Abstract

Munojats is a literary phenomenon in Uzbek literature, which consists of an introduction to devons and poetic balls, a thematic classification of lyrical works, and introductory chapters of large-scale epic poems. In the introductory chapters of Alisher Navoi's “Khamsa” epics, prayers are accompanied by praise and glorification, and are a means of expressing the author's philosophical-mystical, divine-mystical views, personal experiences: confessions of the heart to the Creator, repentance for sins. The article states that the content of the munojats in the preface of “Saddi Iskandariy”, the final epic of Alisher Navoi's “Khamsa”, is formed in harmony with the content of the work; they cover issues such as the author's mystical-philosophical views and the artistic expression of his ideological purpose. The article also shows the importance of the art of obedience in the expression of prayers in the epic, as well as the poet's artistic skill in creating prayers on the basis of analysis and interpretation.

Highlights

  • The epic “Saddi Iskandariy” is the last epic of “Khamsa” and was written in 1485

  • Navoi gives the king's view that one hour of justice is superior to the lifelong prayer of a Sufi through hadiths, stories (The story of “King Mas'ud saw his father Mahmud in a dream ...”) and the image of Alexander

  • With such a compositional epic, Navoi sums up the ideological purpose he wants to express in “Khamsa”

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Summary

Introduction

The epic “Saddi Iskandariy” is the last epic of “Khamsa” and was written in 1485. “Saddi Iskandariy” has a munojot section. The great poet expresses his views on the theoretical issue of the status of abror in the content of the epic “Khamsa” “Hayrat ulabror” by describing the events associated with the image of Alexander in the epic.

Results
Conclusion

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