POETIC ARCHITECTONICS IN ALISHER NAVOI’S “HAYRAT UL-ABROR” AND YAHYOBEY TOSHLIIJALI’S “GULSHAN UL-ANVOR”

Abstract

This article comparatively examines the poetic architectonics of epics created within the eight-century-old tradition of khamsa-writing. In particular, it reveals the distinctive features, similarities, and differences of this tradition through the examples of Alisher Navoi’s “Hayrat ul-abror” and Yahyobey Toshliijali’s “Gulshan ul-anvor.” The study focuses on the themes and ideas of the epics, their compositional structure, chapter system, the relationship between maqolats (didactic sections) and narratives, as well as poetic meter and artistic forms as the main objects of analysis.

The article also explores the theoretical foundations of the concept of architectonics and explains its relationship with composition. The structural organization of both epics is compared based on their division into introduction, main part, and conclusion. While “Hayrat ul-abror” demonstrates a consistent and systematic sequence of maqolats and narratives, “Gulshan ul-anvor” presents a relatively freer structure in which narratives, parables, and admonitions are interwoven after theoretical discussions.

The results of the study show that although both epics are written in the sari’ meter, there are significant differences in their architectonic structures. Navoi’s work is characterized by strict structural coherence, whereas Toshliijali’s epic displays greater compositional flexibility and a stronger Sufi interpretation. Additionally, the abundance of narratives and their enrichment with various forms in “Gulshan ul-anvor” define its unique artistic features.