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1121105677
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Servi
ABSTRACT
This article is dedicated to exploring how the spiritual development of the lover and beloved is portrayed in the works
of Hafiz Khorezmi. Within the scope of this article, particular attention is given to the philosophical interpretation of
the concepts of lover and beloved in Hafiz Khorezmi's works, the idea of achieving spiritual elevation through love,
and its manifestation in his poetry collection (divan). Additionally, the article examines how the poet uniquely
expresses the concept of love within the context of national and universal cultural values in his divan.
KEYWORDS
Hafiz Khorezmi, lover, beloved, spiritual development, literature, didactic views, human emotion, philosophical
interpretation, spiritual elevation through love, education.
INTRODUCTION
In Eastern literature, the images of the lover and
beloved are depicted as symbolic concepts that
represent the profound spiritual world of an individual
and the processes of spiritual growth and elevation.
They do not merely symbolize physical love but also
reflect the inner experiences of a person, aspirations,
and the pursuit of truth. On this journey, the images of
the lover and beloved illustrate the spiritual guidance
of the human heart, leading to profound human
emotions and spiritual elevation through love. This
Research Article
SPIRITUAL PERFECTION OF THE LOVER AND BELOVED (IN THE WORKS
OF HAFIZ KHOREZMI)
Submission Date:
November 20, 2024,
Accepted Date:
November 25, 2024,
Published Date:
November 30, 2024
Crossref doi:
https://doi.org/10.37547/ajsshr/Volume04Issue11-27
Kurbanova Shukurjon Yeldashbayevna
Independent researcher at Urgench State Pedagogical Institute, Uzbekistan
Journal
Website:
https://theusajournals.
com/index.php/ajsshr
Copyright:
Original
content from this work
may be used under the
terms of the creative
commons
attributes
4.0 licence.
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interpretation has been widely highlighted in the
works of Eastern thinkers and poets, and Hafiz
Khorezmi's works also have a deep philosophical
perspective on this theme. Specifically, Hafiz Khorezmi
enriched the theme of love and devotion with
profound psychological analyses, depicting it as a
foundation for spiritual elevation in a unique manner.
In the artistic style of the poet, the theme of love is
permeated with purity, the pursuit of truth, and noble
human emotions. Hafiz Khorezmi portrayed the
spiritual elevation of a person through love, striving to
elevate the image of the lover to the highest level of
human spirituality. In this regard, the images of the
lover and beloved in his divan not only symbolize
physical love but also the pursuit of self-awareness,
perfection, and spiritual purity.
According to the traditional approach of Eastern
literature, the "lover" represents the most profound
and elevated expression of human emotions. The lover
is a person who, in their devotion to love, reaches the
point of losing themselves, seeking spiritual
purification and growth. The lover is ready to
overcome all difficulties, sorrows, and griefs in their
pat
h of love. The lover’s love is not driven by physical
or material desires but is founded on pure and sincere
feelings. The lover yearns not only for the beloved but
also for true spiritual purity and perfection. In Hafiz
Khorezmi's works, the image of the lover is depicted as
the supreme symbol of love and spiritual striving in the
human heart.
The beloved, as depicted in the divan, serves as a
spiritual support to the lover, guiding them as a noble
ideal. The beloved is not just an object of love but also
the ultimate goal and aspiration that the lover sets for
themselves. The beloved is portrayed as a figure who
inspires the lover in their quest for truth, spiritual
purification, and moral perfection. Hafiz Khorezmi’s
depiction of the beloved symbolizes beauty, purity,
and truth, playing a crucial role in the spiritual
development of the individual. In Eastern literature,
the beloved has always been depicted as an
embodiment of beauty, wisdom, and uniqueness, not
only in Hafiz Khorezmi's works but also in those of
Alisher Navoi. In the East, the beloved woman
represents a sacred and divine image.
Spiritual Development
Spiritual development is the attainment of a high level
of spirituality through self-awareness, spiritual
purification, and the pursuit of truth. In Eastern
literature and philosophy, spiritual development forms
a significant aspect of human life, leading to true
happiness and fulfillment. The lover undergoing this
process enriches their inner world through love,
achieving self-awareness and purification. Spiritual
development not only concerns the individual’s
personal growth but also determines their place in
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society and universal values. In Hafiz Khorezmi’s
works, spiritual development is depicted as the lover’s
ultimate goal achieved through love, providing the
lover with greater strength and spiritual elevation.
Hafiz Khorezmi used love to portray human spiritual
progress, creating the images of the lover and beloved
as symbols of human excellence and spiritual
perfection. In his works, love is not confined to a single
individual but is accepted as the highest value that
leads to profound spiritual growth. Therefore, this
article provides a detailed analysis of Hafiz Khorezmi's
views on love and spiritual development, the methods
used to express these ideas, and the significance of
these concepts in the context of Eastern literature.
This study enhances the appreciation of Hafiz
Khorezmi’s position in his time and in modern cultural
life, as well as the value of his creative legacy.
METHODOLOGY
This article employs various research methods, such as
synthesis, induction, deduction, and abstract thinking,
to study how the philosophy of love in Eastern
literature is reflected in Hafiz Khorezmi's didactic
views, the relationship between love and the
formation of patience and loyalty, and the depiction of
love leading to spiritual development and moral
purification in Hafiz Khorezmi's divan.
In the history of Eastern literature, the works of poets
such as Nizami Ganjavi (1141-1202), Jalaluddin Rumi
(1207-1273), Mawlana Lutfi (1366-1465), Hafiz Khorezmi
(late 14th century - 1430s), Sakkaki (late 14th century -
early 15th century), Gadoi (1403 - late 15th century),
Abdurrahman Jami (1414-1492), Alisher Navoi (1441-
1501), and many others hold a special place not only as
literary sources but also as an integral part of spiritual
and educational heritage. The images of the lover and
beloved expressed through their didactic approaches
serve to illuminate every facet of life and the noble
spiritual states of the human heart. Therefore, studying
this poetic heritage is not only of historical and literary
significance but also holds scientific and pedagogical
value. Indeed, "Studying the works of Eastern thinkers,
analyzing their writings, and examining their views on
education and upbringing from a pedagogical
perspective is of significant practical importance."[5]
Moreover, the scientific studies conducted by both
foreign and Uzbek scholars on the cultural life of the
medieval Eastern world deserve special mention.
Researchers such as A. Schimmel[6], B. Mirsaidov[7], I.
Ibrahimova[8], J. Trimingham[9], K. Kodirov[10], R.
Toparli[11],
V.
Bartold[12],
I.
Salimov[3],
M.
Sulaymonov[1], N. Sabirov[2], S. Hasanov[13], S.
Nishonova[14], Z. Jalilov[5], and others have allowed
us to gain insights into the lives and works of the
scholars and writers of this period, as well as the motifs
of spiritual elevation presented in their works.
Furthermore, Turkish scholar R. Toparli [15] and Uzbek
scholar M. Sulaymonov [16] have highlighted the
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philosophy of "lover and beloved" in Hafiz Khorezmi's
divan, along with its educational significance, through
their scientific articles. Notably, from a didactic
perspective, Hafiz Khorezmi's poetry portrays the
lover's aspiration towards spiritual maturity and the
attainment of perfection through trials and challenges
as a practical example of the principles of education
and training. These aspects play a vital role in educating
younger generations, providing them with valuable life
lessons and instilling human virtues. Therefore, the
spiritual development of the lover and beloved, as
reflected in Hafiz Khorezmi's works, should be studied
within a didactic approach, in harmony with the
heritage of medieval poets.
In the history of classical Eastern literature, the theme
of "Lover and Beloved" holds a special place. This
theme is primarily aimed at portraying the spiritual and
moral elevation of a person through love and loyalty.
Below, we focus on some important examples of these
characters and their features:
Layla and Majnun (Nizami, Alisher Navoi)
Nizami Ganjavi's poem "Layla and Majnun" depicts the
highest level of love, the purification of the human
heart, and self-sacrifice. Majnun's love leads him from
worldly life to spiritual elevation. This poem also served
as an inspiration for Alisher Navoi's work "Majnun and
Layla." In Navoi's interpretation, Majnun becomes a
symbolic hero who, through love, guides a person
towards divine love.
Farhad and Shirin (Nizami, Alisher Navoi)
In this poem, Farhad's love for Shirin symbolizes his
achievement of the highest goal through spiritual and
physical effort. Farhad's labor and dedication depict
how one must overcome trials in pursuit of a true goal.
In Navoi's interpretation, mystical elements are
emphasized, portraying the highest levels of love as a
means of recognizing divine love.
Khosrow and Shirin (Nizami, Qutb Khorezmi)
The love story between Khosrow and Shirin portrays
human devotion and moral values at a high level.
Shirin’s de
termination and commitment to her goal
serve as a source of inspiration for modern readers.
Yusuf and Zulaikha (Abdurrahman Jami, Alisher Navoi)
The love story between Yusuf and Zulaikha is enriched
with mystical symbols. Yusuf’s beauty symbolizes the
beauty of God, while Zulaikha represents the desire in
the human heart to understand it. In this work, love is
portrayed as a means of spiritual purification and
enlightenment of the human heart.
Lover and Beloved" Characters (Hafiz Khorezmi)
In Hafiz Khorezmi's divan, the characters of the "Lover
and Beloved" are depicted not under specific names
but as travelers on the path towards spiritual
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purification, moral elevation, and the attainment of
higher goals. On one hand, they symbolize worldly love
(literal meaning), representing the mutual love
between the lover and beloved, as well as the purity of
human relationships.
RESULTS
In Hafiz Khorezmi's divan, as in the works of other
prominent medieval Eastern scholars and thinkers
renowned in the world of mysticism and literature, the
relationships between the lover and beloved are used
to develop complex philosophical and didactic
perspectives on the spiritual elevation of the individual.
The verses included in the divan revolve around
beautiful love, often taking on diverse and sometimes
novel meanings, which effectively express and elevate
the artistic and didactic value of the "lover and
beloved" characters. The poet harmonizes love with
the natural order and the moral values of society,
presenti
ng it as the basis of the universe’s creation, the
meaning of human life, a measure of the value of
goodness and beauty, and a natural feeling that
develops inherently.
To jamolingni jahonda oshkoro qildilar,
Jumla olamni sanga jon birla shaydo qildilar.
G
‘ayb xurshidindin o‘zga yo‘q erdi yeru bor,
Ishq anvori bila zarrot paydo qildilar.
Ishq sori ko‘runur majmu’ mavjudotda,
Ishqni qudrat bila ma’no
-
yi ash’yo qildilar,
Ishqning zoti jahon ko‘zinga ko‘runsun teyu,
Odamu Havoyu olamni huvaydo qildilar.
Ishq o
‘shul sulton ko‘runurkim maloyik dam
-badam,
Xok-
i dargohi bo‘layim teb tamanno qildilar.
Lutf bila berdilar biz qullara jonlar ravon,
Ne jihatdin ber yana jon teb taqozo qildilar.
Goh javr ayladilar jonlarg‘ayu gohi vafo,
Har nekim qildilar ersa, jumla zebo qildilar.
Dard erur asl darmon teyu har darmondag‘a,
Dard-i jonparvar bila turlu mudovo qildilar.
Dom-i dunyo ichra Hofiz topmadi orom-i jon,
To sar-
i zulfinda jonlar jumla ma’vo qildilar. [18]
In Hafiz Khorezmi's divan, the love between the lover
and the beloved represents not only a worldly feeling
but also the progression through spiritual stages on
the path to attaining divine love. A general analysis of
the information provided in Hafiz Khorezmi's two-
volume collection of Uzbek and Tajik poems, published
in 1981, as well as our preliminary research, has allowed
us to develop a description of the key stages and levels
of spiritual development depicted in the divan
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concerning the lover and the beloved's spiritual
maturation. (Figure 1)
Figure 1. Description of the Key Stages and Levels of Spiritual
Development of the Lover and the Beloved in Hafiz Khorezmi's
Divan
Based on our analysis, it seems appropriate to describe
the stages and levels of the spiritual development of
the lover and the beloved as depicted in Hafiz
Khorezmi's divan as follows:
1.
The Awakening of the Lover (Primitive Love)
At this stage, the lover falls in love with the beloved
primarily due to their external beauty. The first
emotions begin to awaken in the lover's heart. The
lover becomes captivated by the beloved’s outer
beauty, perceiving them as a perfect being. For the
lover, this love brings a new meaning to life and marks
the beginning of the heart's initial purification. This
love, while still in its early form, is sincere and pure. At
this stage, the first emotions take root in the hearts of
both the lover and the beloved, initiating changes in
their souls. According to Hafiz Khorezmi’s approach,
this stage serves as preparation for the purification of
the human heart and the search for inner meaning.
The initial stage of "primitive love" is crucial for setting
the foundation for the lover's journey toward spiritual
awakening and development. It reflects the innocence
and raw beauty of the first love, which is, in essence, an
Fano and Vasl
(Divine Union)
The Harmonization of
the Lover and the
Beloved (Pure Love)
Renunciation of Carnal Love
(Spiritual Awakening)
The Awakening of the Lover (Primitive Love)
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essential beginning that eventually leads to deeper
emotional and spiritual growth.
Shukr lillohkim, o‘shul jonu jahonni ko‘rdum,
Qarshuda ma’no bila suvrat
-
i jonni ko‘rdum.
Ko‘nglum oldurub elimdin yurur erdim nogah,
Kim o‘shul jon tilagi, ko‘nglum olonna ko‘rdum. [19]
2.
Renunciation of Carnal Love (Spiritual
Awakening)
In this stage, the lover deeply analyzes their emotions
and begins to be interested not only in the external
beauty of the beloved but also in their inner essence.
The transition from carnal love to spiritual love
symbolizes a shift towards selflessness, humility, and
devotion in the pursuit of true love. This stage involves
striving towards the goal of attaining a higher purpose
through patience and resilience.
By renouncing carnal love, the lover reaches toward a
higher level of spiritual elevation. This step is
characterized by letting go of superficial attachments
and finding deeper meaning in the beloved's internal
qualities. It signifies the lover's aspiration to progress
beyond worldly desires, focusing instead on
understanding the beloved's true essence and
connecting with them on a spiritual level. This
renunciation becomes a gateway to spiritual
awakening, where the lover transforms their love into
a tool for personal growth and inner enlightenment.
Ishq-i boqiy birla foniydin kecha bilsang tamom,
Ko‘rgasan
ul hol ichinda qatra-yi daryo-yi ishq.
Gar sarafroz-
i jahon bo‘lmoq tilar bo‘lsang mudom,
Jon bila bo‘lg‘il bu yo‘lning ichra xok
-i po-yi ishq. [18]
3.
The Harmonization of the Lover and the
Beloved (Pure Love)
At this stage, the lover begins to perceive the beloved
as part of a divine truth. The lover no longer follows the
beloved for personal gain but follows them sincerely
and with pure love. Through love, the lover starts to
feel the divine truth. The lover's love elevates beyond
worldly goals and becomes oriented toward a divine
purpose.
This harmonization represents the transformation of
the lover's devotion into a deep, selfless connection
with the beloved, reflecting a higher level of spiritual
maturity. The lover's love for the beloved now
transcends all material and selfish desires, focusing
entirely on the spiritual essence and the pursuit of a
higher, divine reality. The lover and the beloved unite
in a profound way, emdiving the essence of pure,
unconditional love that seeks fulfillment in something
greater than the self.
Ma’shuq birla oshiq agar pok borsalar,
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Nozu niyoz ikkisini sohib-i kamol etar.
Jon toza qildi, Hofiz, o‘shaning shakkar labi,
Chun ruh-i toza har nafas ob-i zulol etar. [18]
4.
Fano and Vasl (Divine Union)
At this stage, the lover loses their own identity and
merges completely with the beloved. This is the
highest level attained
—
union with the divine truth.
The lover and the beloved become one whole,
meaning the lover finds spiritual fulfillment through
the beloved. Symbolically, this represents the soul's
ultimate attainment of perfection, transcending
worldly limitations to achieve eternal divine unity.
The concept of "Fano" signifies the annihilation of the
ego, where the lover's self is dissolved entirely in the
beloved. This profound surrender represents the
ultimate devotion, where there is no distinction left
between the lover and the beloved. In reaching "Vasl,"
or union, the lover experiences the divine presence
directly, emdiving complete oneness. This union
goes beyond physical and emotional connection; it is a
mystical merging that symbolizes the soul's realization
of its true, divine nature, representing the fulfillment of
the spiritual journey toward the eternal truth.
Fan
o yo‘ling‘a qachon ishq ila qadam bossang,
Falakni xoksifat anda rom ko‘rgaysan. [19]
⸺⸺⸺
⸺⸺⸺
⸺⸺⸺
Muhabbat mulkina kim bo‘lsa vosil,
Bo‘lur ul ma’no ichra pir
-i komil. [19]
In Hafiz Khorezmi's divan, the lover and the beloved
stand out uniquely with their divine purpose,
worldview, character traits, actions, inner reflections,
and aspirations. The divine purpose here represents
spiritual perfection, which, throughout the divan, is
conveyed through artistic interpretations, various
symbols, and colorful metaphors. For instance, within
the main theme, the concept of the "lover" is
illuminated in multiple dimensions, all leading toward a
singular goal. This diversity in the development of the
storyline on the path to spiritual perfection allows for
the exploration of the "lover" character in different
forms and groups.
Initially, Hafiz hints at the lover enchanted by the
beauty of the beloved. Beneath the image of a
courageous, heroic man captivated by the beloved's
beauty, Hafiz reveals a humble, loyal, and genuinely
compassionate human being. Such approaches can be
found frequently in the history of Eastern literature
and pedagogy. For instance, we can point to Sayfi
Sarayi’s approach: "...For the lover, there is only one
great being in the world, and that is the beloved. In
their eyes, no one else can compare to the beloved."
[20] Additionally, in the divan, the issue of divine love
encompasses both the image of the lover and the
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personal embodiment of Hafiz Khorezmi as the lover.
Similar ideas apply to the image of the beloved as well.
In the verses, the different interpretations and symbols
related to the beloved give her a prominent role,
portraying her as a figure with high moral qualities that
gradually transforms into a divine image within the
framework of religious-philosophical concepts. The
"beloved" in divine love represents the highest form of
activity and holds the unique phenomenon of "spiritual
perfection" in the storyline of the divan. In this sense,
the beloved becomes a leading character with both
divine and human qualities. Such an approach is also
found in the works of Kokand literary figures such as
poets Uvaysiy [21] and Nodira [22].
The beloved who appears before the lover embodies
both beauty and modesty, and this harmony is
perceived as both rational and emotional unity,
forming the foundation of th
e poet’s approach toward
spiritual perfection. Indeed, the main character in the
divan is not portrayed unambiguously but rather in a
multifaceted manner, which we believe is primarily
connected to the distinctive status of "spiritual
perfection" inherent in Hafiz Khorezmi's lyrical and
didactic approach. The idealized beloved in Hafiz's
divan becomes a source of inspiration for the
storyline's progression toward spiritual perfection. In
essence, Hafiz uses the harmony of form and meaning
to guide his readers toward spiritual elevation.
Every verse penned by Hafiz Khorezmi is aimed at
uplifting the spiritual world of individuals. These
approaches convey not only lyrical beauty but also life
and spiritual wisdom. Let us consider an example of a
ghazal that transcends time and space, resonating
deeply within the heart of every reader:
Angakim mulk-i jon ichra shahanshohiy musallamdur,
Yuzindin guliston-i ayshimiz payvasta xurramdur.
Kishikim kunji uzlat ichra ganj-
i ma’naviy topdi,
Ko‘runur suvrati darvesh, lek
in shoh-i olamdur.
Agar shoh-
i zamon bo‘lmoq tilasang odam o‘g‘li bo‘l,
Chu majmu’
-i jahonning ichra barhaq shoh Odamdur.
Hamisha do‘stlar birla musohib bo‘lsun ul shohim,
Bihisht-i Adan chunkim suhbat-n yoron-i hamdamdur.
Ko‘ngul jam’iyate izdar, vale and
in yiroq erur,
Parishon zulfi ayominda chun osuda dil kamdur.
Agar tan bo‘lmasa qayg‘u emas bo‘lsun baqo
-yi jon,
Xarob o‘lsa jahon, ne g‘am, bino
-yi ishq muhkamdur.
Tilagil ma’novu suvratg‘a oncha boqma, Hofizkim,
Erur ma’no muhitu ushbu olam qatra shabnam
dur. [18]
In the above ghazal, Hafiz Khorezmi deeply illuminates
spiritual and philosophical topics. He calls humanity
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towards inner purity, true friendship, and spiritual
stability. Especially, the transient nature of life and
love, the supremacy of the spirit, and understanding
the essence of the outer and inner worlds reveal the
didactic style of Hafiz Khorezmi.
In particular, the main topic that stands out in the
aforementioned ghazal is the importance of spiritual
development and its connection to attaining divine
wholeness. Each verse calls upon the reader to find
balance between worldly and spiritual life and to
comprehend the essences of the physical and spiritual
worlds.
1.
The Concept of Spiritual Sovereignty
. In the
first verse, the phrase "mulk-i jon ichra shahanshohiy"
indicates the greatness of the human spirit and its
attainment of a sovereign state through spiritual
exaltation. Here, "sovereignty" is used symbolically,
depicting the purity and divinity of the human heart
and inner world.
2.
Spiritual Treasure (Ganj-i ma'naviy)
. The
second verse emphasizes that one achieves spiritual
wealth through solitude and seclusion. This aspect
enhances the didactic nature of the ghazal, conveying
to the reader that true wealth is not material but
spiritual.
3.
The Philosophy of Humanity and Sovereignty
.
The idea of attaining sovereignty by being "the son of
Adam" leads humanity towards excellence. In this
context, sovereignty is not about worldly status but is
associated with loyalty to humanity, justice, and higher
values.
4.
The Importance of Conversation and
Friendship
. Hafiz Khorezmi equates "being in the
company of friends" with spiritual peace and the joy of
paradise. Here, friendship and sincere conversation are
depicted as essential for the happiness of the human
heart.
5.
The Philosophy of Love and Permanence
. The
phrase "Ishq bino-yi" indicates that love is eternal and
immortal. While the physical world is transient, the
steadfastness of love remains, even if the world no
longer exists. This idea is interpreted as a spiritual
truth.
Hafiz Khorezmi's ghazal holds significant didactic
value,
revealing
the
concept
of
"spiritual
development" typical of the poet, reflecting a portion
of our national values and moral principles. Such
didactic and philosophical approaches are among the
highest examples of Uzbek poetry, playing an
important role in shaping spirituality and enriching the
human soul.
CONCLUSION
In Hafiz Khorezmi's divan, love transcends the bounds
of physical passion, becoming a means to reach higher
divine truth. His ghazals occupy a special place as
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profound didactic and philosophical works that call for
human spiritual development, inner purity, and
understanding the divine essence of life. Hafiz
Khorezmi portrays love as the central meaning of life,
a divine force that elevates and purifies humanity,
showing it as the main criterion for achieving human
and spiritual perfection. The fleeting nature of the
world and the eternity of love are the central themes
of the ghazals, urging humans to abandon transient
worldly interests and strive for moral and spiritual
growth. Through the concepts of "fana" (annihilation)
and "baqa" (eternity), Hafiz Khorezmi reveals Sufi
philosophy in artistic images, urging people to
overcome their selfish desires, pursue inner purity, and
strive for perfection. The role of pure and sincere
relationships between the lover and beloved in
achieving spiritual perfection, as well as the
glorification of friendship and love, align with national
values and ethical principles.
The lover's character evolves as a person enriches their
spiritual nature, striving for truth and progressing
through stages of self-realization. The beloved, on the
other hand, is depicted as a high ideal that inspires a
person towards this noble goal, serving as a source of
spiritual inspiration and motivation. This approach
remains relevant not only to classical Eastern literature
but also to the spirituality of today's world. Hafiz
Khorezmi’s depiction of love unveils the deep layers of
the human heart. He does not limit the concepts of
lover and beloved to personal relationships but
describes them as forces guiding towards divine
purpose and ultimate truth. This understanding
encompasses philosophical ideas of self-awareness
and spiritual purification.
Hafiz Khorezmi's didactic poems demonstrate the
pedagogical significance of love and the process of
spiritual growth. His works serve as an essential
resource in instilling qualities such as patience,
resilience, and loyalty in the younger generation. The
poet, through a Sufi approach, depicts the process of
understanding divine truth through love. The main
concepts of Sufism, including "truth" in its dual form as
self-awareness and unity with eternal truth, are
expressed in some lines of Hafiz Khorezmi's divan.
The modern relevance of studying "spiritual
perfection" in Hafiz Khorezmi’s work:
•
The exploration of love and spiritual growth in
the poet's works needs to be studied regarding their
contribution to modern youth education and moral
development. This approach can be widely applied in
contemporary education.
•
The depiction of the lover and beloved in Hafiz
Khorezmi's works could serve as an important tool in
teaching literature and philosophy in schools and
higher educational institutions, promoting the
concepts of humanity and spiritual development
among young people.
Volume 04 Issue 11-2024
215
American Journal Of Social Sciences And Humanity Research
(ISSN
–
2771-2141)
VOLUME
04
ISSUE
11
P
AGES
:
204-216
OCLC
–
1121105677
Publisher:
Oscar Publishing Services
Servi
Hafiz Khorezmi's work, rich in universal ideas such as
purifying the heart, striving for spiritual perfection, and
understanding the spiritual world through love,
provides invaluable life lessons for today's reader as
well. The poet's didactic approach serves not only
personal perfection but also spiritual harmony in
society. We believe that Hafiz Khorezmi's divan is a
great example of Uzbek poetry, and it is necessary to
comprehensively study it as a valuable source in
glorifying national values and addressing issues of
spiritual education.
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