leading scholars of his time. Ahmad Donish Tamkin, an enlightened scholar of his time, was one of the great poets and praised his work. Shahin, Muztarib and Tamkin were the first poets of that time.
Methods. To study Tamkin's work, consider the following 3 sources:
1) tazkiras created in the XIX century;
2) Tamkin's own works;
3) Memories written by students.
As for the first source:
"In the works of nineteenth-century writers such as Afzal Makhdumi Pirmasti and Haji Nematullo Mukhtaram, there is abstract information about the Bukhara poet Tamkin, or more precisely, misinformation that distorts the truth." Tajik scientist Askar John Fido writes [6, 3].
In fact, these comments do not provide accurate information about Tamkin. Because Tamkin's work has not been studied in Uzbek literature yet. We will try to address this issue as much as possible.
The second source is Tamkin's works, in which the poet makes some references to himself. If we keep these signs in our focus and look at the memory of the poet's students, we will find similarities and closeness. Because of this harmony, clarity about the poet’s life and work can be achieved.
Jafarov, a student of the poet, played an important role in putting an end to various opinions about the life and work of A. Tamkin.
In Jafarov's writings: “Dar sanai 1905 melody (equivalent to 1322 AH) I studied in the garden of Bukhara, in the garden of Haji Makhdum. Alassaboh bo Hoji Mahdum ba hovlii domullo Abdurahmoni Tamkin raftem. Domullo was a humble and gentle man. Sinni sharifi eshon karib boi panjohu se rasida bud… ”. From this information it is clear that if the poet was 53 years old in 1905, it means that he was born in 1851-1852 in the Boyrabofi district of Bukhara. His father was Mulla Abdukhaliq. Tamkin lived in Bukhara. He was educated in Bukhara madrassas and lived in his hometown, where he was very pleased to study science and described his peaceful life as follows:
“Bihisht joi tu, Tamkin chi joi reb dar o’
Ki monda bog’chaye yodgor az padar ast”.
Translation: “Paradise is your Tamkin, your door is the gate of heaven,
The garden here is a memorial to your father. ”
Results and discussion. Boyrabofon neighborhood, where Abdurahmon Tamkin lived, is one of the largest guzars in Bukhara. This neighborhood was founded in 1846. However, the name of the guzar was Boriyabofon, and there was a mosque named after Haji Qurban. Boyrabofon mahalla is also called Besh kappa. Later, the guzar was named after the people who were engaged in weaving mats.
Boyrabofon mahalla was large and densely populated. They speak Turkish. The population of the mahalla is divided into two groups: Uzbeks from Khorezm in the southern part of the mahalla, and Turkmens from Charjoi in the northern part. They moved by order of King Murad. Shah Murad won a battle with the Khorezm khan and brought some of the Khorezmians to the city center, but due to lack of space, he gave them a place here due to the density of the population. Some Turkmen fled to Karakul district due to lack of space. Khorezmian and Turkmen Khidir-Hellenes used to live together. However, during the reign of Amir Alimkhan, each nation chose its own elder and was divided into two. Both groups are engaged in weaving. They also had their own bazaars in Guzar. Many residents of the neighborhood also did soap making.
According to 1927 reports, there were 107 farms in Guzar with a population of 420 people. In 1929, it merged with the neighboring Chorbakkoli gate Samarkand, Olim Khoja guzars and became known as Samarkand guzar.
Now this guzar is again called by its old name - Boyrabofon [1, 28-30]. Abdurahmon Tamkin Bukhari lived and worked in this neighborhood all his life and left a legacy of beautiful works and exemplary way of life to our people.
Tamkin taught at the Dorushshifo madrasah in Bukhara. It is known from the works of the poet that before he became a teacher, he was an imam and worked in the affairs of state. In the year 1315, Hazrat Zillil Alamin (Amir Abdulahad) became a member of the Ahl al-Fazlu Kamal Jirvapazir in the memory of the Prophet (peace and blessings of Allaah be upon him). Bo hama vusuli ne'mat va ihsani kasir ba katar sar karda va amoratpanohon muvojib va atima az noni ehsani kasir bo shahdu shiri nomzad va khosog megardid ”[2, 8-9]. Molistan consists of 17 bytes, written in the form of an anthem to the Emir of Bukhara Abdullah Khan, and written in the continental genre. In addition, another hymn of Tamkin is dedicated to Abdullah Khan. The work is 71 bytes long and is called "Ganji shoygon" ("King of the Kings"). It is written in Masnavi and contains three rubai. Tamkin served as a doorman at the Amir Abdullah Palace from 1898-1901. It was during these years that the poet believed that the causes of all oppression and ignorance were the amirs around him. He called on Amir Abdullah not to believe them and to be religious.
Ashkam az mijgon ba ro’yam obro’yam rext –rext,
Obro’ barbod shud, durri nako’yam rext-rext [4, 11].
(Tears well up in my eyes,
My reputation was ruined, my dreams fell to the ground).
Amir Abdullah also paid close attention to the poet. However, due to the provocations of the people, the poet gradually lost sight of the Emir. No matter how much the poet expects blessings, the Emir will not get what he expects. Eventually, Tamkin's trust and asylum were replaced by endless hatred and he left the palace. He is so disappointed in his courtiers that he does not even want to face them. He even expressed this desire through a story in Molistan.
Tamkin's hatred was justified. The author of Navodiri Ziyaiya, Sharifjon Makhdum, also confirms Tamkin's opinion about the ignorant and incompetent Qaziqal of Bukhara, Mullah Burhaniddin: “Mullo Burhaniddin valadi arshad Mullo Badriddin Qaziqaloni Bukhara Sharif dar zamoni Amir Abdulahad va Amir Alimkhan ba libasi qazikalon mulabbas ba masnadi shariat az judoyei mulabbas bud… ba zammi qazikaloni bo in xari ba nodoni sharm nokarda, dars ham meguft va az hama gharibtar ba dukhtari yake az generalhoi rus oshiq shuda bo mahkama shud…, ki in bar hamoqat va sifohatashon daleli mujassam ast ”.
It is clear from these ideas that a group of hypocrites is closely surrounding Abdullah Khan, who deceives the people with greed and greed. Tamkin praises Allah for staying away from those who are wrapped in the shell of corruption and evil:
Sinasofam zohiru botin maro yakson buvad
Pust to mag’ zam ba rangi naxlai rayhon buvad
Shukr lillah shud xamiram xoli az tuxmi fasod
In ham az lutfi amimi ezidi mannon buvad [5,32].
For these words of Tamkin, Qaziqalon Mullah Burhaniddin also cancels him from Mudarris. After this incident, Tamkin was forced to surrender. In the preface to his work Jaroid, the poet talks about this period of his life (1914).
Tamkin’s literary heritage is rich and prolific. He has created in all genres. For example, he wrote in qasida, ghazal, muhammas, qita, fard, chiston, problema and hajw. Most of his works are written in Tajik, but some of his poems are written in Uzbek and Arabic, indicating that Tamkin is fluent in all three languages.
The poet has a very rich literary heritage. These are: "Devoni Qasoid-u Ghazaliyot", "Ganji Shoygon", "Ruboiyot", "Jaroid", "Moliston", "Matole 'ul-fohira and matolib uz-zahira". Some of the poet's poems are based on tazkira and bayoz created at that time.
According to Haji Nematullah Mukhtaram, the author of Tazkirat ush-Shuaro, Tamkin also wrote Junaydi laoli. But this book and the details of it have not reached us.
Tamkin's divan consists of 6764 verses, of which 356 verses are qasida and 6408 verses are ghazal. There are 488 rubai, 1468 mufradod, 7 chiston and 6 problems in Ruboiyot.
The poems of the poet can be divided into 3 parts in terms of content:
1) traditional poems;
2) poems about officials criticizing, jealousy, arrogance, harmful qualities;
3) Poems on the subject of advice.
The poet's work "Jaroid" consists of 1168 lines and covers 305 continents. The subject of this work is pand-u exhortation. The poet's focus is on important vital issues.
"Moliston" is written in verse and prose as a tribute to Saadi's "Gulistan" and is not divided into special chapters. The book consists of 4 continents and 76 stories. Continents and stories are inextricably linked and complement each other.
Ma'ole'-ul-fohira wa matolib-uz zahira was written in the last years of the poet's life. This work is both a literary and historical source. When Tamkin talks about a poet or a scientist, he gives a lot of information about the conditions in which he lived and the geographical life. In this play, he talks about the history of Bukhara, its architecture and cultural monuments. For example, it gives a detailed description of mosques, khanaqahs, arches, madrasas and other buildings.
There are also comments on the motion of the planets and their impact on humans, changes in nature, the climate in the rivers, the characteristics of the plant kingdom.
Haji Nematullah Muhtaram mentions Tamkin's death in 1334 AH (1915 CE). Professor AA Semyonov states that Tamkin died in 1917-1918. Jafarov, a student of the poet, also clarifies this difference in Tamkin's death:
“In 1915, I had little contact with Domullo Tamkin in Bukhara. Wai az az davrai piriash zaboni kushoda kushoda guft: “Piri da monandi davrai tufuliyat ast. Now I have almost 63 incomes, my health and well-being are low, I am sick and I can't afford it, I can't afford it. These views show that the conclusion of Nematullah Muhtaram is close to the truth. The testimony of the poet's student Jafarov confirms this. So Tamkin died in 1915.
In short, time demands that we reconsider the sources of the well-known and famous Bukhari, whose life and work were not studied in Persian-Tajik, and translate them to today's readers through translation. Translating Bukhara's works into Uzbek is a requirement of the time. Translation is not only the art of introducing one nation to another, but also the art of reclaiming the ancient heritage created by the greats, sages, and nobles of one nation.
So, it is the duty of our people to bring the works of Tamkin Bukhari to our people, to enjoy this spiritual source, to respect their ancestors. However,
Adabiyot sohira tuyg’ular makoni,
Unda millat yashar, unda xalq yashar…
If we focus on the analysis of any poet's work, we must keep in mind that the main form of classical literature is poetry and the field of its scientific study is classical literature, and examples of classical literature should be studied from this point of view.
Thus, classical literature consists of three parts:
1) application science;
2) the science of rhyme;
3) the science of art.
The first of this is the science of the weight and dimension of the poem, the second is the science of rhyme, and the third is the science of beautiful speech, the science of rare, beautiful, wonderful expression.
The science of art is also called the science of art and analyzes the poet's ability to apply the verbal and spiritual as well as the verbal-spiritual arts.
It is safe to say that the beautiful poems he wrote were the basis for A. Tamkin Bukhari's recognition as a poet in his time. This is because the fact that the poet's poetry is determined by his skill in ghazal writing, and only then he has the right to compose a devon, is one of the traditional requirements of the dream system, which shows that Tamkin's devon was decorated with high-level ghazals.
Tamkin's work is full of beautiful examples of the ghazal genre. His poems are dominated by traditional elements. The language of Tamkin's poems is simple, rich in metaphors, skillful use of poetic means, use of linguistic elements and closeness to the language of the living people. At the same time, he was able to describe examples of mystical literature in a unique way. In his poems, romantic and orifona, romantic and rindona spirit are uniquely combined. For example, consider the following poem:
Anqitar xush bo’yini dil yayratar gul bir tomon,
Gul ufori bir tomon, nolai bulbul bir tomon,
Bu chaman nargiz ko’z-u savsan zabonini ochib,
Zulfiga oro beribdir taqqancha sunbul bir tomon.
Bir tomon sog’ar cho’zibdur lola mast gullar sari,
Mayparastlar bir tomon, har turfa g’ul-g’ul bir tomon.
Gullibosim, tur ketaylik gul-u gulshan bag’riga
Bir tomon qolsin g’ururing, ham tag’oful bir tomon,
Bir tomon gulro’ jamoling, bir tomon gulning hidi,
Ham sharob tug’yoni bir yon, shisha-yu qul-qul bir tomon.
Bir tomon qushlar fig’oni, bir tomon nuql-u kabob
Jom-u ko’za kulgusi-yu zavqli ko’ngil bir tomon.
Yor diliga yo’lni topmoq, Tamkino, oson emas,
Bir tomon ishva-yu noz-u ham tajohul bir tomon.
Tamkin is also portrayed as a lyric poet. In his poems, he shows a delicate imagination, a keen eye, a high taste. He appeals to his lover with unique metaphors, beautiful, memorable metaphors, and unexpectedly exaggerated images. In the poems of the poet on the theme of love, one can see mainly real love, worldly love, that is, the love of man for man. However, in the poems of the poet there is also a mixture of inner and outer love, the poet wanted the unity of body and soul, form and content.
Poet's: “Anqitar xush bo’yini dil yayratar gul bir tomon,
Gul ufori bir tomon, nola-i bulbul bir tomon”
the ghazal of begining is 15 syllables long and is written in the Bahram or Mahsur Bahram of the Ramali Musam of Aruz.
The second verse of the second verse of the ghazal is written in the form of a framed musam. That is, it consists of 16 syllables, and the number of syllables in the columns is equal, that is, healthy. This indicates that the poem was written in three volumes.
It's a romantic poem, and it's full of spirit.
The poem is one of the most common seven-byte poems: 7 bytes, 14 lines.
The system of rhyme consists of: gul, bulbul, sunbul, gul-gul, taghoful, qul-kul, ko'ngul, tajohul. The poet has achieved diversity in the structure of words in the rhyme of the ghazal, and this has served to enhance the ghazal and its appeal. For example: gul, sunbul, ko'ngul, taghoful, tajohul - if it is a simple word; gul-gul, kul-gul is a repetitive word according to its structure.
Rhyming words are Turkish, Persian and Arabic words. For example: gul, qul-qul, gul-gul, if the words are Turkish words, the words taghoful, tajohul are Arabic words.
The main sound in the rhyme, the consonant "l", retains the melody. The rhyme of the ghazal is an example of a rhyme because it ends with a narrator.
The form of the rhyme is as follows: a-a, b-a, s-a, d-a, e-a, g-a, h-a.
The syntactic unit “one side” in the ghazal was used as a radif to further enhance the poet’s purpose and influence on the lover’s definition. The poet's nickname is given in praise. The ghazal consists of three main parts: the matla, the foreign byte, and the maqta.
The Ghazal language is further beautified by its closeness to the language of the living people. This beauty is further enhanced by the poet's use of the saj method in the fabric, that is, the use of inner rhyme. Nature is the source of inspiration for the poet in the creation of artistic creations. Therefore, poets make appropriate use of images and elements of nature or being, such as flowers, nightingales, sunflowers, tulips, birds.
At first glance, it is as if the poet is advancing an important philosophy through this poem dedicated to the glory of the flower, which has a special meaning in classical literature. In other words, the image of a flower is a symbol of love in classical literature, which is further enhanced by the variety of images, such as sunflowers and tulips. The image of a nightingale is a symbol of this flower, that is, a person in love who cries in love.
From a mystical point of view, we know that the image of a flower is the image of Allah, the Creator of all beings and nature.
In the text of this poem by A. Tamkin, the poet says: "This flower, which spreads a pleasant fragrance, spreads the heart, but its smell is not enough to spread the heart, and the nightingale's cry of love makes it all over the world."
Anqitar xush bo’yini dil yayratar gul bir tomon,
Gul ufori bir tomon, nolai bulbul bir tomon.
In this verse, the poet is also able to give a vital state, like the singing of a nightingale, which is intoxicated by the scent of flowers, which radiates the fragrance of spring. So, while the evolution of nature is obvious at first glance, in fact, the lover, who is impressed by the beauty of the partner, has become so beautiful that it is as if, in addition to the beauty of the lover, he has confused the lover.
The poet used the beautiful examples of the art of repetition in the text very appropriately in each byte.
For example, in the matla, radd-ul-aruz il-al-hashv is skillfully used:
The word "one side" at the end of verse 1 is repeated in the middle of verse 2
The beginning of the ghazal uses a two-sided symbol or symbol - a flower and a nightingale. The poet was able to express his thoughts through these two symbols. This spirit led to the end of the ghazal and grew in a series.
In beginning of ghazal, the poet skillfully used the art of intaq. That is, the nightingale reveals the expression of love - the unique scent of the flower gives the impression of a nightingale.
The beginning of ghazal also skillfully uses the art of mulamma, the art of using Persian and Turkish words equally.
For example: Xush - nice,
Bo'y is a smell.
If we pay attention to the second verse, the poet developed the image of a flower and a nightingale in it, and in a meadow decorated with flowers, the sunbul discovered a special beauty: he says. Sunbul is so unique that it seems to be one side of the flower garden. At the same time, the essence of this verse is that the world is a chamanzar, in which different flowers are considered to be a special beauty of good people, and the only "flower" of a creature with such a quality is a chamanzar. In fact, the poet uses these symbols to compare the world to a chamanzar, and says that sweet-spoken, kind-hearted people are his "sunbuli." The art of proportion is used appropriately in the byte. For example: 1) the words tongue, eye, zulf form a group; 2) The words sunbul and nargiz formed the second group.
At the same time, the image of "sunbul" was personalized in a unique way, that is, the art of diagnosis was used appropriately.
When the poet quotes the sunbul tariff, he points out that it is lonely in its beauty.
And in the third verse, the descriptions of the lover-poet are again illuminated with a special flame, emphasized with pain.
Bir tomon sog’ar cho’zibdur lola mast gullar sar,
Mayparastlar bir tomon, har turfa g’ul-g’ul bir tomon.
Now, the poet describes the tulip as a symbol of flowers in a meadow. So she was fascinated by her own beauty, amazed by her own beauty, and this state of the tulip caused a stir in the meadow, that is, it confused everyone. The word "drunkards" is used in the verse to refer to mystic lovers. The use of the words "drunk" and "drunkard" indicates the spirit of the poem.
Lola's drunkenness is a symbol of divine love. In the verse, the unit "lola mast" also created the art of metaphor, and in the verse also used the art of repetition "rad-ul-sadr il-al-hashv".
In general, the poet points out that Yor is very proud of his beauty, that he is alone because of this pride, and in verse 4 he urges Yor to give up his pride and walk with his lover in a flower-flower, flirt-he excuses and says that kirb is harmful
Gullibosim, tur ketaylik gul-u gulshan bag’riga,
Bir tomon qolsin g’ururing, ham tag’oful bir tomon.
The poet now calls his lover "Gullibosim" and uses the art of shouting appropriately. He calls her to renounce her oppression, to bless the poor lover, and to live with him in the pleasures of this world. But can a man who is so proud of his beauty overcome his so-called "lust" and bless his lover ?!
In verse 4, the poet used the art of passion very beautifully: gullibosim, gul-u gulshan.
No matter how much a lover begs for help, he will not give up. The lover's urges intensify at 5 verse:
Bir tomon gulro’ jamoling, bir tomon gulning hidi,
Ham sharob tug’yoni bir yon, shisha-yu qul-qul bir tomon.
No matter which way you look at your lover, your flower-like beauty and fragrance of flowers make me more in love, and love makes my heart fill like a bottle of "slave-slave". The poet uses the art of parable in this verse: "bottle-slave". He also created rad-ul-sadr il-al-ajuz. In the verse, the word wine is used to mean love, and the word "bottle" is used to mean the heart. That is, the soul that "drinks the wine of love" is happy. This is evident in verse 6:
Bir tomon qushlar fig’oni, bir tomon nuq-u kabob,
Jom-u ko’za kulgusi-yu zavqli ko’ngul bir tomon.
The heart, full of love, was so intoxicated by the figs of the birds and the barbecue kebabs that the whole being looked even more glamorous to his eyes. That is, with a divine, pure love, the limo-lim heart no longer leaves room for evil, does not care for it, and the very existence of the soul is a great reward, a great discovery. The lover discovered himself in the image of a friend. That's enough for him. This conclusion in a foreign byte ends in praise.
The lover no longer cares about his wife's suffering. Because it's not easy to find a way to her heart, even if she doesn't look at him rudely, the lover is still happy.
Yor diliga yo’l topmoq Tamkino, oson emas,
Bir tomon ishva-yu naz-u ham tajohul bir tomon.
In this poem, the poet was able to use a number of arts with "masculinity". At the same time, from the beginning to the end of the poem, he used the art of "laff and print" with great skill
The peculiarity of Tamkin's poems is that, no matter what language he writes in, he is led by closeness, simplicity and melody to the language of the national spirit and truth.
As in many works of Uzbek classical literature, a certain part of Tamkin's lyrics are romantic poems. A. Tamkin in his lyrical works also tried to express the high human qualities and emotions.
The poet dreamed of cultivating in the hearts of people love, devotion, loyalty, friendship and devotion to life and man in the image of singing the passions of love. His lyrical protagonist, with his wonderful qualities, is also in love with life. He is the lover of the Creator of the universe.
Poet: Ey, la’li labing ruhimga quvvat,
Ey, sarvi qading ruhimga nusrat.
The ghazal, which begins with, is one of the most successful examples of romantic lyrics. The lyrical protagonist of this poem is seen as a man of life, human emotions, sensitive feelings. The poem is full of cheerful spirit, sincere feelings of a young heart, romantic feelings. His language is simple, light, and his style is reminiscent of folk songs.
This poem was written in the rajaz bahr of aruz measure . Ghazal's paradigm: --v - / - v - / -
The affidavit is: mus-taf-i-lun
This means that the verse of the ghazal rajazi is written in the measure of mahzuf or maksur.
Each verse of the ghazal consists of three verses, the number of syllables is 10 (11).
Rhyming words: power, help, paradise, hospitality, document, pleasure, pleasure, picture, juice, gratitude, selected from Persian, Turkish and Arabic words.
The pillar that creates the melody is the "t" sound.
Some of Tamkin's poems do not use radif. This poem is also one of the non-radiz poems.
The ghazal consists of three parts: beginning, ending, and a foreign verse.
The poet's nickname is given in praise. The poem consists of 9 verses and 18 lines.
We know that two different approaches to the analysis of classical poetry are appropriate. We mentioned this above. That is, the analysis of the external (external) and internal (internal) meanings is close to the truth if carried out in harmony.
The apparent meaning is the content of the poem according to the existing traditions, which are visible at a glance. The inner meaning is the tag meaning in the poem, the inner meaning that reflects the poet's destiny or his own spiritual world, his worldview.
If we look at the text of the ghazal, it is stated that the weak body and soul of the lover are the "strength of the lips" and "the height of the cypress". A cure for a lover who falls in love can be any aspect of a lover. And the lover is desperately calling out, "Hey!"
Ey, la’li labing ruhimga quvvat,
Ey, sarvi qading ruhimga nusrat.
In the first verse, the poet uses the beautiful examples of the art of allegory: lali lab and sarvi qad. These analogies have long existed in the description of the mistress, and the way in which they are used is a testament to the poet's skill. The poet wanted both physical and mental strength and help in the mat. He found it in the image of his mistress, albeit imaginary. The lyrical protagonist prepares himself for exaggeration, expands his imagination, increases his source of energy in the desire to revive his soul and body. This situation develops step by step in the following verses.
Og’zingni degum baayni kavsar,
Rayhoni xating ruhimga jannat.
The situation of the lover in the first byte is even worse in the 2verse. He now compares the mouth of the lover to the water of heaven, and his beauty to the beauty of heaven. In fact, for the lover, every word that comes out of the mouth of a friend gives life to the body like an "animal of water", that is, the water of life, and feels the beauty of the soul in its form and shape. At the same time, basil is a symbol of a flower, and the poet is helpless in the face of the uniqueness of the fragrance emanating from his mistress.
In the second verse, the poet also makes appropriate use of the art of metaphor: made it look like heaven.
In the third byte, the metaphorical descriptions of the lover take on a different look. Now, he says, "The lover's face is as beautiful as the moon, and when I look at your beauty, my soul is filled with joy and revolt."
Oy misli desam yuzing chiroyin,
Shodlik jo’sh urgan ruhimga ulfat.
According to mysticism, purification of the heart is also a science. And the heart is cleansed by love.
In the third verse, the lover, who is looking for a friend, gets a great gift. This is mentioned in the fourth verse. The beauty of lover's face is an example of a document that cures the love of a lover. Now he is upset:
Ul anbarni xat-u xolingni shakli,
Ishq da’vosi uchun ruhimga hujjat.
In this verse, the lover, who is a little relieved, is given another description in the fifth verse:
Mushk bo’yin sochib ul qaro zulfing,
Har lahza berur ruhimga rohat.
The fragrance of mushk anbar radiates from lover's black hair and delights the heart of the poor lover. Imagine for a second you were transposed into the karmic driven world of Earl.
The gentle breeze that blows from the clothes of lover's lover, even from afar, gives him a divine satisfaction, such as pleasure and satiety:
Haqqoki, bu yon esgan nasiming,
Xush bo’yi ila ruhimga lazzat.
Apparently, the lover wants to achieve peace of mind, and it seems that he has achieved this, but when the beautiful face shows the beauty of the idol, even the sky becomes turmoil and becomes brighter. Imagine for a second you were transposed into the karmic driven world of Earl.
Nur sochsa falakka husn-jamoling,
Tug’yonga kirar ruhimda surat.
He is in love with the beauty of his imagination, when he sees her, he becomes angry again, his peace of mind comes to an end, love enters the field of wool again, and now only the sweet words of his lover can cure him:
Shakardan shirin labingni shahdi,
Undan oqadir ruhimga sharbat.
Conclusion. In the ghazal, the fact that the lover seeks spiritual pleasure, peace of mind, spiritual pleasure, spiritual documentation, spiritual pleasure, spiritual comfort, spiritual strength and help, and finally finds spiritual gratitude, testifies to the rindona spirit of the ghazal. At the same time, against the background of the theme of love, the poet also pointed out the unhappiness in social life, the painful points of the period in which he lived. As a result, the poet learned that peace of mind can be achieved through divine love, purity, righteousness, honesty, patriotism, and devotion, and he practiced it throughout his life.
Thus, the information about the life and work of the Bukhara poet Abdurahmon Tamkin, who was born around 1851-1852 and lived until 1915, and his works have not yet found a perfect conclusion in Uzbek literature. Questions about the poet's way of life, the historical conditions in which he lived and the literary environment, as well as his creative world, need to be answered and conveyed to the reader.
Through the work of A. Tamkin, a brilliant representative of the Bukhara literary environment of the XIX-early XX centuries, it is possible to say that the literature of this period reached the school level as a brilliant literature.
REFERENCES:
1. Regional State Archive, fund 37, opis 1, case 9; delo 254 ..
2.Navodiri Ziyaiya. Signature No. 183, Gajinai Dastkhathoi East AFRSS Tajikistan.
3. Tamkin. Moliston. Signature throne number 337. I Sh. Own-n. Sheet 8-9.
4.Tamkin. Devon. Manuscript number. 111..
5. Tamkin. Ruboiyot. Yes. 32.
6. Fido A.J. Tamkin. - Dushabe, 1974. Bekova Nazora Jo'rayevna (munozara) 08:31, 20-Sentabr 2022 (UTC)