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12Ja.Z. Nizomiddinov
MUHAMMAD AMINKHOJA MUKIMI ENLIGHTENER OF THE NATIONAL AWAKENING
This article is about Muhammad Aminkhoja Mukimi, an enlightener of the national renaissance. Mukimi's poetry played an important role in the formation of new Uzbek literature, especially in the central place of social satire.
Key words: national awakening, enlightenment, classical literature, Mukimi, poetry, Mukimi bayozi, lyrics and satire, Tanobchilar.
Muhammad Aminkhoja Mukimi is one of the great representatives of the Uzbek literature of the period, which served as a strong bridge between the Uzbek classical literature and the enlightenment of the national renaissance. The study of the poet's work began in his lifetime. After Mukimi's death, the poet's office was first published under the title "Mukimiy's office" (1907). In addition to poetic examples, it provides a brief biography and work of the sensitive poet. In 1910, the poet's comic poems were published under the title "Muqimiy maa hajviyot" and in 1912, another collection of Mukimi's poems was published.
A serious and effective study of the poet's work began in the 1930s. During this period, a serious and effective study of the works of the poet Mukimi was carried out, the collection, study and publication of his works were carried out. A number of articles have been published in newspapers and magazines. Our great poet Gafur Ghulam was at the forefront of this good work.
In this regard, the collection compiled by G.Gulom and called "Muqimiy bayozi" was of great importance. In 1950, Mukimi's second collection, "Lyrics and satire", was published in Russian in Moscow.
The year 1953 marked a new era in the study of Mukimi's work. This year, on the occasion of the 50th anniversary of his death, special books on Mukimi's life and work were published and selected works of the poet were published in Uzbek and Russian.
A.Yoqubov, A.Olimjonov, H.Zaripov, H.Razzokov such as have written books about the sensitive poet and led research.
In 1850, a son was born to Mirzakhoja, a baker living in the Bekvachcha district of Kokand. The boy was named Muhammad Aminhoja. Years later, he became known as Muqimi.
Having received his primary education in a neighborhood school, Mukimi began to show a special talent for poetry and art from a young age. Her mother, Aishabibi, is a very sensitive and articulate woman. It was under the influence of many fairy tales, epics and songs that he told that the future poet developed a love for words.
After graduating from high school, he went to the Hokim Oyim madrasah in Kokand, and in 1872-1873 to Bukhara, where he continued his studies at the Mehtar Anbar madrasah. In 1876 he returned to Kokand and married. From the same period he worked as a mirza in the land development court and then as a ferry driver in Akjar, on the banks of the Syrdarya.
After some time, Mukimi handed over the task and returned to Kokand. Due to financial difficulties, the husband leaves his only son to his mother and remarries. Disappointed, the poet left his father's house, took a room in the Hazrat Madrasa in the neighborhood and began to live there.
The poet reads and creates in his life in solitude and solitude. Mukimi was a very skilled calligrapher.
There are many people who want to use the services of the poet, who learned from the most famous calligrapher of his time, Muhammad Yusuf Khattot and this profession will be his main source of livelihood.
Although the first years of Mukimi's work were partly formal, his poetic skills developed over the years and his sharp comedies and high artistic ghazals became popular.
In Mukimi Kokand he leads a literary group consisting of Furkat, Zavkiy, Nisbat, Muhaytash.
It is known that Mukimi's poetry developed in close connection with music. The writer is the author of many ghazals, muhammas and murabbas. Murabba, related to his creative heritage, is widely sung by singers during his lifetime. The reason for that it can be assumed that the murabba genre is close to folk songs in its structural form.
According to Gulom Karimov, "Mukimi's poems, like folk songs, express deep meaning in an extremely simple but clear form. When composing poetry, Mukimi paid special attention to the issues of rhythm, rhyme, radiif, which ensure his sonority and musicality. He was well aware of the rich and colorful sea of Aruz" [2, 20].
© Ja.Z. Nizomiddinov, 2022.
After the death of his father in 1885, Mukimi became the breadwinner of the family. His financial situation is even more difficult than before. In 1887 he went to Tashkent in search of a solution to the difficulties. During this journey, the poet finds relatives and friends.
After Tashkent, Mukimi traveled to a number of towns and villages in the Fergana Valley and wrote poems about his travels. These works became known as the Travels.
Material hardship, need, and mental anguish negatively affect the poet's health. From 1898 to 18999, his health deteriorated and he was bedridden for months. At the height of his career in 1903, Mukimi died at the age of 53 from a serious illness.
He inherited a rich eternal heritage from Mukimi. The poet wrote mainly in the field of poetry. His works are diverse in terms of their subject matter and artistic and ideological features. The total volume of the heritage that has come down to us from Mukimi is about 10,000 lines.
In conclusion, it should be noted that although the rich literary heritage of the poet has been studied, it can be said without exaggeration that his musical interpretations were left without attention. From this point of view, there is a great need to study Mukimi's heritage from the point of view of art criticism or rather, musicology. The reason is that many of the poet's poems have been performed, a number of his works contain music and descriptions of musicians, valuable information about modern masters of art and of course, an interest in the writer's musical views.
In the ghazals, Mukimi sings of the beauty of her beloved, makes fun of her frivolity and deceit, as well as the torment of a lover rejected by her. His gazelles won wide and enduring popularity. Mukimi wrote his gazelles in the vein of song and folk hafiz and songwriters set them to music and sang them at festivities, in teahouses. And today these works are included in the pop art of Uzbekistan as folk songs.
Therefore, we must not lose sight of the names of the representatives of the intelligentsia, who devoted their entire lives to the spiritual development of our people, and the correct application of the creative heritage they left behind. Indeed, the study the creative path of Mevlono Mukimi and his works, which make up his rich heritage -in the musical-historical and musical-theoretical field, encourages active observation.
It's not a humorous legacy. These numbers also show that the poet was a blessed work. They consist of lyrical works (ghazal, muhammas, murabba, masnavi, rubai, tuyuk, fard), comedy (satire, humor), " Sayo-hatnoma", letters.
You have studied in detail the travelogues of the sensitive poet - travel memories. This year, we will get acquainted with the satirical poem "Tanobchilar", which made Mukimi famous and introduced him as a sharp comedian.
In the play, the image of cunning local officials such as Sultan Ali and Hakimjon, who have done great damage to the labor of a poor quarterback farmer, is revealed by the poet in sharp, moving verses.
References
1. Mukimiy. Preparation for publication and introduction - G. Karimov. T. Publishing house of literature and art. G. Gulom, 1974.
2. H. Yoqubov. Uzbek democratic poet Mukimiy. T., 1953
3. G. Karimov. Mukimi's life and work. T., 1970
4. A.Abdugafforov. Mukimi's satire. T., 1976
NIZOMIDDINOV JAHONMIRZO ZUHRIDDIN OGLI - Student of Accounting and Auditing, Faculty of Finance and Accounting, Tashkent State University of Economics.
