Religious harmony.

RELIGIOUS HARMONY.

Madumarova Nigorahon Abdukakhorovna

Excellence in Public Education

Methodist of native language and literature of the

Department of Public Education of Kuva district of Fergana region

Annotation: In this article there is briefly expounded on some similarities of life on Pahlavon Mahmud`s and Ogohiy`s poetic view.

Keywords: The secret of life, perpetuity, confession, difficulties, transience, similarity

Introduction. As M. Abdulhakim acknowledged in his article "Light that illuminates Yaldo", the conditions of bravery are so many and necessary that they must be observed almost from the moment of birth to the last breath of life. One of them is not to hurt the tongue. In other words, if a person can express words beautifully, sweetly, effectively and in moderation, his speech will not contain only the core, no bones, no skin. P. Mahmud's rubai are dominated by a rich content of such philosophical wisdoms. Rubaiyat:

There is no speech in the world like yours, O friend,

There is nothing wrong with that word.

You don't need to talk about nuts

It's all his, he doesn't have a skin.

The main part. Pahlavon Mahmud (1247-1326) was a great thinker, poet, a great representative of the Javanmardiyya (Futuvvat) sect, which the Khorezm land gave to mankind. His mental prowess was commensurate with his physical strength, and during his travels in the East he took part in wrestling competitions and did not know what defeat was. For this reason, he was revered by our people, in particular, by the Khorezmians as "Polvon Pir". We know that Pahlavon Mahmud finished under the pseudonym "Kitali" and finished the masnavi "Kanz-ul-haqayiq". About 350 rubai of the poet have reached us. In his rubai, the doctrine of the attainment of truth by virtue of human qualities - the ideas of bravery - is glorified. These rubai, like other monuments of the Javanmardiyya sect, are melodies of purity of divine and human feelings.

In the beginning of Ahmad Azam's novel "Dream or a trip to Gulistan" It's enough if you want to. ” Although we observe a synthesis of the genres mentioned above in the play, we consider it to be a novel in terms of its artistic scale, the fact that the relationship between the individual and society covers a large period of time, and finally ideologically and philosophically. In addition, the work meets the requirements of some general and traditional dimensions used in the literary genre of the novel.

First of all, let's look at the question of what literary style this novel belongs to and what type of novel it belongs to. Camus writes in Rebellion and Style: “Reality and fantasy are integral parts of a whole. It is called the means by which the artist combines the elements he chooses from reality with the help of artistic language and fantasy, and ensures the perfection of the artistic world he creates. ” There are utopian and anti-utopian styles in literature, such as romanticism, realism, modernism, postmodernism, detective fiction, and fiction, which are variously referred to as school, direction, and even genre.

The Utopian trend entered the literature with Thomas More's 1516 useful and interesting Golden Book on the New Island and the Building of a High State. Utopia is the Greek word for "non-existent place." Dictionaries describe this trend as close to science fiction, and from the author's point of view, it is a depiction of a higher form of society, a work of fiction, an expression of unfulfilled dreams. A utopian work arises from the author's dissatisfaction with the state of society, its rules, and social relations in which he lives, and his desire to see them in an ideal way.

In the East, we see elements of utopian art in fairy tales and legends about a just king and a wise minister. In this sense, Abu Nasr al-Farabi's book The City of Noble People is a masterpiece in this direction.

In anti-utopian works, the interests of the individual and society are separated, and the individual's dreams and even fantasies are subjugated. It is free from the notion of spiritual freedom or individual thought, and is accustomed to accepting a tyrannical society and its attitudes as happiness. Interestingly, anti-utopian works, which appear as a parody of the utopian trend, also warn a person about himself, his environment, teach him to overcome fear, to think about the perfect person and society. “The world of a society in which anti-utopia is dominated by arbitrariness and oppression is revealed through the emotions of the person who has tried the laws of that society, the most important feature of anti-utopia is the conflict between the individual and totalitarian society. That's why the genre was banned in Soviet literature, "said M. Chernyak, a literary scholar.

Yevgeny Zamyatin's novel "Biz" is one of the most popular anti-utopian works in world literature. Written in Petrograd in 1920-1921, this work was published in 1988. At first glance, the plot of the novel looks like a fantastic adventure. The events take place in the distant XXVI century in a utopian country called the United States. Their goal was to conquer all the planets and bring the wild mathematical "happiness" of those who live in the wild. Citizens have been so deprived of their identities that they have no names, only numbers. People are scheduled by the hour, waking up at the same time, eating at the same time, and working at the same time. Epilepsy is a disease in which a person has a soul, heart, inspiration, and ideas about art, literature, science, love, and freedom.

In the life of the novel's protagonist D-503, a girl named 1-330 appears. The girl was a "conspirator" who wanted to break the Green Wall and unite all mankind. Feeling "in love", the D-503 moved into the girl's house. But those who betray and fall in love will be caught. D-503, who underwent surgery to lose his mind, is indifferent to the torture of his ex-girlfriend 1-330… Researchers have described the novel as a prediction of the future of socialist society. In fact, during the Soviet era, the person - "I" - was transformed into the "We", named after the novel, a gang, an imageless crowd. It is not difficult to see the image of the NKVD, the KGB in the Bureau of Guards. Glass houses are like prison barracks, numbered citizens are like Gulag prisoners, and the Green Wall is like an iron curtain separating Soviet citizens from the outside world.

In Uzbek literature, the issue of the individual and society is reflected in realistic, detective, historical, and adventure works, but it is not written in a purely anti-utopian style until the 21st century. Based on the rules described in the works of anti-utopian theorists and dictionaries, as well as the ideas, plot construction, and functions of the images promoted in the examples of anti-utopian works, Ahmad Azam's novel "Dream or Journey to Gulistan" can also be called a work written in an anti-utopian style. But there are some differences, of course. For example, in anti-utopian works, heroes who fight against the existing system are killed. In "Dream", the protagonist returns home. The second difference is that most of the anti-utopian works take place in the distant future, while in Roya bugungi today the protagonist moves to an imaginary country, but the time there is abstract. Prior to the novel "Dream or a trip to Gulistan", only Erkin Azam's story "The Land of the Applause or the Applause" had some features of the anti-utopian style. However, “The Land of the Applause or the Applause” has not been studied in terms of the elements of the anti-utopian work. Based on theoretical and practical research on the method of anti-utopia, I think that in the future there is a need to compare these two works of Ahmad Azam and Erkin Azam with the experience of world literature, especially with the novel "We" by Y. Zamyatin.

Every event, image, dialogue and image of the country in Ahmad Azam's novel can be interpreted and explained with the same comparisons as in "We".

Ahmad Azam's novel, "A Dream or a Journey to Gulistan," is based on the story of the country where the narrator-hero, who set out from Tashkent, involuntarily turned off the Jizzakh road, and the events of his visit. The name of the country Gulistan is derived from the word "gul" - chain. Therefore, "Neither the officer, nor the driver, nor the guards, large or small, are all chained. They are so accustomed that they cannot walk without it, and those who do not walk cannot imagine it." People don't have names, they call each other "Guli". Everyone sings the anthem "Guliya". They also put their children in chains as soon as they start walking. Not only every step of the people, but even their eyes are controlled by the secrets and the most modern visual aids for the benefit of the chain. He does not seem to be the ruler of the kingdom of slavery, but he and the chain are worshiped as if they worshiped God: “One day I asked Holdor Guli: - Who is the greatest? He pointed to a picture on the wall that I hadn't noticed as much as I had seen before. But the picture doesn't understand me, of course, it doesn't explain anything to me. Life in the country is built on strict discipline and lies. Newspapers and magazines, encyclopedias, which are constantly changing with the miracle of electronic paint, are enriched with lies that strengthen the faith in the chain. The Gulians' highest goal in growing apples is to increase the amount of iron in the body so that children can be born in chains. "Tomorrow, tomorrow, in the near future, such a model will be born and inspired in this direction." Citizens are told that those living in countries without chains are wild, animal-like creatures. Those who disagree will be given a maximum penalty, such as imprisonment.

Eventually, the protagonist reads a book found in his car to find out why he came to Gulistan, and his beliefs are shattered by the idea that he can live without chains. Speaking to the protagonist, Holdor Guli, the narrator-in-chief, says:

A significant part of our classical literature was engaged in the discovery of the mysticism, the spiritual key to the magic of fano (the time line from the moment Adam fell from the ground to the dawn). Confession of transgression is seen as an essential condition for attaining eternity. According to Pahlavon Mahmud, the symbol of the passing of time and the passing of time is the loss of people from each other. It is clear from the verses of our thinkers that the purpose of all human pains, sufferings and sufferings is to be happy. Not to be forgotten by others, to be remembered is the real happiness.

I smoked a lot, it was a pain, I was not happy,

It's a soul in my throat, they didn't remember, darling,

The burden of regret is on my shoulders,

Diydor will be ruined until the Day of Judgment.

With these fiery verses, the poet urges us, first of all, not to live without our land, but also not to despair if we do not have the happiness of the land. This rubai resounds in our hearts like a powerful call.

Hazrat Khoja Bahovuddin Naqshbandi has a beautiful saying, "Images are repeated in Images." Let's talk about the influence of Pahlavon Mahmud's rubai on the rubai of Muhammad Erniyozbek oglu Ogahi. showing humility as a person who is afflicted with vices.

Pahlavon Mahmud writes in a rubai:

Oh Lord! Don't force me,

Don't give my day to kings, don't beg.

By grace, my hair and beard turned white,

Don't make my face black anymore.

In a rubai in sync with this rubai, Ogahi writes:

My life is over, so be merciful, O Lord,

I have not had enough, O Lord,

The goal is reached, the mango is left,

His face was dark with a white beard, O Lord!

It should be noted that both of our poets have a common theme of repentance, which is that it is not easy for a person to repent of his actions, but no matter how difficult it is to achieve spiritual purity by smoking this riyadh. to emphasize the need for happiness.

Conclusion. It is clear that the image of the system in the imaginary country, the structure of the plots according to the essence, the author's idea is conveyed through exaggerated inhumane situations. The traditions of the anti-utopian style have been applied in terms of time, space, ideas, problems in the traditions of prose, motives, knots, conflicts, culminations, and the construction of solutions. But Ahmad Azam’s novel differs from the above in that the details of the imagery are given in the context of many stories to prove situations and ideas.

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