INTERPRETATION OF THE IMAGE OF MASIH IN THE DIVAN OF ALISHER NAVOI «BADOE UL-BIDOYA» («THE RARITY OF THE BEGINNING»)

Abstract

This article examines the problem of the artistic interpretation of the image of Masih (Jesus) in Eastern classical poetry, in particular in the lyric couch “Badoyi ul-bidoya” (“The rarity of the beginning”) by the poet and thinker Alisher Navoi. In the poetry of the East, including, in the Uzbek classical literature, attention is repeatedly drawn to the problem of the artistic representation of images of historical and legendary persons, prophets and literary heroes. In this area in the world literature there are no such examples of creativity as Alisher Navoi. Images of this type are widely depicted in the poet's eight lyric couches. Especially, such images as Medjnun, Khizr, Masih, Farhad are often found in the poetry of the thinker. In classical poetry, images of personalities are called poetic handicraft. However, the interpretation of these types of images is connected by a whole poetic world of artistic text. If in the poetry of Alisher Navoi, the image of Masih was mentioned more than 200 times, then in the painting “Badoyi ul Bidoya” (“Rareness of the Beginning”) it is used about 70 times. This, in turn, shows that among the lyric sofas of the poet, the image of the Messiah is much more common in the sofa “Badoyi ul Bidoya” (“The rarity of the beginning”). Consequently, this article reveals a variety of poetic paintings and artistic functions of the Masih image on the basis of the poet’s first divan, “Badoyi ul Bidoya” (“The Rarity of the beginning”).