Navoi’s Defence of a Language
Navoiyning til himoyasi
Sarlavha va pastdagi so‘zlarga qarang. Matn nima haqida bo‘lishi mumkin? Bir daqiqa o‘ylab ko‘ring — bu miyani o‘qishga tayyorlaydi.
Alisher Navoiy va uning turkiy tilni adabiy til sifatida himoya qilishi.
Kalit so‘zlar
Bu so‘zlar matnda uchraydi va matnda ajratib ko‘rsatiladi. Bosing — talaffuzini eshitasiz.
⏱ O‘qish boshlanganda vaqt o‘lchanadi — oxirida tezligingizni ko‘rasiz.
👆 Istalgan so‘zni bosing — tarjimasi yoki lug‘atga havola chiqadi.
In the fifteenth-century courts of Central Asia, Persian was the undisputed language of refined literature. Turkic, though spoken by the ruling Timurid dynasty and much of the population, was widely regarded as unsuitable for serious poetry. Alisher Navoi, born in Herat in 1441, set out to overturn this assumption.
XV asrda Markaziy Osiyo saroylarida fors tili nafis adabiyotning shubhasiz tili edi. Turkiy til hukmron Temuriylar sulolasi va aholining katta qismi gapirsa-da, jiddiy she’riyat uchun yaroqsiz deb keng hisoblangan. 1441-yilda Hirotda tug‘ilgan Alisher Navoiy bu tasavvurni ag‘darishga kirishdi.
Navoi was not an outsider railing against the establishment; he was its very centre. A childhood friend of Sultan Husayn Bayqara, he served as a senior official and used his wealth to fund mosques, hospitals, bridges and libraries. His patronage supported artists such as the miniaturist Kamoliddin Behzod.
Navoiy hukmron doiraga qarshi bong uruvchi begona emas edi; u uning aynan markazi edi. Sulton Husayn Boyqaroning bolalikdagi do‘sti bo‘lib, u yuqori lavozimli amaldor sifatida xizmat qilgan va boyligini masjidlar, shifoxonalar, ko‘priklar va kutubxonalarni moliyalashtirishga sarflagan. Uning homiyligi miniatyurachi Kamoliddin Behzod kabi san’atkorlarni qo‘llab-quvvatlagan.
He wrote fluently in both languages, but his most ambitious works, including the “Khamsa”, a cycle of five long narrative poems, were composed in Chagatai Turkic. Towards the end of his life, in “Muhakamat al-Lughatayn” (“The Judgement of Two Languages”), he argued systematically that Turkic possessed a richer vocabulary than Persian in many domains, citing dozens of verbs for which Persian had no precise equivalent.
U ikkala tilda ham ravon yozgan, lekin uning eng ulkan asarlari, jumladan beshta uzun dostondan iborat “Xamsa” chig‘atoy turkiysida yaratilgan. Umrining oxirida “Muhokamat ul-lug‘atayn” (“Ikki til muhokamasi”) asarida u forsiyda aniq muqobili bo‘lmagan o‘nlab fe’llarni keltirib, turkiy til ko‘p sohalarda forsiydan boyroq lug‘atga ega ekanini tizimli ravishda isbotlagan.
Modern scholars may view some of his comparisons as partisan, yet his influence is beyond dispute. By demonstrating that the language could sustain literature of the highest sophistication, he laid foundations on which Uzbek literature, among others, would later build. It is fitting that, in Uzbekistan today, he is regarded not merely as a poet but as a founding figure of the national language.
Zamonaviy olimlar uning ba’zi taqqoslashlarini bir tomonlama deb hisoblashi mumkin, biroq uning ta’siri shubhasiz. Tilning eng yuksak nafosatdagi adabiyotni ko‘tara olishini namoyish etib, u boshqalar qatori o‘zbek adabiyoti keyinchalik quriladigan poydevorni yaratdi. Bugun O‘zbekistonda uning shunchaki shoir emas, balki milliy tilning asoschilaridan biri sifatida e’tirof etilishi o‘rinlidir.
Navoi’s “Khamsa” was itself a deliberate act of literary rivalry. The form had been established by the Persian poet Nizami Ganjavi in the twelfth century and imitated by later masters such as Amir Khusrow of Delhi. By composing his own five-poem cycle in Turkic, Navoi was not merely writing poetry; he was claiming a place for his language within the most prestigious tradition of the Persianate world.
Navoiyning “Xamsa”si o‘zi ataylab qilingan adabiy bellashuv edi. Bu shaklni XII asrda fors shoiri Nizomiy Ganjaviy asoslagan va undan keyingi Dehlavlik Amir Xusrav kabi ustozlar unga ergashgan. O‘zining besh dostonlik turkumini turkiyda yaratib, Navoiy shunchaki she’r yozmayotgan edi; u fors madaniyati olamining eng nufuzli an’anasi ichida o‘z tiliga o‘rin talab qilayotgan edi.
His influence extended well beyond literature. Navoi’s vocabulary and style shaped the written language of Central Asia for centuries, and his verses were memorised and recited at gatherings long after the Timurid state had disappeared. The capital’s national library, a major opera theatre and countless streets bear his name, testifying to a reputation that has only grown with time.
Uning ta’siri adabiyotdan ancha kengroq bo‘lgan. Navoiyning lug‘ati va uslubi asrlar davomida Markaziy Osiyoning yozma tilini shakllantirgan, uning baytlari Temuriylar davlati yo‘qolib ketganidan keyin ham uzoq vaqt yod olinib, yig‘inlarda o‘qilgan. Poytaxtning milliy kutubxonasi, yirik opera teatri va son-sanoqsiz ko‘chalar uning nomini olib yuradi, bu esa vaqt o‘tishi bilan faqat ortib borgan obro‘sidan dalolat beradi.
Tushundingizmi?
Javob topa olmasangiz, «O‘qish» bosqichiga qaytib, matnga qarang — bu ham mashq.
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Asosiy g‘oya
1 What is the central theme of the text?
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2 Why does the writer say Navoi was “not an outsider”?
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3 What did Navoi argue in “Muhakamat al-Lughatayn”?
True / False / Not Given
True — matnda aynan shunday deyilgan. False — matn aksini aytadi. Not Given — matnda bu haqda ma’lumot yo‘q.
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1 Navoi visited Delhi.
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2 The “Khamsa” form was established by Nizami Ganjavi.
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3 Navoi’s works were translated into Latin.
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4 Navoi wrote only in Turkic.
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5 Navoi’s verses were forgotten after the Timurid state ended.
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6 The “Khamsa” consists of five narrative poems.
So‘zni ma’nosi bilan juftlang
Chapdan so‘zni, o‘ngdan uning ma’nosini tanlang. Hammasi juftlansa, natija chiqadi.