Harmony of Sufi Symbols and Poetic Figures in Alisher Navoi’s

Ghazals of Na’t (Glorification)

Karamat Mullakhodjaeva

Tashkent State University of Uzbek Language and Literature named after Alisher Navoi, Uznekistan

Keywords: Ghazal, Wasf, Na’t, Miraj, Symbol, Mystical Symbol, Poetic Figures.

Abstract: More than ten na’t (glorification) ghazals are incorporated into each divan of “Khazoyin ul-maoni”, adhering

to certain standards of Eastern divan tradition. Around fifty ghazals of this category can be found in the

complete works. The dictionary definition of na’t is an adjective, and as a literary term, it denotes a work in

praise of Rasulullah or specific chapters of a large work, as well as poems of specific genres in divans.This

article explores the ghazals of the na’t series dedicated to the praise of Muhammad p.b.u.h. (Peace be upon

him). Firstly, the ghazals extolling him, followed by the ghazals penned down based on the event of Miraj are

examined. The analysis concentrates on the Prophet's impeccable conduct, crucial aspects pertaining to his

prophetic endeavours, and the artistic depiction of the Miraj event. The author provides analyses rooted in

artistic criteria. This series illustrates the role and significance of imagery in ghazals, and the expression of

the theme through poetic figures. Owing to the constancy of the mystical content in Navai's ghazals,

particularly in these ghazals of na’t, the article has specifically investigated the harmony between mystical

symbols and poetic figures.

1 INTRODUCTION

A distinct segment of the ghazals in Alisher Navai's

divans comprises na’t ghazals. Traditionally, this

series of ghazals is positioned after hamd (praises)

and munojots (prayers) in every divan. The ghazals

can be segregated into two categories: ghazals centred

on the theme of praise and ghazals about Miraj. Even

though the content of these poems is accepted as a

traditional subject, they truly represent perfect

exemplars for every Muslim believer — depicting the

life of our prophet Muhammad p.b.u.h., the miracles

bestowed upon him, specifically the account of the

Miraj, and indeed, expressing infinite love for him.

The content of na’t ghazals is interwoven with the

poet’s religious and Sufi understanding, his

perspectives and conceptions about Allah, the world,

mankind, and Rasulullah, the ruler of the universe.

Nonetheless, the poem is an outcome of artistic

contemplation. It materialises driven by the aspiration

to actualise the loftiest longings of the human psyche.

Therefore, in the poet’s na’t ghazals, we gain insights

into the events associated with the life of our prophet

and his endeavours as the prophet on one hand, and

Corresponding author

predominantly, we encounter an artistic expression of

attitude towards him — unconditional love and a

heart aflame with the desire to accept his intercession.

The creation of this series of ghazals endowed the

poet with inner tranquillity and spiritual fortitude, as

he articulates in one of his ghazals.

In the preceding series, that is, in wasf na’t ghazals,

the beauty, exemplary conduct, virtues, hadiths, and

other qualities of this noble individual are elucidated.

The second series — ghazals centred on the theme of

Miraj, one of the miracles granted to Muhammad

p.b.u.h., is devoted to the depiction of the Miraj event

and its artistic interpretation. Occasionally, it is

evident that these two distinct contents are conveyed

in a single ghazal. Furthermore, among the poet’s

love ghazals, there are also ghazals portraying

Rasulullah in the image of the beloved, and their

examination necessitates special research.

2 RESULTS AND DISCUSSION

The ghazals themed around na’t and Miraj possess

their own imagery and symbols, artistic and visual

Mullakhodjaeva, K.

Harmony of Suﬁ Symbols and Poetic Figures in Alisher Navoi’s Ghazals of Na’t (Gloriﬁcation).

DOI: 10.5220/0012489300003792

Paper published under CC license (CC BY-NC-ND 4.0)

In Proceedings of the 1st Pamir Transboundary Conference for Sustainable Societies (PAMIR 2023), pages 403-408

ISBN: 978-989-758-687-3

403

means, more specifically, their own stylistic and

artistic characteristics, thereby enabling their easy

distinction from the composition of any divan. A

sincere love for Rasulullah, and the fervour and

intensity of this emotion, underpin the creation of this

series of ghazals. The grounds for this love are

disclosed in Quranic verses, hadiths and indeed, in the

poet’s ghazals. The poet speaks about this fiery love.

The essence of this love is unveiled through the image

of a samandar in the beyt. In classical texts, this

creature, imagined as being born from and living in

fire, symbolically represents the lover who dwells in

the flames of love. The poet employs the symbol-

tashbeh of samandar in the beyt, highlighting that

love for Rasulullah constitutes the meaning of life for

a believer. Abu Hamid al-Ghazali wrote: “Loving the

Prophet is praiseworthy, as he is God’s beloved,

God’s habib! That is, the beloved of our beloved is

also our beloved” (Alisher Navoi. (1990); 239

Ғazzālī). Love for Rasulullah, who has become a

symbol of perfection in appearance, is associated with

love for Allah. In literary works, especially in Navai’s

ghazals, the image of this noble individual is

unparalleled in beauty and character, serving as a

model. That’s why the poet, while describing him in

his na’t ghazals, compares him to the Moon and the

Sun, and regards his lovers, including himself, as

equal to vafodor it, xor-u xas, zarra, g‘ubor. All this

allows us, on the one hand, to study the spiritual-

moral world of the poet, and on the other hand, to

appreciate his artistic skills.

In the views of many scholars, including Navai, the

life of our saintly Prophet serves as an example. For

instance, while discussing Maulana Rumi in the work

“Nasoyimul-muhabbat”, the poet writes: “Shaykh

Rukniddin Alouddawla said that this person's words

are very welcome. If they ask me about my life, if I

have anything at home? They used to say there's

nothing, they would rejoice and give thanks, stating

that today our house is like the Prophet’s house and

they would say the kitchen is ready, claiming that this

house smells like the house of the Pharaoh” (Tahuri.

(1370 Hijri); 327). Certainly, these views aren't

expressed to promote poverty. This solace lies with a

man who has learnt to control his ego, who has

already conquered it, and whose soul is connected to

the divine world.

Navai’s na’t ghazals praising our prophet contain

numerous symbolic references to nature, its elements,

and events. This should be connected with the

creative individual's need to live in harmony with the

universe and nature.

In the opening verse of the poem, the poet likens the

eyebrows of Allah's Messenger to the hilol - crescent,

i.e., the new moon, utilising the expression 'oy

boshiga' as a play on words, in order to convey two

different meanings and to lend charm to the beyt. The

eyebrows are compared to a crescent, the face is

likened to the Sun - it is underscored that the faces of

the Sun and the Prophet are like two facets of a single

apple.

It is evident that in na’t ghazals, significant attention

was given to portraying the external beauty of Rasuli

Akram. However, this is not merely a description, but

one can sense that it is in harmony with his perfect

behaviour, and the verses are illuminated by the light

of reason.

The poet admires the Prophet's face and eyes as a

manifestation of the perfection of God's power. These

verses can also be employed to explicate the

significance of these symbols, which have ascended

to the status of a term in Sufi poetry. “It is said the

face signifies light and images, which culminate in

pleasure, and the opening of the light of faith and the

doors of knowledge, and the lifting of the veils of true

beauty” (Chulpon. (1993); 44). And the eye is the

revelation of the divine world, the perfect man

himself. Because the eye sees everything but itself.

Thus, these qualities are embodied in the beauty of a

perfect person like Rasulullah - in his face and eyes.

The poet develops this thought.

The first hemistich of the beyt can be interpreted as

follows: “The mirror of the sura called 'vash-shams'

(oath to the Sun) fell on your beauty moon, more

accurately, on your moon-like beauty.” In this surah,

the main emphasis is on the salvation of a person who

keeps his soul pure. The explanation given after the

ten ayats of the 'vash-shams' surah states:

“...whenever the Prophet, peace be upon him, recites

the aforementioned ayats, he prays to God Almighty:

'O Allah, bestow piety on my nafs - my soul. You

yourself are its keeper and you are the best purifier of

it...'” (Alikhantora Soguni. (1991); 505). Thus, the

beyt says the reason why this sura was associated with

the depiction of his beauty, which is clear and

beautiful like the moon, and with the fact that he

recognised the happiness of the Messenger of Allah,

the Prophet p.b.u.h., who asked for salvation from the

Purifier in order to acquire the piety of the soul, and

live with this desire, imagination and lifestyle.

However, every Sufi considered the attainment of

self-righteousness as an important task on the path to

their goal. From the viewpoint of artistic

representation, it can be observed that poetic figures

of belgisiz tashbeh and lutf are utilised in this beyt.

That is, the word 'oyina' (mirror) alludes to two

PAMIR 2023 - The First Pamir Transboundary Conference for Sustainable Societies- | PAMIR

404

meanings: 1) mirror and 2) moon (jamoling oyiga).

Also, mirror-looking glass concepts necessitate the

figure of takrir (repetition of meaning). The words

'ko’zning qorasi', 'mozoga va surma' are also similar

in meaning.

This image has assisted the poet in vividly expressing

his love for the Prophet PBUH, as well as the Sufi

concept.

The sun is one of Navai’s favourite symbols and

metaphors. In one ghazal, this symbol-tashbeh is

compared with the beauty of the Prophet, in another

couplet, it appears as his admirer, and it becomes a

symbol of humility.

In the couplet, Navai very beautifully illustrates the

scene created by the image of the sun; that is, the sun

descending from the sky and finally setting, which the

poet describes as the sun's desire to caress its face

against the soil at the doorstep of the Prophet PBUH's

house. The sun, considered one of the largest celestial

bodies in the universe, shows no hesitation in pressing

itself against the soil at the door of the lord of the

universe. The poet manages to create beautiful and

unique landscapes by applying the method of

personification, attributing human characteristics to

inanimate objects - using the features of the tashhis

figure. Simultaneously, hyperbole and antithesis have

also been employed here.

The symbol of the sun, which has gained special

importance in the ghazals dedicated to the Messenger

of Allah, serves as a critical source and tool for

expressing various facets of the poet's creative intent.

If we consider that the symbol of the sun in the praise

ghazals mainly represents the source of theology,

then in this couplet, the sun is equated with the

Prophet PBUH through the use of the tashbeh figure

A poet who uses the contrast of the symbols of the

sun and the particle (with Navai considering himself

a particle in the face of the Prophet's sun) in order to

enhance the impact of his thoughts, employs the

images of the slave and master through the use of

tashbeh and antithesis, and beautifully illustrates the

state of the lyrical hero – the lover, and the position

of the Messenger of God. After all, the words,

lifestyle, and guidance of our Prophet are blessings

for his ummah to achieve happiness in both worlds,

and they serve as examples for saliks. This noble

person who calls his ummah to purity, honesty, and

the path of the Truth in this world, will provide his

intercession in the next. Bearing these in mind, the

poet-lover compares himself to a particle and a slave,

and compares this noble person to the sun and a

master. A particle is the smallest object that moves

irregularly within the sun. It can be compared to a

person who wanders amidst the worries and joys of

the world. Without the Sun, not even a particle would

exist. This point can be further substantiated by

Navai’s couplets.

In Arabic, "lav lok" in the couplet translates to "if you

were not". We come across the Hadith Qudsi in the

sources, "O my Messenger, if you were not, I would

not have created the worlds". The purpose of creating

the universe is humanity, and the purpose of creating

man is to develop a perfect human being, like our

Prophet Muhammad, peace be upon him. This is

acknowledged elsewhere.

"If there was no Messenger, God would not have

created anything. Others are like a tree sprouting from

a lateral root. Rasulullah is a grand tree spread

throughout the world." Thoughts consistent with this

sentiment are expressed in numerous works,

including the aforementioned couplet. "Praise and

glorification are due to Allah, the supreme power,

who made the light of Muhammad and created the

world for his sake. The purpose of creating the world

was to create man... Therefore, Allah created a group

of individuals with great spirit and purity among the

people and assigned them the task of being the envoy

between Himself and His servants. The first among

these is the father of all people, our father Hazrat

Safiyullah. The best of all, the last prophet

Muhammad Mustafa, may God bless him and grant

him peace" (Istanbul. (1995); 6).

The couplet suggests that when the clay of the

Messenger of Allah was fashioned, Khizr and Isa,

peace be upon him, were created from its excess. This

concept refers to the fact that Prophet Muhammad is

the prophet of all prophets. Couplets with this content

are often found in the poet's poems.

This couplet corresponds to the ayah in the Holy

Quran: "Muhammad is not the father of any of you,

but he is the prophet of God and the last of the

prophets..." (5; 307). In expressing this fact, the poet

beautifully utilises the semantic possibilities of the

word 'khotam', drawing attention to the creation of the

"body of dough" relating to Prophet Muhammad.

Professor Najmiddin Komilov briefly comments on

the cosmic concepts of Sufism, i.e., the visions of the

universe's structure, and says: "According to the

philosophy of Sufism, Allah the Highest (also called

Jawhari zot, Absolute spirit, Aqli kull) first created

the light of Muhammad, peace be upon him. He then

created worlds and people because of this light. Thus,

the light of Muhammad or the truth of Muhammad

lies at the foundation of the universe. Since the light

of Muhammad existed at the beginning of the worlds,

Adam Safiullah, the first human being, can be

referred to as the son of Muhammad, in other words,

Harmony of Suﬁ Symbols and Poetic Figures in Alisher Navoi’s Ghazals of Na’t (Gloriﬁcation)

405

both father and son in relation to Muhammad"

(Alisher Navoi. (1987); 42).

Utilising the muvozana figure, the poet

achieves a melodious effect due to the harmony of

words in the hemistiches of the couplets, and reveals

the essence of thought through the tazod figure

(image-meaning, parent-child), asserting:

"Adam, peace be upon him, who regarded all

mankind as his children (who was the father of all

mankind), is outwardly a father to you (to

Muhammad p.b.u.h.), but in essence, he is your

child." "In this, contrary to what some people think,

it's not the historical personality of the blessed one, as

stated multiple times in mystical sources, but

Muhammad, who was a prophet when the clay of

Adam p.b.u.h. was fashioned, that is, the true

Muhammadiyah, which should be taken into account"

(Alisher Navoi. (1988);76).

Every Sufi striving for perfection and perfect

behaviour considers Rasuli Akram as their model,

hence this aspect is given significant attention. Noting

that not only ordinary people - believers and Muslims,

but also those chosen for them - prophets are

examples of greatness, the poet underscores the role

and importance of the Messenger of Allah in

humanity's destiny. If we view the children of Adam

- the prophets sent to guide people worldwide on the

right path, as a ring (circle), Rasulullah p.b.u.h. is

recognised as the name (essence) inscribed in the eye

that binds the ring, and it is the essence of life, of

vitality.

Symbols associated with the life and activities of the

Prophet, such as the Kaaba, Makkah, and Madinah

play a vital role in the expression of religious views

in Navoi’s poems. The poet intertwines his love for

Rasulullah with the happiest or most unhappy days in

this noble person's life.

The thoughts expressed in this verse through the

depiction of scenes are related to our prophet's

migration from Makkah to Madinah. It's known that

in the thirteenth year of the prophethood, the Prophet

p.b.u.h. migrated from Makkah to Madinah.

Expressing this event through the tashhis figure in the

couplet, the poet draws attention to the colour and

shape of Kabatullah, i.e., "If the Kaaba isn't mourning

for the loss of you (of Rasulullah – K.M.), why is it

clad in a black mourning dress with a sewn collar?"

When interpreting the image of the Kaaba in the

couplet in conjunction with the symbolic-Sufi

meaning of "soul", one senses that the people who

couldn't migrate with the Messenger of God, and

concurrently, despite the time and place, the lovers

suffering from his migration, including the poet, are

reflected.

Batkho is the name of a gorge near Makkah.

Sometimes, it's also used to refer to Makkah.

Reinforcing the idea expressed in the previous

couplet, the poet now employs the art of tafrii,

denying the nature of the real scene, linking it with

his mental anguish, and justifying it in a unique way

(tafrii typically corresponds to the tashbihi tafsil),

stating: "This Batkho, that is, stretched over Makkah,

is not sands, but its (Makkah’s) body has fallen to

pieces in your grief." A very beautiful and moving

analogy. If the people of Makkah are missing the

Messenger of Allah after his departure, the people of

Madinah are eagerly awaiting him, and the poet

expresses this event in the following couplet through

tafrii and tashhis.

Yasrib is the ancient name of the city of Medina.

When news of the Prophet p.b.u.h.'s resettlement

spread, the trip would sometimes be delayed. In

Medina, not only people but everything - roads,

gorges, valleys - were waiting for him. The poet was

able to convey people’s condition and mood with the

help of the image of the road, stating: "It is not the

road, but after separation from you, it fell into this

situation by tearing off his face with his fingernails."

The poet seems to have found the most potent

influence when he compares the roads of Madinah

stretching across the sand dunes to the situation of a

lover living in separation.

One can observe that the image of a dog is

appropriately used to express sincere love and

devotion to Rasulullah. In our classical literature, a

dog is a symbol of love, loyalty, devotion, and

humility. The opportunity to express the mental state

of a true lover is extensive.

The quality of loyal love of "it" is understood in the

couplet. The poet conveys its content through the

tazod figure (mahrum, i.e., unattainable, and mahram,

i.e., friend, confidant) and tajnis figure (mahram -

mahrum // tajnisi noqis or tajnisi hatti). It's

noteworthy that both special mahrams and mahzun

mahrum are expressed as 'it' in the image of fidelity.

The image of a dog is also employed in ghazals and

beyts, instilling a desire to receive the Prophet's

intercession. In essence, "On the Day of Reckoning

— Judgment Day, the sins of those who have received

the intercession of the Messenger of Allah will be

more readily forgiven. The poet expresses lovers of

the Messenger of God through the image of a dog,

elucidating his thoughts by figures such as takrir

(repetition) and ishtiqoq (hisob, behisob, mahsub)."

Beautiful examples of this imagery can also be found

in beyts dedicated to the image of the sky in Miraj's

ghazals.

PAMIR 2023 - The First Pamir Transboundary Conference for Sustainable Societies- | PAMIR

406

Sheri gardun is Asad, which is considered the fifth

sign of the sky. In terms of its name and position,

Asad is the strongest of the celestial constellations.

The poet, utilising the poetic possibilities of the word

"sher" (lion), the namesake of Asad, states: "Asad,

who keeps the dogs of your door (other zodiac signs)

close to him, becomes a dog with a chained neck."

Love for Rasulullah is manifested in various forms in

the na't ghazals. Among these, the ghazals related to

the miracles of Miraj are particularly eye-catching.

"The great status (Miraj – K.M.) that no one else has

been given allows the people of Sufism to draw closer

to the Truth, to communicate with God, and to receive

God's grand gifts and blessings. It represents the most

authentic and exemplary form of mortality and

immortality..."

Qurb in beyt is a case of tariqat. Qurb signifies

closeness or approach. Salik's state of feeling close to

God, directly sensing God's presence, also implies

that God's gaze falls upon him. Sufis often equate

qurb with Muhammad Mustafa's arrival to Allah on

the night of Miraj. The ultimate dream of Sufis is to

achieve this status. Emphasising that the Prophet

attained this position under the guidance of Jabroil,

peace be upon him, the poet utilises Hudhud and his

companions as talmeh. That is to say, it was not

Jabroil, like Hudhud, but Rasulullah, like simurgh,

who achieved this status.

"Miraj" is interpreted in Sufism dictionaries as the

elevation of the soul and spiritual journey. Miraj

provides great spiritual and moral sustenance and

strength for Sufi people (ain ul-yakin), who consider

their whole desire and the meaning of their life to

reach Allah's will. This is precisely why, in Navoi's

Miraj ghazals, the supremacy of the Sufi spirit can be

discerned.

Sufis categorise the acquired sciences in

understanding the truth as follows: a) ilm ul-yaqin,

that is, belief through knowledge, complete

understanding, and experience; b) ayn ul-yaqin, that

is, assurance by seeing with one's own eyes, grounded

in observation; c) haqq ul-yaqin — a genuine trust, a

science of reaching the truth.

The people of ayn-ul-yaqin, who regard the

Messenger of Allah as part of the people of haqq-ul-

yaqin, know that the Prophet, may peace be upon him,

ascended to heaven on the night of Miraj, and they

believe that the dust stirred by the horse's feet is a

tutiyo that enlightens their eyes. At the heart of these

metaphors, it is clearly conveyed that our Prophet's

lifestyle and activities are an example for Sufis to

achieve perfection and fulfil their objectives.

"You are a Sufi of the world of purity, messengers -

companions of other prophets (your friends,

companions). The throne is an excellent home for

you."

On the night the Prophet ascended to heaven, he met

the prophets who came before him, including Adam,

Jesus, and Yahya, Yusuf, Idris, Musa, and Ibrahim, in

each heaven. (They only reached the positions that the

Messenger of God attained on this night

posthumously.) The poet interprets this event in a Sufi

way, expresses it artistically, and it became a

significant event in the history of Sufism. The fact

that the Messenger of Allah is Allah's protector is

often explained by the phrase qoba qawsayn.

The phrase qoba qawsayn in the beyt signifies a

distance as close as two bows (i.e., two eyebrows), or

even closer, an incredibly small distance. It serves as

an expression, and it signifies that our Prophet was

extremely close to Allah on the night of Miraj. The

poet, with special emphasis on this event, which can

be considered the highest peak — the culmination of

the Night of Miraj, believes that for the salik who

dedicated his whole life to the pursuit of Truth, this

would perfect his priesthood.

The content of the ghazals focusing on the topic of

Miraj is an amalgamation of the events of Miraj and

the poet's own imaginings and experiences tied to it.

Within these, the imagery of koinot and tungi samo

(the universe and the night sky, respectively) is

particularly pivotal, as the miracles of Miraj are

deeply interconnected with the night, the universe,

and its celestial bodies.

When the position of the Messenger of God on the

night of Miraj aligns with the heavenly bodies, the

poet creates a metaphor comparing the Prophet and

the stars surrounding him to a lamp on a dewy field at

night and the sparkles reflected from its light. Here,

'oraz' symbolises a nightlight and the stars are likened

to dew drops cascading from it.

The heavenly symbolism in the image of Miraj can be

attributed, on the one hand, to the magnificence of the

night of Miraj, and on the other, to the poet's love for

Rasulullah. The poet artfully demonstrates the

expressions of the celestial image on the night of Uruj,

especially employing symbols such as mehr (sun),

badr (moon), subh (dawn), nujum (star), and charkh

(celestial sphere).

Miraj took place over a single night (transpiring in

mere seconds, according to the Earth's time). The poet

uses the figure of tashhis, expressing that the dawn,

as an eyewitness to this nocturnal event, laments

missing this particular evening and mourns daily.

This affirms not just people, but all existence as being

in love with the Prophet.

Harmony of Suﬁ Symbols and Poetic Figures in Alisher Navoi’s Ghazals of Na’t (Gloriﬁcation)

407

The poet describes, "The reason why the sky does not

close its eyes each night (a hundred thousand eyes –

representing a hundred thousand stars, i.e., istiora - a

metaphor) is due to their longing for another vision of

you." The figure of tashhis, frequently used in the na’t

ghazals, is also deployed in this beyt. From a religious

perspective, not only humans but all things in the

world glorify the Messenger of God and send

blessings upon him. Thus, the anthropomorphisation

of inanimate objects or non-human entities primarily

concerns issues of artistry and, secondarily, relates to

the aforementioned points.

It is acknowledged that Rasulullah ascended to

heaven on the horse Buroq. The sanctity of this

journey is also emphasised in this verse. The eyes of

the stars (likened to the human eye) shine due to the

dust (heavenly dust) stirred up by Buroq's hooves.

When antimony is applied to the eye, it becomes

clearer. This is the sentiment the poet intended in the

beyt, and in other instances, he compares this dust to

totiyo (an ointment).

The poet uses the figure of muvozana in the verse, "I

cannot extol your beauty as rapidly as the sky,

because it moves faster than the sky, and I cannot

liken your beauty to the moon, because the moon

itself derives its light from your beauty." In

accordance with this, the words in the beyt are used

equivalently in terms of measurement. The use of this

figure in the quoted beyt lends it a melodious quality.

The theme of na’t’s ghazals is vast. The poet, viewing

the life of the Messenger of God as a model for his

own life, like any believer, has transcribed many

events tied to his life into verse, and has presented

him as a role model for others. In this study, we

confine ourselves to the poet's ghazals centred around

the topics of na’t and miraj. However, within the

"Khazayin ul-maoni" collection, this series of ghazals

occupies a substantial space. By studying them, one

can acquire a much more profound understanding of

our Prophet's personality and way of life

3 CONCLUSION

Thus, na’t ghazals also align with the poet's religious

and Sufi perspectives. Na’t ghazals can be

categorised into two groups based on their theme. The

first series of ghazals glorifies Rasulullah, the Lord of

the world, while the second artistically describes one

of the miracles attributed to him — the events of

Miraj. In the laudatory na’ts, primary attention is

given to the artistic portrayal of his lifestyle, image,

poetry, and hadiths, with the poet recognising him as

a symbol of perfection. The poet emphasises that the

purpose of creating the world and mankind was to

produce a perfect individual like Rasulullah. The

ghazals themed around Miraj enable the poet to

articulate his Sufi views whilst exalting the miracle of

Miraj. The poet’s ghazals confirm that the description

of Miraj can be the most accurate and beautiful tool

for expressing the dreams of an ardent lover yearning

to approach the truth. To communicate this theme and

meaning, the poet invokes numerous images and

symbols, utilises allusions, refers to events from the

Prophet's life, and employs figures such as tashbeh,

tazod, tashhis, husni taalil, and others in

correspondence with them. In this series of ghazals,

especially those themed around Miraj, the dominance

of the tashhis figure is palpable. This should be

understood in relation to the events of Miraj and the

manner of thinking intrinsic to religious imagination,

i.e., all entities — the entire existence — send

blessings to the Messenger of Allah.

The specific symbols and poetic figures employed to

articulate the theme and meaning of the ghazals

cultivate the unique artistic and stylistic traits of this

series of ghazals.

REFERENCES

Abu Hamid al-Ghazali. (1980) The Resurrection of the

Science of Faith. Moscow. Nauka. 376 p.

Alisher Navoi. (1990). Complete collection of works.

Volume 17. Tashkent. Fan. 520 p.

Dr. Syed Ja'far Sajjadi. Sufi terms and phrases. Tehran.

Tahuri. (1370 Hijri). 814 p.

The Holy Quran. Tashkent. Chulpon. (1993). 540 p.

Alikhantora Soguni. (1991). The history of Muhammad

p.b.u.h. The first book. Tashkent. Yozuvchi. 192 p.

The Book of the Prophet's Miraj. Tashkent. Yozuvchi.

(1995). 96 p.

Suleiman Uludag. Glossary of sufi terms. Istanbul. (1995).

604 p.

Alisher Navoi. (1987). Complete collection of works.

Volume 1. Tashkent. Fan. 724 p.

Alisher Navoi. (1988) Complete collection of works.

Volume 3. Tashkent. Fan. 616 p.

Alisher Navoi. (1989).Complete collection of works.

Volume 4. Tashkent. Fan. 560 p.

Alisher Navoi. (1990).Complete collection of works.

Volume 6. Tashkent. Fan. 568 p.

PAMIR 2023 - The First Pamir Transboundary Conference for Sustainable Societies- | PAMIR

408