The Image of 'The Mirror of Iskandar' in The Poetry of Alisher Navai and Its Comparative Analysis

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THE IMAGE OF 'THE MIRROR OF ISKANDAR' IN THE POETRY OF ALISHER

NAVAI AND ITS COMPARATIVE ANALYSIS
Article · August 2018

DOI: 10.26739/2573-5616-2018-8-141
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SOCIAL SCIENCE AND HUMANITIES

Manuscript info:
Received July 16, 2018., Accepted August 14, 2018., Published August 30, 2018.
THE IMAGE OF 'THE MIRROR OF ISKANDAR' IN THE

POETRY OF ALISHER NAVAI AND ITS COMPARATIVE
ANALYSIS
Ilyos ISMOILOV,
PhD student at the department of History of Uzbek literature and
textology, Tashkent State university of Uzbek language and literature
named after Alisher Navai. e-mail: ismoilov_iles@mail.ru
http://dx.doi.org/10.26739/2573-5616-2018-8-14
Abstract: Alisher Navai is one of the most famous and prominent figures in the Turkic
speaking world. His literary heritage can be compared to that of any poet in the world. Of
course, he did not have the power to do so. Navai mastered the best literary masterpieces
created in his time as a representative of the literary environment of the 15th century,
mastered the experience and traditions of artistic creativity, and as a result, developed
them successfully, and most importantly, he had a natural talent for artistic creativity. In
addition, the historical period required the appearance of a great Turkish writer in Khurasan
and Movarounnakhr. These factors united in the creation of a great artist, such as Alisher
Navai, who made an invaluable contribution to the spiritual world of mankind. For the
scholars of the Oriental classical literature, 'Khamsa' was considered the greatest work,
and dozens of writers tried to do it, but only Navai was able to create this masterpiece of
'Khamsa' among the Turkic poets. He studied very thouroughly the experience of his
pious ancestors (mentors) in the field of khamsawriting, which can be seen in the
example of 'Saddi Iskandari' (The wall of Iskandar). Navai introduced a story of Iskandar
into his own 'Khamsa', just as Nizami, Khusraw and Jami did. It, first of all, describes
Iskandar as a king, and then, contemplates on his wisdom. Navai imagined Iskandar as a
knowledgeable person, and in this epic poem he provided details about his scientific
research and fiction with a group of wise men. One of these scientific discoveries is Ainayi
Iskandari - the Iskandar's Mirror, which is widely depicted and presents significance not
only in Saddi Iskandari, but also in Navai's entire creation. This article deals with the
history of the emergence of Ainayi Iskandari, the relationshi p between Nizami and
Khusraw, comparison of the views of Navai with the views of his pious ancestors, as well
as, new interpretation of Navai's ideas.
Key words: Nizami, Khusraw, Navai, Iskandar (Alexander), khamsa, interpretation,
mirror, symbol.
Recommended citation: Massreshaw Assnakew Abebe. The image of 'The mirror of Iskandar'
in the poetry of Alisher Navai and its comparative analysis. 7-8 American Journal of Research P.
133-160 (2018).
USA, Michigan Generalization of Scientific Results
133
STRUCTURED ABSTRACT
Alisher Navai (1441 - 1503) lived and worked in the late Timurid's era. He is a Turkic
philosopher who can easily be compared with such Persian classics as Sa'di, Firdavsi,
Nizami, Khusraw, and Jami. One of his greatest missions in the world of artistic creativity
was to protect the pure language, the interests of the Turkic peoples. He lived for the sake
of this noble and universal goal all his life and created his works in Turkish in all the
genres and types of artistic creativity. In his 'Risale' Temurid prince, Hussein Boyqaro
states, 'the dead body of the Turkic language was exalted by the prophet-like life inspiring
breath of Navai'.
Navai created 'Khamsa' (1483 - 1485) in response to Nizami and Khusraw texts for
the purpose of manifesting his artistic talent, resolving global problems of all times,
calling humanity for good deeds, and demonstrating possibilities of the Turkic language.
The reason for that was the fact that the creation of 'Khamsa' in the end of the XII and
later, in Persian and Turkic literature was considered the highest art for the creative
potential and artistic talent of a poet. Navai strictly adhered to the tradition of the shapes
of khamsanavvis - khamsa writing, which he had inherited from his teachers, but was
specific in the content and interpretation. The above mentioned can be traced in 'Saddi
Iskandari', the fifth and greatest poem of Navai's 'Khamsa'.
The theme of the Iskandar in the works by Navai was depicted quite widely. This can
be observed in the variety of Navai's poems of different genres. The components of this
thematics is quite expanded and it includes the followings and the issues related to their
literary, historical interpretation: the biography of the Iskandar, Iskandar and bicornous,
personality of the Iskandar, faith of the Iskandar, the Iskandar and the elixir of life, the
wall of the Iskandar, the Iskandar and Greek scholars, the mirror of the Iskandar, and
others. Therefore, we focused more on the works created by Navai in order to research
how this theme was perceived and interpreted in the XVth century in Khurasan, how it
influenced the indeology of the people of those times. Considering the fact that the topic
under research is too wide, we decided to imit with the imagery of the 'Ainayi Iskandari'
- the mirror of the Iskandar. It should be noted that Navai's creative work has been
influenced by centuries-old Turkic and Persian literary experience, so to study the issue
of Iskandar and the Mirror more comprehensively, and to have a full understanding of it,
the works of such founders of khamsa writing as Nizami Ganjavi and Khusraw Dekhlavi,
historical sources Navai studied were researched, their opinions were compared and the
conclusions were drawn.
At the end of the XII century, in the XIII century, according to the canons of 'hamsa'
writing, the last poem of the five had to be devoted to the subject of Iskandar this
tradition was established by the first Khamsa written by Nizami (1141 - 1209), in his last
episode, he described the story of Iskandar in detail. The Nizami's 'Iskandarnama' was
written in 1197-1204, it consists of two parts, 'Sharafnama' and 'Iqbalnama', its size is
over 10,000 bytes (verses or lines). Nizami describes the image of Iskandar in three
aspects, primarily as a conqueror, a wise man and the saint. In the 'Sharafnama', the story
of Iskandar's dignity is told, as for Iqbolnama - the story of his wisdom and prophecy. The
first mirror reflecting the qualities of Iskandar is described by Nizami in Sharafnama,
and the second mirror in Iqbolnama.
Khusraw Dekhlavi (1253 - 1325) established the tradition of 'Khamsa' writing by
replying to Nizami (1299 - 1302). He used the experience of Nizami, but he made all
effort not to repeat him by working within the traditional style. For instance, in Khusraw's
'Khamsa' the dastan of 'Ainayi Iskandari' comes the forth. His wish to be original can be
felt in the fact that he changed the name of the dastan about Iskandar. In general, there
are many works in oriental literature named 'Iskandarnoma'. The author of the first
Khamsa, Nizami, also named his dastan in the same manner. But we can observe the
134
signs which prove the fact that he wanted to be original. They are traced in individual
names given to each part of the dastan. In particular, Khusraw called his dastan 'Ainayi
Iskandari', Navai 'Saddi Iskandari', Jami 'Khiradnamai Iskandari', Abdibek Sherazi 'Ayini
Iskandari'. It is natural that these names are directly related to the content, and they hint
at the points the author paid a particular attention to and novelties. Among such prominent
khamsa writers as Nizami Ganjavi, Khusraw Dekhlavi, Abdurakhman Jami and Alisher
Navai only Khusraw Dekhlavi specifically researched the term 'Iskandar's mirror' , and
promoted the idea that oriental people had the magical mirrors much earlier than westerners.
Navai's viewpoints and information on Iskandars' mirror differ from those of Khusraw.
Although his ideas related to Iskandar are reflected mainly in 'Saddi Iskandari', this
theme is also discussed in 'Farhad and Shirin', 'Sab'ai sayyar' (Seven planets), and in
such historical pamphlets as 'Tarikhi anbiya and hukama', 'Tarikhi muluki Ajam', and
Persian lyrics. Navai returned to the topic of the Iskandar's mirror again and again during
his life. In addition to approaching to the image of mirrors describing Iskandar just as
Nizami and Khusraw not only as a historical image, but more as to the symbolic-imaginary
hero, the image of Iskandar's mirror in Navais poetry is connected with Sufism - related
viewpoint. In order to understand his ideas, one should be familiar with the ideas of
tasavvuf (sufism) education.
In the article, the above-mentioned literary source was streamlined as much as possible,
and the author attempted to unite them under certain common themes. The article is
made up of two major parts, the first part is about Iskandar's mirror, and the second is
about the second mirror of the Iskandar. The first chapter deals with the views of the first
mirror on the comparison of Saddi Iskandari, Iskandarnoma and Ainayi Iskandari,
commentaries on the interpretation of Navai's 'Farhad and Shirin', the Turkic and Persian
lyrics are presented.
In the second part, Navais viewpoints on the second mirror reflected in his Layli and
'Tarikhi muluki Ajam' are compared to those of Nizami and Khusraw; this part also
presents a brief literary and historical genesis of the information provided by Navai in
'Tarikhi Muluki Ajam' (History of persian kings). The author brings forward evidence to
prove the fact that Iskandar's mirror is related to Alexandrian beacon, one of the seven
wonders of the world
Key words: Nizami, Khusraw, Navai, Iskandar (Alexander), khamsa, interpretation,
mirror, symbol.
INTRODUCTION. determine his poetic talents. This can

The mirror is one of the most be explained by the followings words
important images of Iskandarnama about comparative literature studies
created in the Orient. It has also 'Finding differences and similarities
drawn artists' attention as a motive in the literature and specialists on
for Iskandar's wisdom and subtlety. comparative literature studies, as
In order to fully understand the well as defining the history of ideas,
image of Iskandar's mirror in themes, feelings, genres and places.'
Navai's works, it must be studied in (?ztekin, 2007: 671). One of the most
a comparative aspect, as this important components of stories
phenomenon in the poet's creativity about Iskandar is the image of the
is not spontaneous, and necessitates mirror , and so is in Alisher Navai's.
the study of the individuality of He left some information about the
Navai's creativity and the need to mir ror qualifyi ng I sk an da r's
135
personality. In contrast to his pious result, they had to escape this

ancestors (pious ancestors, usually situation. It should be pointed out
used to describe mentors or scholars that the quality of truthfulness of the
in sufism), Navai narrates on two Chinese mirror given by Navai is
mir rors of Iska ndar . Thei r characterized by sources, especially
interpretation, history, peculiarities in folklore, by means of various
are presented in the poet's 'Saddi living and lifeless objects. For
Iskandari', 'Layli and Majnun', exa mple, in Fir da vsi's
'Sab'ai Sayyar', 'Tarikhi anbiya and 'Iskandarnama' it is a 'tree', in other
hukama', Turkic and Persian lyrics. words, a speaking tree with a similar
I. FIRST MIRROR. feature.
1. In Navai's 'Saddi Iskandari' Iskandar is surprised at this
(Iskandar's wall). unique gift and decides to spend
Navai gives the information about winter in China. He wants to create
the first mirror in 'Saddi Iskandari'. two objects - a mirror and astrolabe.
There, he describes Iskandar's The four hundred scientists under
campaign to China. Among the gifts Iskandar were divided into two
from the khan, he mentions a groups, for one of them, Iskandar
'Mirror of China'. One of its appointed Plato and Socrat as the
wonderful qualities was the fact that heads, and for the other Aristotle
both of its sides always shined as and Buccane. One group dealt with
the sun and the moon. Two sides of the world, and the other with the
the mi rror had t wo symb olic galaxies. They created two round
functions, according to them, when objects, from the mixture of ores,
the king was listening to the the first group made an astrolabe
complains of the people, and if the from lead and copper, and the
second party rejects the claim of the second, a glossy steel mirror.The
first party, the king did not have to astrolabe reflected the sky objects,
address the witness, it was enough thei r secr et s, an d the mi rr or
to look at the mirror: if the words reflected the world we live in, the
were true, his face appeared in the seven climates of the earth (Navai,
mirror, if not, then it was not 1993: 315 - 344). This was the first
reflected in the mirror . The second mi rror ma de i n China whi ch
side of the mirror had such a characterized Iskandar. Navai
function, according to which when provides a typical interpretation of
king was at a party, the people this image in 'Farhad and Shirin'.
present there could look into the 2. In Nizami's 'Iskandarnama'.
mirror, and if they were moderately There are special notes about the
drunk, their faces were reflected as fir st mir ror in Niz ami's an d
they are, but if they were heavily Dekhlavi's Iskandarnamas. According
drunk, their reflections looked to Nizami, after Iskandar defeats
abnormally prolonged and flat. As a Zangiys he was able to become
136
powerful and started to prepare for extraordinary idea according to

the war against Darius. And then he which, this mirror belongs not to
needed a clear mirror. The mirror Iska nda r, but t o the Khaq an
had not been invented before (Dekhlavi,1977: 162). As an evidence
Iskandar. To do it they first heated for that he uses the legend which
gold and silver in a mold; but the describes the argument between the
reflection in it was not correct, each chinese and romans. According to
metal separately reflected the objects. this story create a mirror reflecting
Then, using the iron, he places the the ornaments as real. As a result, it
gems to the iron and makes the reflected the beautiful paintings the
shape of a rectangle, a hexagon, but romans drew. But Iskandar gets
when the target is not formed, they amazed at the mirror made by the
form a circle and, only then, Chinese:
regardless of whatever side you look Chu kam dide bud oina pesh az on,
into it from, the image is correctly Badidan on va shud dasti hayratgazon.
displayed. Whoever looks at the (He saw very few mirrors before,
mir ror, t he win dow shows a and having seen this he was
smoothness from the roughness. amazed)
Iskandar is the first to look at this (Dekhlavi,1977: 141)
mirror, and when he looks, the
reflections in both gems come COMPARISON.
together, and the happy king kisses This legend in Khusraw's story
the mirror. This is, according to was used from the 'Iskandarnama'
Nizami, what the bride's custom of by Nizami, but Nizami had used it
kissing the window originates from in a completely different point and
(Ganjavi, 2012: 80-81). for a completely different purpose.
3. 'Iskandar's mirror' by Khusraw He named the object made by the
Dekhlavi. Chinese not 'mirror' but 'suffa' which
Khusra w ta kes a di ffer en t means stage, wall. In other words,
approach to it, he not only descried he does not stick to the idea of the
the mirror in his book, but made it object created by the Chinese being
the title of the book. By doing it he the mirror. He uses this legend not
aimed at making this book original to compare the degree of the
and different from others, and to intelligence between peoples, but
emphasize the new ideas about only to tell a story related to the
'Iskandar's mirror'. He does not speak Iskandar (Ganjavi, 2012: 225-227).
about the mirrors depicted by One can call an object reflecting a
Nizami and Navai, he suggests that picture as a mirror. Therefore, he
the mirror made by Chinese masters i nt er pr et s as t he fir st mir ror
in the contest with roman masters reflecting (qualifying) the Iskandar.
was the mirror qualifying Iskandar; Navai was not influenced by
an d thus expresses t he most Nizami and Khusraw relating the
137
first mirror, but his views are historical books; therefore, they
fundamentally different even though contain some information about the
Amir came close to Khusraw. reason , hi st or y, a nd some
According to Navai, the mirror was characteristics of the mirror. In these
invented by the peoples of the east books the mirror is a hero that shows
earlier than Europeans. Iskandar the attitude to the wisdom of
was surprised by the invention of the Iskandar, science and people of
Chinese, who were surprised by the science. It is can be said that it
strangeness of Iskandar, but he refers reaches the level of a real hero in
to the mirror of Nizami as the ghazeles of the east, in Navais lyrics
mirror of Iskandar for the first time and in such masnaviys as 'Farhad
in the world. Probably other sources and Shirin', 'Sab'ai sayar'. In Navais
interpret the mirror as Iskandar's lyrics it had a symbolic character and
mi rr or , Khusra w ar gued t ha t mainly expressed the truth of
attributing it to Iskandar was a wisdom. This is as true concerning
mistake. Both Nizami nor Navai Navais Persian lyrics as that of
when giving information about two Turkic.
mirrors meant the mirror belonging Although Tasavvuf teachings do
to Khusraw Khan. One of the new not relate on Iskandar's mirror, there
things in Navais descri ptions is that are educational notes concerning the
he refers to the mirror not as an mirror. The mirror is a specifically
ordinary mirror, but a mirror with a refined object, in the language of
secret or mysterious power. Because people of tasavvuf it is the heart of a
eastern people thought that Iskandar perfect man. As names, ancestry,
had a magic mirror before he made and qualities are called mirrors and
his campaign to Chin. It is this they usually fully reflect the soul of
supposition that brings to conclusion a person and they are always together
that the mirror created by Iskandar with them. (Sajjadi, 1370: 45). So,
in China was not ordinary but with a in other words, the heart of a human
magic power. Therefore, in his was called the mirror based on the
descri ptions Navai paid a lot of fact that it reflected the personality,
attention to magic. As a result, without qualities, and names of the God. If
this quality, it became difficult to based on this point of view, the
understand the author's aim. It is also characteristics of the Iskandar
worth attention that majority of cases connected to the mirro described by
events described in 'Iskandarnama's Navai can be properly discovered.
by Nizami, Khusraw, and Navai are 4.1. The interpretation of the
related to Chin. image of Iskandar's mirror in 'Farhad
4. Interpretation of the image of and Shirin'.
the Mirror of Iskandar. A t ypic al exa mple of the
'I sk an da rn ama', 'I sk an da r's interpretation of this image can be
mirror', and 'Saddi Iskandari' are found in 'Farhad and Shirin'by Navai.
138
Just as in 'Hayrat al-abrar', in from Rome; the mirror is the

'Farhad and Shirin' too, the image memory from him to the people of
connected to the theme of Iskandar the world. Iskandar made this mirror
plays an important role. After Farhad with four hundred scholars as wise
grows up, his father offers him the as Plato, aware of the fate, secrets
throne and the crown. Farhad did of the sky and stars. They worked
not want this, so, he refuses and hard for some years on it. This
apologizes for this. But as his father mirror was the world of wisdom, a
the shakh insisted he agreed on one rare thing. Anyone trying to open it
condition. Farhad wanted some time if can, when picks it up and looks
to learn the issues related to the into it, will see in it everything that
development of the country, its is predicted for him by fate. By the
reign, and only then to accept the will of the God, the mystery of the
throne. God can be seen in it. But it is very
As Farhad gained experience in hard to open this secret. To do it
ruling he entered one of the secret one must suffer both physically and
treasuries of the sultanat. The prince spiritually. The one who tries to do
did not value gold more than black it must go to the mount in the north
stone, but at the end of his visit he of Greece and kill three monsters
sees a crystal chest. The chest was there. On one of them there is a
made from pure crystal and it was dragon made by the anger of the
difficult to believe that it was made god, on the second was Ahraman
by a human. No one knew how it who gained ill-fame for his evil
was made, but it was closed by a deeds, and on the third mount,
lock decorated with precious stones. there was a mysterious temirpeyker-
When Farhad tried opening it, the steel mirror (this mysterious object
khan told that no one knew the was also related to Iskandar). After
secret of the chest, and he himself this place, the person had to go to
was not able to open it. In addition, the forth one, which was even more
they did not have the key. This difficult. The one who reaches the
increased the interest of Farhad. No forth mount will see a cave, inside
matter how much they tried to which Socrates lived. The one who
distract him from the chest, they reaches this cave would see Socrates
were unable. Therefore, they had to who could help to solve all his
reveal the truth and open the chest. problems if alive. If Socrates died,
When they opened the chest they the person who prayed to him can
found 'rakhshanda mirat" a bright get rid of all his problems.
mirror inside it. The mirror was When Farhad met Suhayla, the
made by scientists and all its secrets salaf for the first time, Suhayla told
were written on its back: "this mirror Farhad that he had been waiting for
can image the world; it is as bright him for several hundred years and
as the sun; its creator is Iskandar that he had read from 'Jamaspnama'
139
(the book about Persian healer talk Socrates told Farhad that this
Jomosp, it described the events world was temporary and the people
which were to happen in the seeking divine truth always had
following three thousand years): "A many difficulties.:
thousand years after me, a prince Agar topsa Sikandar mulki zoting,
named Farhad will come from Chin, Gar o'lsa Nuh umricha hayoting,
Chu ketmoqlik keraktur bot, agar kech,
and he will his life to risk and open Hamul davlat bila bu umr erur hech.
the secret of the Roman Iskandar. (Navai, 1992;150)
But before that, Farhad will have (Even though you gain the
to kill the dragon, he will defeat the wealth of Iskandar,
treasure, Ahraman and get the ring And your life lasts for as long as
Noah's days,
of Solomon. When he opens its Still your time will come early or late,
secret, he will get Jamshid's cup. Because all the wealth can never
Farhad must handed all the gains to change any fate)
H ak an , he saw S oc ra tes an d In other words, even if you have
Iskandar's mirror. Socrates keeps his the wealth of Iskandar, and your
word and turns to Chin and looks life is as long as Noah's, still you
at the mirror, all of a sudden. But will have to leave, early or late.
before that, Farhad has to kill the Then, all the wealth is nothing in
dragon and get the treasure, defeat your life. With these words the poet
Ahraman and get the ring of did not mean that Iskandar spent
Solomon. But when he opens the his life in vain by collecting all the
secret, he should devote everything wealth he had or that it was too
to the khan, the fact that he has long to live as Noah did. By
seen Socrates and got the mirror of mentioning Noah as the person who
Iskandar was enough for Farhad. He lived the longest , and Iskandar as
should remember the words of the richest man ever, Navai wanted
Socrates very well, and everything to express his most important point
that he saw in the mirror will happen of view: no one can live forever, the
to him after he returns to Chin". wealth is not the most important as
While Suhayla was teaching Farhad it is temporary, i.s. the world is
about the catastrophes he will temporary. Socrates taught Farhad
encounter on his way, she also that the main aim of living is obeying
mentioned the magical instrument the God, finding the way towards
of Iskandar. She also told that he meeting with Him.
would find Jami Jam (Jamshed's When Socrates was solving the
Cup in Sufism describes the source problems, Farhad shot an arrow at
of wine as the source of wisdom) the mirror fixed on its stand, this
there, on its sides Iskandar had left arrow also revealed its mystery. He
some notes which could help stated that when someone looked
Farhad in finding Socrates. Farhad into the mirror, everything he saw
meets with Socrates. During their there was sure to happen to him. In
140
other words, that person would fall word about it being similar to the
in love, and gradually grow mad one in 'Farhad and Shirin'or about
from love. He would not have the ways to reveal its secret. This is
another chance to see the same also confirmed by the fact that the
thing again. After Farhad reached adventures of Farhad connected to
Chine, he saw his destiny in the the mirror come under the problem
mirror, as well as Shirin. He became of perfect manners. It is true that facts
unconscious from the beauty of regarding the Mirror of Iskandar
Shirin. Here, his adventures related from 'Farhad and Shirin' and the
to the mirror ended and he went to information in 'Saddi Iskandari' are
Armenia. generally similar: the mirror in
In order to understand the 'Farhad and Shirin'was told to be
interpretation of the image of made by four hundred scientists,
Iskandar's mirror in dastan one while in 'Saddi Iskandari', it was
should be familiar with dogmatic written that Iskandar had totally
views. In the book, the mirror four hundred scientists and two
symbolizes the soul of a person hundred of them worked on creating
longing for gaining the Devine truth; the mirror; the poet also mentioned
so the views related to the magic that the mirror was made in China,
power of the mirror had a similar and it was shown to the khan. But
symbolic character. Understanding there is no information about it being
the image of the mirror in 'Farhad given to the khan as a gift. As for
and Shirin'as the symbol of a person 'Farhad and Shirin', there the poet
searching for the divine truth, the wrote that it was found in the
literary interpretation of the mirror; treasury of the khan.
so one should presume the ideas 'Saddi Isakandari' does not
related to the mystery of the mirror provide information about the
and the ways to understand it as scientist who was in the head of the
symbolic means. The views on the group; but in 'Farhad and Shirin', it
mystery of the Iskandar's mirror and is stated that only Socrates (not
its understanding are actually the Aristotle) knew the secret power of
discovery of the heart of the learner the mirror. So one can conclude that
(divine truth seeler) on the road of the mirror was made by such
love; discovery of one's own heart; scientists as Plato and Socrates with
or the discovery of one's self. They a group of other scientists; or if we
are not related to the historical take into consideration the fact that
Mirror of the Iskandar described Socrates was one of the four
in 'Saddi Iskandari'. In 'Saddi hundred scientists, no objection may
Iskandari', there is only information be left as regards the person who
about the fact that it had a secret knew the secret of the mirror. This
power and could reflect view of the demonstrates not only the fact that
whole world. It does not have any Navai strictly followed the law of
141
proportionality when creating the In other words, the one whose

artistic imagery of Iskandar's Mirror soul glistened as a mirror polished
just as in other cases throught his with ash, then his soul will reflect
all life, but also bears evidence to the beloved. Navai used the process
the fact that chronologically he used of such a household routine as
the same sources for writing 'Saddi cleaning dishes with ash to depict
Iskandari' as those he used for the image of ideas related to love.
'Farhad and Shirin'. But this was not ordinary ash it was
4.2. Interpretations in Navais lyric "ash of pain"; and in order to reflect
poetry the face of the beloved one should
There are a number of various only use 'a sh of pa in '. The
interpretations of the image of the requirement of love to be imbued
mirror regarding its essence function, with pain - is one of the main
characteristics, and shape in Navais features distinguishing Navais love
lyric poetry. The image of the mirror concept from that of pious ancestors'
in the poet's ghazel writing was (scholars). The poet concludes his
applied identically in his love poems, ideas connected to this with the
poems containing sufistical following words:
viewpoints, and rindona (telling the Iskandaru Jamliqdur
story of dervishes)poems, and in ishqingda Navoiyg'a,
Kim raxshing izu na'lin ko'zgu
many cases, the images of Jamshed bila jom etmish.
and a cup come together in them. (Navai, 1987: 238)
4.2.1. In Turkish lyrics. (Your love makes Navai as great as
The mi rr or i n Na va is love Iskandar or Jamshed,
ghazeles written in Turkic plays as He can turn the print of the horse foot
import an t role a s all ot her into a cup and its shoe into mirror)
traditional images. Navai in one In other words, (hey, beloved),
ghazel bespeaks the cruelty of the Navai in his love to you is as great
beloved, travails of being parted and as Iskandar and Jamshed, because
weakness of the person in love; in he turned the print of the horse foot
the last two lines, he concludes his into a mirro, and its shoe he used as
views and positively evaluates all a cup. In the history of literature,
torture that the beloved woman Iskandar was famous for his mirror,
c auses to t he lover , even he and Jamshed for his cup. In the
considers it to be necessary because: above verse, the person in love is
Ma'shuq qilur jilva, har kimki proud of being as superior in love
aning ko'nglin as kings, even great as Iskandar and
Dard o'ti kuli birla ishq oyinafom etmish. Jamshed because he had the print
(Navai, 1987: 244) of the horseshoe which could replace
(The image of beloved will mirror
in the heart
Iskandar's mirror and Jamshed's cup.
Which polished was with the ash from The lyri c hero when sa yi ng :
the fire of love) "Iskandaru Jamliqdur ishqinda
142
Navoig'a" does not mean he is equal The ghazel expresses divine ideas;
in love to Iskandar and Jamshed, each image is reposed with symbolic
but he means that he reached the characteristic. In particular, due to
same majesty in love affairs as did the fact that the mirror is used to
Iskandar and Jamshid in kinghood. express the heart of an accomplished
To prove that he states that in order person which can be the home for
to see what is happening in the the personality, quality, name and
world, Iskandar needs a mirror, and acts of Allah. In fact, as we have
Jamshed needs a cup, but for him already ment ioned ab ove, a n
to understand the truth he has his accomplished and faultless person
fair one's horse trace and horseshoe. is called 'mir'ot' (mirror/reflection)
The way the lyric hero thinks - from (Mir'oti Haq, Aynai Rakhman
a part to the whole, from the event (names given to Allah)) (Uludað,
to the essence - is based on the 1995: 72). It is well-known that in
theory of beatific vision. In other classic oriental literature the cup
words, he holds forth on his beloved and the mirror have a symbolic
seeing the trace and the horseshoe meaning; but this cannot be always
of the horse she rides. applied to the cup of Jamshed and
The mirror in Navais lyrics is also the mirror of Iskandar. While
compared to the face of the beloved, studying the heritage of Navai, we
bu doing this, the poet achieves the often come across the the cases
harmony of both inner and outer when these two images are used to
features. expr ess symb ols of a divin e
Labingdur Jomi Jamshidu yuzung knowledge. For example, it is very
mir'oti Iskandar, well known what an important role
Musallamdur sanga husnu jamol
ahlig'a sultonliq.
they play when Farhad from 'Farhad
(Navai, 1999: 190) and Shirin'was gaining knowledge. In
(Your lips are like the cup of Jamshed, this ghazel. There is also a hint at the
and your face is as Iskandar's mirror, fact that Iskandar's mirror was the
Indisputable is queenhood for you mirror which showed the sight of
among the beauties of the world) God. Because the face of a human
In other words, your li ps are the was considered to be the reflection
cup of Jamshed, your face is the of the divinity.
mirror of Iskandar, therefore you In Navais lyrics, there are also
have the features peculiar to the ideas related to the Iskandar's mirror
queen among the people of beauty. which tell that it is impossible to
In these lines, the poet draws out c ha ng e the fa te, all is don e
logical conclusion which states that according to the will of Allah, about
as long as you have your li ps and people who denied to require to
your face, just as Jamshed has a cup, accomplish the worldly deeds, but
and Iskandar has a mirror, you can attempted to leave them. In such
be the queen in the world of beauties. cases, one can see the the reflection
143
of the poet's conception about cup full of wine able to reflect) and
temporality, and Iskandar and his turn me into Iskandar and Jamshed,
mi rr or a re r epea ted in suc h as both Iskandar, Jamshed, and
discri ptions as undeniable evidence. their mirror and cup are gone.
For example, in ghazel number 107 Therefore, it is better to entertain
from 'Navadir an-nihaya', the poet as all the aims of the two worlds are
states the followings about the not worth a moment of grief. As
destructive power of titles and Navai stated earlier, he wanted to
wealth on humans: get rid of himself, to make his self
Bo'lur tiyra ko'zgung, to'lar zahri Joming foreign to him. And he mentions
Tutaykim, bo'l Skandaru Jamg'a solis. wine as the best instrument of
(Navai, 1987: 81)
(Will turn your mirror dim, and fill
achieving this. He considers that
the cup beheld by you with poison, when he gets the wine and drinks
Wealth. Though you are the third it, he will be able to forget about
man after Iskandar and Jamshed) himself for moment and sink into a
Which means, even if you are the real love. It is noteworthy that he
third after Iskandar and Jamshed, compares getting wine from cup-
wealth will make your mirror dim bear er t o becomi ng equal t o
and fill your cup with poison. In Iskandar and Jamshed. One can also
these verses the images of the mirror, understand it as the desire to be as
cup, Iskandar and Jamshed shape a happy as these rulers even for a
kind of system, which served as a moment, or to turn into a person
kind of proof to the fact that the who found divine wisdom, the lover
world is ruthless, there is no eternity who achieved his love just as
in it; therefore you must not get Iskandar, become the slave of love.
attached to it. In ghazel number 396 In the following line, the poet while
from 'Badae' al-vasat', you can also telling that the world is temporary,
see similar views: states that the aims of both worlds
Soqiyo, oynagun jom bila are not worth being sad. Instead, he
Bir dam etgil meni Iskandaru Jam states, it is better to si p from the
Ki, na Jam qoldiyu ne Iskandar,
Itti ul jom ila ko'zgu ham.
mirror-like cup of the cup-bearer
Shod bo'lkim, ikki olam komi and for a moment become the people
Arzimaskim, yegasen bir dam g'am. who realize the essence of this world.
(Navai, 1999: 235) These viewpoints of Navai expand
(Come, cup-bearer, with the our notion of Iskandar. It should be
mirror-like cup
Turn me into Iskandar and Jam
mentioned, that the tradition of
for a moment, depi ct in g Iska ndar a s the
As both Jam and Iskander, representative of the divine love in
And their cup and mirror are gone. oriental literature existed before
Be happy, as the aims of both worlds Navai . For example, i n the
Are not worth of a moment of grief) fourt eent h cent ur y, in
Which means: "Hey, cup-bearer, 'Iskandarnama' by Ahmadi, there is
give me a mirror-like cup (here, a
144
a similar hero. Literature speasialist Bir ayoq muzluq su Jomi Jamdurur,

Melike Gukchan describes this as nevchunki bor
Bir ayog' og'zicha muz oyinayi
follows: "Dünya, devletler ve Skandariy.
hükümdarlar tarihine yöneltilmis bu (Navai, 1999: 416)
dikkat içerisinde efsanevi kahraman In other words, I like the cool
Iskender, Kur'an'daki Zülkarneyn water of the sea, because this
kýssasýyla iliskilendirildiði için sadece summer the sun rays are like sharp
güç ve iktidarýn deðil, ayný zamanda knives to eyes, in this heat a bowl
yeryüzünde adaletin, hakkaniyetin ve (cup) with ice is like Jamshed's cup,
tevhid mucadelesinin temsilcisi gibi because inside it, there is a piece of
gorunmektedir" (Türkdoðan, 2009: ice like Iskandar's mirror in the
761). shape of the bowl (kosa a round
The images in the verse form a shaped bowl). The reason why in the
certain system and create a linked second two-lines the bowl of icy
character: the verse starts with the water is compared to the cup of
address to the cup-bearer which Jamshed is that, according to the
introduces the image of the cup, the poet's statement, it contains a piece
cup is linked to Jamshed, the of ice which looks like Iskandar's
quality of the cup - mirror-like mirror. It is known that Jamshed's
relates the image of Jamshed to one cup is called "Jami getinamo,
of Iskandar, and they come side by oynagun jom" in classic literature.
side. In the following line, the image Jami getinamo is the cup showing
of Iskandar is used in the light of the world, and oynagun jom means
t he mostly used b y Na va i the cup as clear as the mirror. The
connotation - temporality of the r elat ionshi p between the
world although in the previous line comparison of the ice piece to
he is described as the symbol of an Iskandar's mirror and comparing the
educated person. It should be cup to Jamshed's cup because there
mentioned that the Iskandar in was a round piece of ice in it is seen
Navais poetry is a hero with syncretic in the fact that the wine poured into
qualities uniting various content and Jamshed's cup was so clear and
shades of meanings. Sometimes this pure that it could reflect events in
hero even has inner oppositions as the whole world, as for the piece of
regards certain qualities. ice put inside the cup, it reminds
There are also in the poet's lyrics Navai of this quality of Jamshed'
words that are related to the cup.
descri ption of the shape of Ainayi By saying 'Xush ko'rarmen dahrni
Iskandari. For example here, Navai sovug' su birla' Navai is based on
writes: the tradition of cooling drinking
Xush ko'rarmen dahrni sovug'
su birlakim, bu yoz
water by putting pieces of ice inside
Bo'ldi issig'din quyosh ko'zlarga the dish. By using a metaphor on the
chatri sanjari. basis of objective reality and routine
145
situation, Navai means that just as draws a parallel line between the
Jamshed could see the whole world images of Iskandar, Jamshed, the
inside his cup, drinking icy water mirror and the cup to the images
could enable a thirsty person drinking of a beggar and his heart. The heart
from it with pleasure and show the of the beggar must enjoy the wine
wor ld i n br ig ht c olours. So, as kings do in order to be able to
comparison of the ice piece to reflect the essence as Iskandar's
Iskandar's mirror can be justified mirror and Jamshed's cup.
with both its shape and its content. Here, there one can feel an
As we have seen above, the image equivocal meaning. First of all, the
of Iskandar's mirror was used in beggar has to drink from the wine
Navais Turkic lyrics mainly to in order to have the heart that can
express divine truth. This image was show the mystery of events, be bright
also quite active in the poet's Persian enough. Secondly, Iskandar and
lyrics, and often it was paralleled to Jamshed drank from the wine being
the soul and heart of a beggar. described; therefore, one of them
4.2.2. In Persian lyrics. got the mirror that can reveal the
In his Persian ghazels, Navai secrets of the world; and the second
clearly describes the main meanings has the cup. Should you be able to
of Jamshed's cup and Iskandar's drink from that wine your heart will
mirror expressed in his poetry: represent the essence of the whole
Dil shavad Jomi Jamu Oyinayi Iskandari, reality. This kind of verses in Navais
Har gado, k-ash nushad works show that Iskandar's mirror
Iskandarvashu Jamshedvor.
and Jamshed's cup are used to
(Navai, 2002:8)
illustrate poetically the heart full of
The poet in the part before maqta
knowledge which belongs to a
of the ghazel about dervishes gives
scholar.
his considerations to the qualities of
Worldly an d theologi ca l
wine as followos: "any beggar if
viewpoints of Navai related to the
drinks from this wine as Jamshed
image of the mirror are based on
and Iskandar, his heart will become
its ability to transmit the world. Out
Jamshed's cup and Iskandar's
of this ability he creates various
mirror". Here by wine he means the
metaphors. For instance, in one of
pleasure of love, desire, unless the
his ghazels he calls it "Oynayi
person in love goes through this in
Sikandaram" (Navai, 2002: 163), in
his inner feelings, he cannot reach
another one "Xizrro obi hayot
the state of a real lover. As they say,
Oynayi Iskandar ast" (Navai, 2003:
Jamshed cup shows the events in
206). It is worth attention that when
the world only after it is filled with
the hero tells that he has Iskandar's
wine. So, truth seeker if finds
mirror he means that he is aware of
pleasure and joy of love, his heart
the science of history, has scholastic
brightens and the essence can be
knowledge, rich life experience, and
reflected. In this line too, the author
146
that the wine (divine quality) was in trouble. It was Khizr's mission
brightens his heart and informs him of a savior that led to interpreting
of the essence of the world. The new him as a 'pir'.
feature of the mirror that we came Here, Navai tries to explain
across in this ghazel is that it is not Khizr's wisdom, ability to foresee the
only capable of informing about the events by means of Iskandar's mirror
future fate, celestial secrets, but also which was the glass that could
can provide information about the mirror the world in itself. In other
past truth. words, the image of the spring with
The metaphor where Iskandar's elixir of life, its purity was similar
mirror is compared to amrita is also to Iskandar's mirror, as if Khizr
worth attention: could see everything happening in
Mardi rahibinro dili mahfinamo the world on the surface of the spring
v-on Jami Jam, with elixir of life. The images of the
Hizro obi hayot Oynayi Iskandar ast. pi r, the heart a ble to reflect
In other words, the heart of the mysterious secrets, and the cup
pir (in Sufism a person who is called correspond to the images of Khizr,
'pir' has a role of leading and elixir of life, and the mirror in the
instructing other people on the Sufi next line. Besides the comparison of
path) which shows divine secrets is the hear to the cup, and the elixir
like Jamshed's cup, as for elixir of of life to the mirror, there is also
life, it is like Iskandar's mirror for conn ec tion bet ween the hear
Hizr. We know that Jamshed's cup revealing secrets and the elixir of
symb oliz es t he hea rt of a life. In "Tarikhi anbiya and hukama"
consummate person as a metaphor Navai states the followings about the
to a container of wisdom. When elixir of life: "And some people say
c reat in g these meta phor s, a s that Allah granted saint Khizr with
grounds, the poet used the their mystic knowledge of the other world
qualit y of demosnt ra ti ng or and for that he gave him the elixir
reflecting celestial secrets. Moreover, of life" (Navai, 2000: 95). In other
he implicitly meant that wine is a words, when he tells that Khizr was
pleasure, desire for real love. granted the elixir of life he means
However, except in 'Tukhfat al- that he became the master of
afkar', nowhere else, we come numinous knowledge. Accordingly,
across the idea that elixir of life for just as the poet used Khiz r's
Khizr was Iskandar's mirror. Besides leadershi p qualities as the raison
being an ever-living saint blessed by d'etre for comparing him to pir, the
God's mercy, he also was a hero ware abilities of the cup and the mirror
of the celestial truth, essence of this to reflect the whole world for
world, supporter who could foresee comparing them, so were well-
the fut ure; and therefore, he grounded his attempts to compare
appeared in the form of a savior the heart representing mysterious
when someone lost their way, or truths to the elixir of life.
147
In some of Navai's Persian parallels the images of Iskandar's

ghazels, the poet uses simile where mirror and Jamshed's cup with the
he sometimes compares a beggar image of pir - spiritual mentor too.
wi th his old c er amic c up t o In his tatabbu' to Hafiz Shirazi's
Iskandar and his mirror, and ghazel "Nadosht", Navai shows one
sometimes contrasts them. For interpretation of these images:
example, in his tatabbu' (a poem Doram sofoli ko'hnai
written in reply to some other poet's mayxona pursharob,
K-in oina Sikandaru in jom Jam nadosht.
poem) to the ghazel by Mavlana
(Navai, 2002:131)
Shakhi he states:
Dorad gadoi maykada az bodavu qadah
That is, I have an old ceramic
Oynayi Skandaru Jomi Jame digar. cup full of wine from the wine
(Navai, 2002: 19) house, it is both a mirror and a cup
In other words, a beggar from for me. Neither Iskandar has such
the wine house besides his wine cup, a mirror, nor Jamshed has such a
he also has Iskandar's mirror and cup. The pith and marrow of this
Jamshed's cup. As it is described in verse is expressed by means of four
the following lines of the ghazel, images: a ceramic dish, wine, a
besides his cup with wine, the truth mirror, and a cup. Due to the fact
seeker also had Iskandar's mirror that ghazel is about cognition of
and Jamshed's cup - his pir - celestial knowledge, the meanings
mentor, who was his secret keeper these images express as means of
and pain healer (piri mug'on, int ellectua l metaphors play a
sirdosh). The images in the ghazel significant role. The mirror is a
can be interpreted as follows: his piri specifically processed object; among
mug'on (spiritual mentor) was the sufistic scholars it is used to express
scholar who g ai n celest ia l the heart of a perfect man, the
knowledge, a perfect man, and wine reflection of a perfect man is his
was the share of his knowledge. The appearance, because breed, quality,
lover in the presence of the pir and names are also called mirrors,
obtains the divine knowledge, so for and all of those qualities are perfectly
him both the mirror making aware personalized in a perfect man
of the worldly events, and the cup (Sajjadi, 1370: 45). Cup (Jom) is
filled with wine is his spiritual used her e to express a b owl
mentor and nothing else. This is (container) to drink something
because due to the teachings of the from, as metaphor it expresses a
mentor a student's souls brightens heart of a knowledgeable man-
up, his intellect increases. If Iskandar mentor full of wisdom (Sajjadi,
came to know the world through his 1370: 280). By wine the poet means
mirror, and Jamshed through his the victory of love; in addition, wine
cup, the truth seeker understands here also represents the meaning
the essence of the world thanks to close to it - the pleasure one gets
his mentor- pir. That is, Navai from the heart of a mentor (Sajjadi,
148
1370: 751). The wine house - is the refined objects, the were not as
soul of a perfect scholar, it is full of valuable as ceramic dish because
desire and joy, and divine knowledge they only reflect the event in the
(Sajjadi, 1370: 752). Ceramic dish world. As for the old ceramic dish
is the heart of the dervish (Kamilav, full of wine (the heart of an 'arif'),
2012: 12-16), the application of according to the poet, it could reflect
suc h expr essi on s as b roken the essenc e of t he wor ld.
ceramics, old ceramics express Furthermore, in the verse, the poet
meanings close to each other. implicitly contrasts the mirror and
If the poem is analyzed in such a the cup, made by processing and
way, we shall receive the following refining iron and other metal as hard
meaning: I have a modest heart full as iron, to the ceramic dish made
of wisdom, it is a mirror for me, it by processing earthly clay. Thus, he
reflects all the essence of the world, not only achieves expressing his
its creatures, qualities and names; poetic objective but also correlates
it is a cup for me full of divine the process of making ceramic dish
doctrines. Iskandar's mirror and to the religious origin of a human
Jamshed's cup do not have these being made from clay. In other
qualities, therefore they are less words, Navai interprets Iskandar's
valuable than my heart. mi rr or a nd Jamshed's c up a s
Jamshed made the cup named worldly objects in order to draw the
after him with the help of scientists. attention to the scholastic essence
When this cup is filled with wine, of the imagery of the ceramic dish
the phenomena in the world are and to achieve expressiveness.
reflected in it; therefore, it is There is a similarity in terms of
sometimes called 'Jami getinamo' - idea, imageries, and interpretation,
the cup capable of showing the between this ghazel from 'Divani
world. Iskandar's mirror was made Fani" and the first ghazel from
by him and four hundred scientists. 'Hazayin al-maoni". The third beyts
It is also described to reflect the of both ghazels are worth attention
world; therefore, sometimes it is
as regards this. Particularly, the third
called 'oynayi jahonnamo' - the
verse of 'Ashraqat...' reads as follows:
mirror showing the world. In Ey, xush ul maykim, anga zarf o'lsa
particular, Iskandar's mirror and bir sing'on safol,
Jamshed's cup are often used in Jom o'lur getiynamo, Jamshid ani
Navais lyrics to express the heart of ichkan gado.
a man of deep knowledge. However, (Navai, 1988:20)
in accordance to his method of In other words, it is such good
'poetic borrowing' to emphasize a wine, if it is poured into broken
concrete imagery purpose Navai ceramic bowl, it will be 'jom
'abjures' these well-known and getiynamo' - the cup showing the
famous images. Even though the cup world, and the panhandler that
and the mirror were specifically drinks from it will turn into Jamshed.
149
The mea ning of t his verse is have the cup of Jamshed and the
interpreted by N. Kamilav as follows: mirror of Iskandar, this old ceramic
'This light, this wine is so wondrous, dish can replace them both; look
that even a piece of broken ceramic how highly honored is an old
- the heart of a poor man - may be ceramic dish:
a cup for it. Then, this cup will Jomi Jamat agar buvad
mirror the whole world, and anyone v-Oynayi Sikandari,
who drinks from this cup, i.e. intakes In chu ba joyi hardu shud, bin ba sharaf
kujost in.
the light of divine knowledge, even
(Navai, 2002:169)
if a beggar, will feel himself a king'
When one t ak es i nt o
(Kamilav, 2012: 113). Indeed, in
consideration the fact that the old
both cases the images of a ceramic
ceramic dish is a symbol of a learned
dish (broken ceramic dish and old
man, as the poet states, it is honored
ceramic dish) are used to express
higher than both Jamshed' cup and
the same meaning. Interestingly, in
Iskandar's mirror regardless of their
the Persian ghazel, the poet states
mystery and magic; because in the
about the prevalence of the old
ceramic dish over Jamshed's cup heart of a poor man one can notice
and Iskandar's mirror, whereas in the reflection of the face of the Haq
Turkic ghazel, he tells that once the (one of the names given to Allah).
wine is poured into the broken Another meaning is that a pure heart
ceramic dish, it obtains the quality (an old dish from wine house) by
of mirroring the world peculiar to itself is like Iskandar's mirror, after
Jamshed's cup, and the poor man it is filled with divine knowledge,
who drinks from it obtains the pleasure of love (pure wine), it turns
qualities characterizing Jamshed. into the cup showing the world.
It means that Navai uses the same Once the ceramic dish personalizes
images to expressing different the qualities of the cup and the
meanings. Nevertheless, one is mirror, and it fulfills the functions
required to know exact meanings of of those two objects, it obtains a
these images in certain contexts in prevalence over those two objects.
order to identify correct general But at the same time, the poet also
meaning. The meanings expressed by wants to tell that the mirror and the
some images are impossible to identify cup also have the qualities present
outside the texts they taken from. in an old ceramic dish from the wine
In his ghazel ending with 'in', house (in the heart of a wise man).
Navai builds his ideas on the grounds In other words, Iskandar's mirror
of the image of old ceramic dish and Jamshed's cup are lower in rank
again. According to it, the old than the old ceramic dish from the
ceramic dish in the wine house is winehouse, but the celestial secrets
the mirror of purity, once it is filled are also reflected in them just as in
with wine, it turns into the cup the old ceramic dish (the heart of
mirroring the world. Though you dervish) though through a veil. For
150
the lights of divinity are reflected in the world and the troubles it caused
everything in the world; the secret the superheroes of his time.
signs, symbols of the creator are Linguistic features of this extract
present in every creation. So the mere are also specific, the 'Jomi jahonbin'
ability to reflect a grain in itself is - the cup showing the world cannot
equal to delivering a word of truth. be interpreted as usual. Such
The image of Iskandar in Navai's expressions as 'to brighten the
Persian poetry is also described in mirror', 'tiyralik' (darkness) trammel
r elat ion to t he problem of this. 'Jami jahonbin' is another name
temporality. The poet builds the of "Jami Jamshed"- Jamshed's cup,
following metaphor in the matla of it not only had the ability to reflect
one of his ghazels: the world, but also to floodlight like
Zi ta'rixi Jamu Iskandar omad a torch. In the XXVth chapter of
tiragiy bar man, 'Farhad and Shirin', when ilustrating
Magar jomi jahonbin sozdam
oinaro ravshan.
the visit of Farhad to the cave of
(Navai, 2002:212) Socrates after opening the secret of
In other words, even though I Iskandar, Navai describes both
brighten up the mirror (heart) with characteristics of Jamshed's cup.
world reflecting (world projecting) According to it, there were many
cup, I will have the trouble similar dark caves on the mountain where
to that that Iskandar and Jamshed Farhad came. He faced the problem
had in their lives. of identifying Socrates's cave. Then,
In the following lines the lyrical Farhad orders to bring Jamshed's
hero reveals why he would face the cup and uses it (just as a satellite or
trouble and pain from Jamshed's and navigator now) in order to find the
Iskandar's stories. According to the earth, then to find seven climates,
hero, the sky daily turns the heroes then countries, and finally to find
of the world into dust, life is not Greece. Having examined all sides
eternal, time is limited. So, one had of Greece thoroughly, He was able
better drink the fiery wine that turns to identify the cave of Socrates in
the world into blossoming garden. In the north. He investigates each cave
his Turkic poetry, Navai used the on the mount and finds the cave
image of Iskandar to describe the Socrates made home and:
Dedikim: olibon kirdilar avval,
concept of temporality, the same Jahonbin jomni, andoqki mash'al.
content canbe traced in his Persian Olib kirganki oni yo'lg'a tutdi,
ghazeliyat. The fact that people died Qarong'u tunni kunduzdek yorutti.
in the end just as Iskandar or Qilib ul jomdin nur o'yla ta'sir
Jamshed reminded Navai of the Ki, mash'al partavi qilg'onda shabgir.
Surub g'or ichra yuz ofot ichinda,
temporality of the world, which made Sikandar o'ylakim zulmot ichinda.
him sad and aggrieved. Therefore, the Chu bo'ldi Xizrdin ul yo'l nishoni,
lyrical hero wants to drink fiery wine Topildi nogah obi zindagoni.
and forget about the temporality of (Navai, 1992:146)
151
Almost allpoets wrote about the Navai in this verse narrates on

ability of Jamshed's cup to reflect two important features of divine love
the world, but not all of them were such as it being chymistry and ability
able to describe in details how it to reflect the world phenomena. The
showed the world as Navai did. In second feature of divine love is
the above extract Navai not only connected to the name of Iskandar.
could clearly describe both qualities In order to provide poetic grounds
of the cup, but also compares to this quality Navai uses the image
Farhad's visit to the cave in search of Iskandar's mirror. When the poet
of Socrates to Iskandar's visit to narrates on similarity of divine love
darkness in search of the elixir of to the mirror which brightens the
life. Here he metaphorically compares world, he bases on the theory of
Farhad to Iskandar, the cup to theophany, according to which any
Khizr, and Socrates to the amrita. object in the world has particles of
Here his metaphors are based on the the rays of theophany which can be
legend about Iskandar's entrance into traced only with the inner eyes. In
darkness with Khizr in search of the ot her words, t he orn amen t
elixir, Farhad's visit to the cave of represents the ornament maker, this
Socrates using the cup to help him quality is peculiar to gnostics,
find Socrates is compared to the owners of the heart. Whatever side
adventures of Iskandar led by Khizr they look in search of pure love, they
when they tried to find the elixir. This see their beloved - Allah, they
not only represents Navai's ability to understand the essence of the
use the four main images of phenomenal world and become
Iskandar, Khizr, darkness, and the aware of the secrets of the earth and
elixir in a peculiar way, but also the sky. Therefore, Navai calls love the
skillfulness of the poet in using mirror able to reflect the world. By
metaphors bound to some events. grounding the quality of reflecting
II. The second mirror. the world in this manner, he also
Although Navai mentions in proposes the poetic idea according
'S addi I sk an da ri ' ab out the to which it is wrong to call the
construction of the city of Alexandria mirror that Iskandar saw in Rome
in Egypt, he informs about the as 'jahonnamo' (able to reflect the
second mirror in 'Layli and Majnun' worlds). For comparison he gives a
and in 'Tarikhi anbiya and hukama'. brief information about Iskandar's
1.In 'Layli and Majnun'. mirror: Iskandar having refined steel
Tin the first verse of the chapter and made a mirror, he had a tower
starting with 'Ishq ta'rifidakim' built in Rome which faced France.
(about love), the poet describes love The mirror was so well-refined that
as follows: it became bright enough to reflect
E, ishq, g'arib kimiyosen, France in it. After the mirror
Bal oynayi jahonnamosen. became so bright Iskandar called it
(Navai, 1992: 271) jahannama (Navai, 1992: 272). This
152
is the second mirror which Navai Nizami wrote that a tower was
connects with the name of Iskandar. built in Alexandria, on which a
Navai when narrating on Balinos mirror was fixed which could show
one of the Greek scholars in 'Tarikhi everything happening on the surface
anbiya and hukama' states the of the river in the radius of a month's
followings: 'Balinos is the disci ple way. Once the tower guards notice
of Aristotle. It is obvious that the some secret movements, they inform
talisman of the tower of Alexandria the country's security officers. The
was made by the French, Balinos security soldiers take preventive
made it' (Navai, 2000:138). It should measures against an ambush. But
be stated that concerning this Nizami did not say anything about
information Navai used 'Tarikhi the fact that the mirror belonged to
guzida" as grounds (Mustafi, 1339: Iskandar (Ganjavi, 2012: 394).
67). In other words, the real name 3. Khusraw Dekhlavi in his 'Ainayi
of the construction was 'The tower Iskandari'.
of Alexandria', it had a mysterious It was not for nothing that Khusraw
secret, but Navai does not say Dekhlavi paid a particular attention of
anything about that secret of the the image of the mirror. This created
tower. Even if the extreme brightness opportunity for him to emphasize 1)
and clearness of the mirror on it, its new features of his work; 2) new views
ability to reflect objects in long related to the mirror. He thinks that
distance are considered to be its secret the first mirror told by Nizami to
magic, it seems to be not enough. belong to Iskandar in fact belonged
2. In Nizami's 'Iskandarnama'. to the Chinese king. According to
In t he c ha pt er c alled Khusraw, later, Iskandar, aiming at
'Jahongardiyi Iskandar ba da'viyi satisfying the request of the ambassador
payg'ambari' (Iskandar who travelled who complained of the robbers and
in t he wor ld i n clai mi ng his thieves from France, ordered to build
prophecy), there is an episode where the high tower of Alexandria at the
Navai informs about the features of river Rome. The tower was erected
the second mirror: facing the side of France. At the top of
Zi Maqduniya ro'yi dar roh kard, the tower, on the model of the
Ba Iskandariya guzargoh kard... Chinese, they fixed a huge mirror that
Bifarmud, mile barafroxtan,
Bar o' ravshan oinaye sohtan,
could reflect the area of 60 farsangs.
Ki az ro'yi daryo yakmoha roh Using it, strategic plans of observing
Nishon boz dod az sapedu siyoh. the sea and protecting from the attacks
Bad-on, to buvad didabongohi taxt, of robbers. Khusraw when mentioning
Bar o' didabononi bedorbaxt. 'Iskandar's mirror' meant this particular
Chu z-oina binand po'shida roz,
Ba dorandayi taxt go'yand boz.
mirror. He added some details to the
Agar dushmane turktoziy kunad, information given by Nizami, such as
Raqib i har am chor asoziy kunad. the robbers, the location of the tower,
(Ganjavi, 2012: 394) and the distance.
153
Specifics about the tower and the addition, considering the fact that
mirror fixed on it, which Navai Navai provides concrete information
made reference to, correspond more on the material the mirror was made
to the descri ption of Khusraw. from and the person who cast a magic
Nozami told that the tower was power on it, one can come to
located in Alexandria, Khusraw conclusion that in contrast to
near the river of Rome, and Navai Nizami and Khusraw, he was
in Rome. Nizami does not refer to familiar with more reliable resources
the side that the tower and the such as 'Tarikhi guzida' and 'Tarikhi
mirror face, Khusraw and Navai Masudi'.
point out the side of France. Nizami 5. The mirror in historic sources.
tells that the mirror could reflect Some information concerning this
one-month way, Khusraw - the tower and the mirror fixed on it
distance of 60 farsangs, and Navai can be found in some books on
- tells that the mirror could show history written in the East. According
what the people of France were to Mirhand, at the outskirts of
doing. Nizami and Khusraw clearly Alexandria, a 600 gaz high tower was
stated that the purpose of installing built; and a mirror with a secret was
the mirror was the defense of the fixed on top of it. It showed the hostiles
country; whereas Navai does not armies from surrounding countries
mak e an y clar fi ca ti on s gathered with the purpose of capturing
corresponding the aim of its fixation; the city. Once the city dwellers found
but such details that he mentions as out about this, they took measures to
the side of France where the mirror get rid of the foe troops (Mirhand,
looked, and the things it could 1338: 94). Nasir Khisrav (1004-1088)
reflect (the activity of the French), wrote the followings about this
hint at political aims of fixing this construction: Alexandria was situated
mirror. on the banks of the Roman sea and
If we turn our attention to the the river Nile. Shi ps there brought
information in 'Layli and Madjnun', many fruits to Egypt. There was a beacon
Navai uses more the details from in Alexandria, and when I saw it was
Khusraw. Another main difference safe and sound. A burning mirror was
in descri ption is that Nizami set on it. If Roman shi ps sailing from
emphasized the fact of the tower Istanbul came into the radius within
construction and the aim of fixing a its reach, the mirror could burn the
mirror on it, while Khusraw clarifies shi ps. Romans tried alot to get rid of
the history of the mirror creation this mirror. They came up with
and clarifications concerning the various intrigues, and finally they sent
term of 'Iskandar's mirror'. As for a person who broke that mirror
Navai, he relates on the mirror fixed (Khisrav, 2003: 112). These ideas were
on the tower, its brightness, the also fully grounded in the research
ability to show the world, and the of A. Nasriddinov (Nasriddinov,
magic secret it contained. In 2013: 407).
154
Masudi (third century hidjra) also post. He became a person of shakh

left important information about the Valid's trust. He notices Valid's lust
tower (Masudi, 1374: 359-367). for wealth and takes him into the
According to him, the constructions lie telling that under the tower of
in Alexandria were built by Iskandar Alexandria there was a treasure. He
the son of Filli p. Some people think was able to make Valid destroy the
that they were built by the princess tower. Having done so, Valid
Dalv and made it the observation understands that he was deceived,
tower which could see the foe troops but it was late the Roman official
planning to attack Egypt. Some had already escaped (Masudi, 1374:
historians consider that the tower 364-365).
was built by the Pharaoh X. Others Ruler of Alexandria ordered to fix
relate some Roman cities, the a huge mirror on top of the tower
tower, Egyptian pyramids, as well in order t o see the en emy
as the city of Alexandria to the name approaching them from the river. The
of Iskandar because he was famous reason why they did so was that they
for conquering the majority of feared roman princes could come
countries in the world, so this city to fig ht a ga in st t he k in gs of
was also famous the name of Alexandria and Egypt. People
Iskandar. Moreover, the enemies unfamiliar with the locations of the
from the other side of Rome never tower doors when entered the tower
attacked Iskandar, and Iskandar were lost forever because there were
never feared the attacks of any numerous rooms, doors and paths
kings... the foundation of the tower inside it. As they say, during the reign
was tortoise shaped and built in the of Muqtadir, Maghreb army came
river; on top, it contained different to conquer Alexandria. A group of
objects made from copper and other horsemen entered the tower and
metals (some figures and statues). were never found. There were
One of the objects pointed at the corridors in the tower that led to
sun and followed it with its thumb, the tortoise shaped glass foundation
after the sun set it it put its hand of the tower where there were ways
down. Another figure when foe out to the river (Masudi, 1374: 367).
troops approached showed them and While reading this information, one
produced frightening sound hear in can imagine the beacon of Alexandria
two-three mile. Thus it informed the which is considered to be one of
population of the threat. Another the wonders of the world.
object produced pleasant sound Alexandria beacon - the second
every hour throughout the day. Rona name Persian beacon, was built on
king sends one of his palace people a cliff on the eastern coast of Persian
secretly to the Alexandria during the island near Egypt. The construction
reign of Valid bin Abdumalik bin of the beacon started under the
Marvan. That servant became in it ia ti ve of on e of I sk an da r
Muslim and was promoted to high Macedonian' commanders Ptolemy
155
Sorter in 285 BC, and was finished So, the details provided by
in 280 BC. The total height of this Nizami, Khusraw, and Navai were
three-storeyed tower was about 120 related to the world famous beacon
miters. The ground floor was of Alexandria. The information was
rectangular with the consideration gathered from the books by Strabon
of the sides, North, South, East, and Plenius. Regardless of the time
and West, where light came from. that passed the impressions of the
T he sec on d floor wa s built Alexandrian beacon have not lost
octahedral taking into consideration t hei r ma i n fea t ur es for t wo
the wind directions. The third floor thousand years in Oriental sources.
was dome shaped and there was fire For example, in the work of
burning on it. There also was a 7- Khamsa writers the way showing
meter high bronze statue of the king fun c t i on of t he b ea c on wa s
of seas - Poseidon on this floor. weakened and its defensive function
Polished granite columns held the was emphasized. This can be proved
dome. The fire was here and it was by the following words of Iskandar
visible for seamen from distance. In Pala: In the legends related to
order to prolong the distance of the Iskandar, there were some disputes
reach of its light, they fixed mirrors concerning his mirror. There are
made from specifically processed various interpretations of this mirror.
iron. Some sources tell that the mirror
The beacon not only showed the was given to Alexander by the
way to seamen, but also was a kind Indian shah Kayd. Others inform
of observation tower. Steel mirrors that it was made in Alexandria by
reflected the foe shi ps that appeared Aristotle. The legends describe the
in the sea; and thus informed the mi r r or a s r oun d-sha ped or
city population. Octahedral second rectangular. They say that both sides
floor of the construction was of the mirror were reflecting. When
decorated with multi ple bronze looked from the back by liars, it did
statues that moved by a simple n ot show t hei r fa c es; t hus
mechanism showing the speed and Alexander could know who was
direction of the wind. Travelers who telling the lie. The legends also
sa w t he Persian beacon were related on the fact that the mirror
impressed by the wondrous statues. was placed on top of a high hill
For example, one of them always and could show the shi ps far away.
pointed at the un and followed it The mirror even could be used to
throughout the day; once the sun focus the heat of the sun on the
set it put its hand down; another hostile shi ps and burn them. As we
statue rang every hour; one even see it, all of these legends are
pointed at the seas as if warning of connected with the historically
the arrival of the foe (Neihardt, famous beacon of Alexandria (Pala,
1966:105-118). 1990:137).
156
Nizami calls the place where the 1. The imagery of the 'Mirror of
beacon was located as Iskandariya Iskandar' found in the books of
(Alexandria), as for Navai and khamsa writing poets has passed a
Khusraw, they call it Rome and state long way of historical development.
that the name of the construction Throughout this path, it has turned
was the Tower of Alexandria. By the into an important component of the
way, although the Pharos island plot, composition, and images of
where the beacon was closer to fi ct ion a nd poetr y r elated to
Egyptian coast than to the Roman, Iskandar.
it was not completely within the area 2. As distinguished from Nizami
belonging to Egypt. The information Ganjavi and Khusraw Dekhlavi,
given by Navai related to the fact Alisher Navai provides information
that the tower was built facing about both mirrors related to the
France was truth as the north- name of Iskandar. One of them was
eastern part of Egypt facing Europe made in China, the other was a huge
was surrounded with the sea and the mirror made in Alexandria and was
island of Pharos was exactly there. fixed on top of the tall tower.
Another important fact provided by 3. The process of the appearance
Navai is that the mirror was made of this detail and its turning into a
by processing iron. Hitoric sources literary image took a long path. The
confirm this fact. Navai not only calls fact that has an extremely broad
te tower with its name as 'the Toer meaning also prove that it tool long
of Alexandria', but also tells that it time to shape. The first of them can
had a secret and the secret made by be explained with historical facts,
Balinos. It seems that Nava;I was right while the second with characteristics
here too as in the aforementioned peculiar to literature. Historical truth
sources, we can read that on the states that there was a real mirror
second floor the sea travelers could which had quite big chances to serve
see bronze statues made working by a as a fact (the mirror on the tower of
simple mechanism and imagined the Alexandria). Idealization of this
tower to be magical. Naturally, there historical truth served as a material
were people from the east among the ground for it to obtain symbolc
sea travelers. properties.
It should be pointed out that this 4. Echoes of Iskandar's mirror's in
information can be found only in literature first appeared in verbal folk
t he wor k by M as'udi y whic h arts, then in written literature. And
confirms our hypothesis as regards the first signs of this tradition were
the fact that Navai was familiar with expressed in 'Iskandarnama' by
this source. Nizami Ganjavi who wa s the
CONCLUSION. founder of khamsa writing. The
From the above made analysis success of Nizami in this process was
and considerations we can make the the fact that he was able to raise the
following conclusions: element of 'the mirror' to the level
157
of an important motive of the plot great heroes was prevailing in

by turning it into the significant Iskandarnamas written in the east
component of Iskandarnamas. Later, just as in other types of folklore.
active application of this motive was 6. As a matter of fact, one can
observed in Persian and Turkish put forward the hypothesis that with
Iskandarnamas. For instance, Navai the course of time, the expression
often addressed this element in his 'Aynayi Iskandaria', i.s. 'The mirror
Turkish and Persian lyrics. As a in Iskandariya (or Alexandria)' could
result, in his works, this element b e mi si nt er pr et ed a s 'Ayn ayi
reached the level of an imagery hero. Iskandari' (Iskandar's mirror).
5. The second mirror, which was 7. Alt houg h at fir st sig ht ,
called as Ainayi Iskandari by partici pation of this image in the
Nizami, Khusraw, and Navai, did works of Nizami, Khusraw, and
not historically belong to the Navai may appear identical, they
Iskandar; therefore, Masudi, who do have significant distinctive
was informed about the history of features.Disparity in the descri ptions
Greece stated: 'Others relate some of the tower and mirror in the work
Roman cities, the tower, Egyptian of the poets resulted from their
pyramids, as well as the construction approach to the issue.
of the city of Alexandria to the name Due to his accent on the political
of Iskandar because he was famous side of t he mat ter, Niz ami
for conquering the majority of emphasiz ed t he pur pose of
countries in the world, so this city constructing the tower. Khusraw paid
was also famous the name of a particular attention to the history
Iskandar. Moreover, The enemies of the mi rr or 's c reat ion an d
from the other side of Rome never clarification of the term 'Aynayi
attacked Iskandar, and Iskandar Iskandaria' in order to explain the
never feared the attacks of any name of his dastan and to accentuate
kings '. Indeed, just as in majority on his individual opinion of the
of works written in the East, in Mirror of Iskandar. As for Navai,
khamsas by Nizami, Khusraw, and just as the majority of his other
Navai, Iskandar was 'an ideal ruler', images, he interpreted the mirror
and his state was considered the in relation to the issues of divine
model of 'an ideal statehood' love, and, therefeore, he focused
(Türkdoðan, 2009: 761). This more on the mirror's birghtness,
happened because the tendency of ability to transmit the worldly
related any historical, momentous events, and the secret magic it
or wondrous event to the name of contained..
t he I sk an da r in ori en ta l 8. Khusraw Dekhlavi was more
Iskandarnamas was the result of advertent and considerate to this
attempts to emphasize its ancestity, detail and motive. It was this serious
notoriety. And this tendency of trying attitude that drove him in choosing
to impersonate people's ideals in an appropriate name for his book.
158
Nizami and Dekhlavi tried to present transperancy, magic power and the
the existence of this phenomenon phenomena related to the spiritual
and its application by the hero of life of people. Ideas about the
the book. Thus Iskandar's mirror extraneous features of the mirror
grew from the status of a fact, or and its magical power led to its
material object to the level of the interpretation in Sufism as the heart
factor providing interpretation of of an arif person. Generally, this kind
spiritual phenomena. of interpretation later started to be
9. Alisher Navai seriously studied applied to the Mirror of Iskandari.
the experience of his mentors. At the Precisely, this could be observed in
same time, he studied the real the masnaviy 'Farhad and Shirin' by
essence of the matter from scientific Navai, in his Turkish and Persian
point of view. In particular, he lyrics. A decisive role in the process
resear ched t he process of it s of the formation of such a metaphor
reflection in historical books. As a was played by the similarity between
result of this historical-scientific and t he effec t of t he i ma ge of a
literary-aesthetic analysis, the phenomenon in the mirror and the
scholar obtained new grounds and reflection of the divine truth in a
new forms of interpretation. In fact, person's heart. This, in its turn,
wit h the cour se of ti me, the served as a ground for the formation
similarities became more apparent of metaphoric comparison of the
between such qualities considered Iskandar's mirror and a cup full of
to be the characteristics of the wine (Jami Jam (Jamshed's cup))
mirror as image effect, brightness, in classical literature.
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160
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THE IMAGE OF 'THE MIRROR OF ISKANDAR' IN THE POETRY OF ALISHER

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SOCIAL SCIENCE AND HUMANITIES

THE IMAGE OF 'THE MIRROR OF ISKANDAR' IN THE

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INTRODUCTION. determine his poetic talents. This can

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personality. In contrast to his pious result, they had to escape this

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powerful and started to prepare for extraordinary idea according to

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USA, Michigan Generalization of Scientific Results

Just as in 'Hayrat al-abrar', in from Rome; the mirror is the

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USA, Michigan Generalization of Scientific Results

USA, Michigan Generalization of Scientific Results

proportionality when creating the In other words, the one whose

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USA, Michigan Generalization of Scientific Results

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a similar hero. Literature speasialist Bir ayoq muzluq su Jomi Jamdurur,

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USA, Michigan Generalization of Scientific Results

USA, Michigan Generalization of Scientific Results

In some of Navai's Persian parallels the images of Iskandar's

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USA, Michigan Generalization of Scientific Results

USA, Michigan Generalization of Scientific Results

USA, Michigan Generalization of Scientific Results

Almost allpoets wrote about the Navai in this verse narrates on

USA, Michigan Generalization of Scientific Results

Masudi (third century hidjra) also post. He became a person of shakh

USA, Michigan Generalization of Scientific Results

of an important motive of the plot great heroes was prevailing in

Dekhlavi, Kh., (1977). Aynayi Iskandari, Nauka, Moscow.

USA, Michigan Generalization of Scientific Results

USA, Michigan Generalization of Scientific Results

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