A SAMPLE OF ALLEGORY IMAGERY IN POEMS OF NIZAMI AND NAVOI

Abstract

The conclusion of the Artistic-aesthetic and ideological principles of the epic work of Nizami Ganjavi and Alisher Navai contributed to the resumption of centuries-old traditions of Eastern poetry. In their fives, two brilliant thinkers used fragments from the sources of oral folk art and folklore of the two peoples in a kind of creative style. Nizami Ganjavi as the first master of epic style in his literary environment, Alisher Nawai as a prominent creative and statesman of the Timurid Renaissance in his creations turned to wise folk thinking, undying traditions of folklore. Sheikh Nizami in each of his poems addressed directly to folklore or the creation of oral folk art to express his socially useful thoughts. He often expressed his ideological idea not with instructions, but with live episodes and images from folk art. Nizami's poems are clearly different from the chivalrous novels of the European Renaissance, where images of angels, demons, fairies and scenes of miracles are buried. In the poems of the great master, the words of ancient legends and myths are used with realistic pathos, in a humane spirit. A distinctive feature of Nizami's epic style is that it uses oral folk art, combined with images of a diverse, wide-ranging storyline.

In "Hamsa" Alisher Navai also occupy an important place episodes of oral folk art and parables, excerpts with images of animals, elements from flora and fauna. The great thinker in the first poem of his five and in the spiritual-enlightenment poem "Lison ut-tyre" ("The Language of Birds") most figuratively expresses high moral ideas through artistic episodes from folklore and fragments of folk tales. On this basis it should be concluded that folk wisdom from the treasury of oral folk art and folklore was a living, unsessekable source, nourishing the multifaceted creativity of two geniuses of human history.