Artistic Feature of Alisher Navoi's "Farhod and Shirin"

Annotation: Hazrat Alisher Navoi's epic "Farhod and Shirin" discusses many topical issues and universal issues related to the long past, life and future of the XV century. The poet skillfully used the arts of classical poetics, such as tazod (antithesis), talmeeh, tashbeeh, tanosub (the art of proportion), mubolaga (hyperbole), and metaphor, to illuminate these issues and interpret goals and ideas. In Farhod and Shirin, the artistic means of expression served to give a vivid, effective expression of the ideas expressed in the epic, to convey the images clearly and vividly, to ensure the verbal elegance and eloquence of the masnavi verses. The article draws important scientific conclusions by examining the interrelationships between the arts and the imagery in Farhod and Shirin.


Introduction
According to the scientific works of S. Erkinov and F. Nabiyev, doctors of philological sciences, who created a special study dedicated to AlisherNavoi's epic "Farhod and Shirin", AlisherNavoi used more than sixty poetic arts in "Farhod and Shirin". We are far from claiming to know all of this, to determine its place in the play. We will confine ourselves to a few spiritual arts in the second epic of Alisher Navoi's "Khamsa" and to define the place and function of these spiritual arts in the play.
Hazrat Navoi's work is an infinite ocean, in this ocean there are many wonderful and precious pearls. It is no coincidence that a great writer is called a word artist. Because in the sea of his priceless thoughts. We are attracted by the pearls of words.

II. Literature review
The peculiarities of Uzbek classical literature are also determined by the subtlety of the artistic means that emerge from the heart of poetry. The mastery of the poet is also determined by the uniqueness of the poetic arts he uses, and the extent to which he generalizes the aesthetic function of literature. Alisher Navoi's works are especially noteworthy in this regard. Because from small continents to large Khamsa epics, such great examples of art can be found many times. One of the important factors in the art of the epic "Farhod and Shirin" is the skillful use of artistic means by the great artist.
The role of artistic means in ensuring the artistic perfection of the epic "Farhod and Shirin" is invaluable. Here are some of them: In this verse, AlisherNavoi expresses the meaning of mubolaga (hyperbole) '' (Arabic for "return", which in poetry is the poet's idea expressed in the previous verse or byte, as if returning from the pictorial means used, the method of quoting or clarifying a preconceived notion. 10.47) creates a beautiful example of tashbeeh. In the above verses, the creator who likened the pen to Shabdez's horse seems to have changed his mind in this verse, and now Navoi admits that the pen is like a pleasant bird, that it can fly everywhere without wings.

Valekin ul shaba sochib javohir. (3, 5)
While describing the pen, Navoi does not forget the letters that are scattered from it, and in the above byte the letters written in black ink look like precious black beads. In this verse, another aspect of Navoi's artistic mastery is revealed. Navoi describes the existence of such a power in the word as if the letters written in a pen are like a black bead stone, ie "Hajarulaswad", we know that this stone is located in the Kaaba and we do not encounter such a stone in any corner of the planet. It is narrated in a hadith that when Ibrahim (as) was building the Kaaba, his children asked Ishmael (as) to bring a special stone. No matter how much Ishmael searched, they could not find any other stone and returned to their father and said that they could not find any other stone. Then they noticed a white stone inside the Ka'bah that was different from the others, and when they asked their father what kind of stone it was, they said that Gabriel had brought it from Paradise" (11,214). Another hadith states that the stone of Hajar al-Aswad was originally white and turned black due to human sins. In this verse, AlisherNavoi uses the art of tashbeeh as well as the art of husnitalil(euphemism) (Arabic for "beautiful proof"). Husnitalil (euphemism) is the art of giving a poetic reason for an event described in a literary work (10.27). Navoi notes that the words occupy all parts of the world like incomparable, precious pearls, and in the next verse the words seem to occupy the world, as if the sky were covered by stars. In addition to likening the words to the stars in the reader's imagination, he justifies his point by saying that the words cover the world just as the stars cover the sky.
In the next verse, Alisher Navoi describes his mentor Khusrav Dehlavi, noting that no one in the world has ever shared a diamond like Dehlavi in a sugar-sprinkling Hindu.

Magar ul hinduyi zoti shakarrez. (3, 7)
While depicting KhusravDehlavi, AlisherNavoi uses the art of mubolaga (hyperbole) and tashbeeh side by side to embody the description of his teacher in beautiful lines.

Ne to'ti, bulbuli sho'rida hol u. (3,7)
In this verse, Navoi seems to have changed his mind, but the idea becomes stronger and Dehlavi's description grows. No, don't call him a Hindu, call him a sweet parrot. In the next verse, don't call it a parrot, but call it anoblivious nightingale. " Dehlavi's definition is reinforced in the following verses in the same way.

Dema to'ti, degil Xizri payambar. (3,7)
In this verse, Alisher Navoi describes his masters in the combination of four different arts in creating the image of Dehlavi. In the first verse, Dehlavi wears a green silk cloak. It is known from the sources that Hizr had green fur on his clothes. Imam al-Nawawi states in his book Tahzibul Asmawa Lughat (narrated in al-Bukhari's book Al-Sahih) the fur shook green behind him." The word Hizr also means "green" or "blue". In this verse, NavoiDehlavi's poem beautifully proves the existence of a green silk cloak through the prophet Hizr. He was one of the righteous servants whom Allah blessed with mercy and knowledge. In Navoi's view, Dehlavi, like Hizr, was endowed with knowledge by Allah.
In these verses, building a building on the water for Boni is as easy as creating foam on the surface of the water. In these verses, through the art of rhetoric and husnitalil (euphemism), the idea is expressed at a high artistic level.
The buildings he built are as strong as a mansion. In this verse, it is said that the buildings built by Bani did not know what it means to collapse like a heavenly palace.

V. Conclusion
As we read the verses carefully, we see a wonderful expression of the art of tashbeeh and husnitalil (euphemism). In this verse, the prince is surrounded by a hundred moons, as if the moon were surrounded by stars.
Farhod's unparalleled passion for learning a trade is skillfully expressed in Navoi's pen through the art of rhetoric: Aningdek qildi xoro yo'nmog'in vird,

Uluming bahridin inson hisobi, Atorud shaklidur andin hubobi. (3,48)
In this verse, the image of Farhad is captivated by the art of rhetoric. "People believe that the star Atorud is something in the form of a bubble of water in front of the sea of your knowledge," said Farhod, noting that he was a rare talent who possessed many of the sciences of his time.