Ogakhiy biography

The ancient Khorezm about the literary heritage of Agakhi Agahi Muhammad Riza became famous as a talented poet, historian, translator. He was born in the year in the village of Kihit near Khiva. Agakhi was the nephew of the poet Munis Khorezmi, the author of the historical work “The Garden of Happiness”. A major role in the formation of the worldview and the choice of the creative path of Aghas played Munis and his environment.

He studied agahs in a madrasah, with great love studied the works of the classics of the peoples of the East - Navai, Fuzuli, Bedil and others. After the death of Munis in the city of Agahi, his post Miraba inherited a water distributor, and held this position until his death, with a break in - gg. The post of Miraba was one of the 32 higher ranks in the Khiva Khanate and its owners were part of the State Council.

Agahi perfectly mastered the Persian language, as well as the Arabic and Turkish languages. He was well acquainted with the classical and modern literature in Persian and Turkic languages. In his poems in the Uzbek and Tajik languages, civilian motifs sound. At the age of 52-55, Agahi leaves the sofa “Talisman of Lovers”, where he includes poems from his bayaz collections, carefully editing his first works.

In the lyrical sofa, Agahi sang high human feelings. The gazelle written by the poet is very diverse. In some, pure love is sung, in others - the ideas of Sufism, thirdly personal experiences. Great sincerity and high artistry are those qualities that mainly characterize the poet's lyrics. His poems, tightened by great meaning, characterized by melody, affecting the most delicate and innermost feelings of the human soul, are still read and performed by the people with love.

The heritage of Agah is actively studied by scientists from different countries of the world. Several publications of his works in the Uzbek language came out.

The best verses are translated into Russian. The individual specific aspects of the creative heritage of Agakhs were addressed by orientalists and historians V. Bartold, A. Kun, P. Ivanov and others [3]. The original text of his historical essay “Jami Al-Wakia-i Sultani” was published in Turkey. Many monographic studies are devoted to the translation of Agakhi. Many wrote about the Persian heritage of the Agakhi, among them such outstanding scientists as E.

Bertels, V. Zakhidov, V. Abdullaev, A. Khayitmetov, G. Karimov and others [4]. Abdullaev, who highly appreciated the Persian lyrics, wrote: “The poet’s poems in the Tajik language, in its subject, can be compared with the poet’s verses in the Uzbek language, they depict the everyday life of that time” [1, p. Yuldashev in his book “Feudal Land Poles in the Khiva Khanate” widely used the works of Agha as historical material, and some excerpts from the manuscripts of Agha are literally translated into his language [2].

From the poetic heritage of Agahi, the “Tavizul-Ashikin” “Talisman of Lovers”, consisting of the half-sustained, reached us. In addition, two manuscript instances of agah sofas are present in the St. Petersburg branch of the Institute of Oriental Studies of the Academy of Sciences of Russia [5]. The poet created in 19 genres of classical poetry. Among these genres, preference was given to such types of poetry as Gazelle, Muhamas, a chronogram.

Agahi is a bilingual poet. The lyrical heritage of the poet, equally masterfully creating both in the Uzbek and Persian languages, served as the basis for a number of studies. However, until now, the poet’s legacy on Farsi has not found his deep and comprehensive study. The Persian poems of Agahi are not built in the form of a separate sofa, and inside the collection “Tavizul-Ashikin” are given under the name “Ashori Farsi”.

It was found that two more gazelles from the Muntahabati Ashari Farsi sofa, compiled by researchers from Khorezm, belong to the Agakhi Peru. Taking into account these sources, it can be noted that the volume of agah's lyrics on Farsi is more than half -pasted. Poetic genres in Ashori Farsi are given in the following order: 1. Chronograms [6]. It is known that the Gazelle, being a very common genre of classical literature, at the same time was considered a kind of criterion for the poet’s artistic skill.

And in reality, although the volume of gazelles in Ashori Farsi does not take up a significant place, they were able to reflect the skill of the bilingual poet. The gazelles included in this sofa make up the lines of the half -delay. Ashori Farsi contains 5 Muhammas. These are: 1 Muhammas to Gazelle Mirzo Bedil, which begins with the half-wings of “Bow Avji kibr ё k-az-azhaza azhz astra ohzho”, 60 received; 2 Muhammas to Gazelle Bedil “Hey, Hama Ototi Kudrat Zokhir Az Sunoma”, 35 half -shaped; 3-4 Muhammas to the Gazeli Amiri “Za Toby Boda, Shami Zhamol Ravshan Ast IMSAB” 35 Half -half and “Ba Jon, Hey Gulbadan, Hastam Asiri Sarvi Blue” 40 half -dead; 5 Tahmes Agakhi to his gazelle “Dil Boz Hyuli Rukha Tu Carda Chang Shud”, 45 half -pasted.

The total volume of Muhammas is the half. Muhammas are located on the pages - manuscripts N Musamman Batarikai Tazmin.This Musamman consists of 56 half-pasted, the initial “hark, Ba Omas Omada, Bo Hamia Begaron Raft”, the final “Harka, Ramid Z-in Saro, as a Siton Raft”. Musamman is shown on the pages - manuscripts N Munozhot, being located on the pages - manuscripts N, begins with the half -worship of "Ilochiy, Bandai Kama Kard Roham", ends - "Shavad condemn the Hurrah show." Munozhot is written in the form of Mesnevi, consists of 54 half -deeds.

Agakhi is the author of 33 chronograms consisting of a half -pasted. It would be appropriate to note that in the total number of chronograms of the poet, 22 historical events were reflected. Due to the fact that most of the chronograms in the Persian language, two Uzbek chronograms are included in the part of the Ashori Farsi sofa under the name “chronograms”.