Abstract

Yo‘l – adabiyot tarixida eng qadimgi va qiymatli timsollardan biri. Badiiy adabiyotda yo‘lchi, yo‘l ko‘rsatuvchi, tush, safar, sinov, manzil va boshqa ko‘plab timsollardan iborat obrazlar galereyasida yetakchilik maqomidagi bu timsol poetikasini chuqur tadqiq etish adabiyotshunosligimizning dolzarb masalalaridandir. Ushbu maqolada dastlab “Xamsa” dostonlari tadqiqi bo‘yicha navoiyshunoslikdagi ba’zi muammolarga e’tibor qaratildi. Shuningdek, ilk bor Alisher Navoiy dostonlaridagi yo‘l obrazi falsafiy-badiiy mohiyatiga ko‘ra tadqiqqa tortildi. Ushbu obraz geografiyasi tadqiq qilinib, muallif epik poeziyasida keng qo‘llangan yo‘l obrazi, avvalo, mazmun-mohiyatiga ko‘ra tabiiy-moddiy yo‘llar hamda majoziy-ma’naviy yo‘llarga ajratildi. Tabiiy-moddiy yo‘llar yo‘nalishiga ko‘ra gorizontal hamda vertikal yo‘llarga ajratildi. Tadqiqot natijasida qahramonlarning gorizontal yo‘llar bo‘ylab harakatlanishi asar sujet chizig‘ini shakllantirishda muhim funksiya bajarishi, vertikal yo‘llar esa ma’naviy-ruhiy uruj bilan aloqador ekani aniqlandi. Shuningdek, vertikal yo‘llar ko‘lami gorizontal yo‘llar ko‘lamidan ancha keng ekani, bu yo‘l geografiya sarhadlaridan chiqib ketishi asoslandi. Alisher Navoiy dostonlaridagi yo‘l obrazining badiiy talqinlari tadqiq qilindi. Muallif epik poeziyasida keng qo‘llangan ushbu obraz poetikasida Qur’oni Karim, hadisi sharif, tasavvuf manbalari hamda salaflar ijodiy tajribalarining ta’siri borligi ochib berildi. Shuningdek, Navoiy bu ijodiy tajribalarni rivojlantirgani, yo‘l obraziga istiora usuli bilan o‘nlab yangidan-yangi ma’nolarni yuklagani asoslab berildi. The Road is one of the most ancient and significant symbols in the history of literature. Within the gallery of images in artistic literature – such as the traveler, guide, dream, journey, trial, destination, and many others – the road holds a leading position. A deep investigation into the poetics of this symbol is one of the pressing issues in literary studies. This article initially focuses on certain challenges in Navoi studies related to the analysis of the Khamsa epics. Additionally, for the first time, the image of the road in Alisher Navoi's epics has been analyzed based on its philosophical and artistic essence. The geography of this image has been studied, and the road, extensively employed in the author's epic poetry, has been categorized primarily into natural-material and symbolic-spiritual roads according to its content and meaning. The natural-material roads are further divided into horizontal and vertical paths based on their direction. The study found that the horizontal movement of characters along roads plays a crucial role in shaping the plotline of the work, while vertical roads are associated with spiritual and psychological ascent. Furthermore, it was established that the scope of vertical roads is significantly broader than that of horizontal roads, often extending beyond geographical boundaries. The artistic interpretations of the road image in Alisher Navoi's epics were thoroughly examined. It was revealed that the poetics of this image, widely employed in the author’s epic poetry, was influenced by the Quran, Hadith, Sufi sources, and the creative experiences of predecessors. Moreover, it was substantiated that Navoi not only developed these creative experiences but also enriched the image of the road with dozens of new meanings through the use of metaphorical techniques.