The mystical essence of the Saqi in Fuzuli's “Leyli and Medjnun” masnavi
J.S. Shukurova
The Actual Problems of study of humanities October 6, 2026 DOI: 10.62021/0026-0028.2026.3.269 (opens in new tab)
Study at a glance
AI-extracted from the abstract| Characteristics | Historical analysis Peer reviewed |
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| Key points | Argues that saqinamahs are symbolic works through which poets expressed views on the world, humanity, and God, with complaints about the transience of the world and the unjust rotation of fate at the forefront. Contends that M. Fuzuli brought the genre to its peak, serving as a spiritual guide (murshid) who urged renunciation of material pleasures, and that in Layla and Majnun he addresses the saqi as an emotional sanctuary from personal grief and worldly oppression. |
Abstract
Saqinamahs in Eastern literature are not merely works of art limited to the descripition of a gathering. They represent an artistic symbol that embodies a much broader and deeper meaning. For centuries, these concepts served as a tool for poets to express their thoughts about the world, humanity, and God. In saqinamahs, which possess an unalterable storyline, complaintsabout the transience of thr world and the unjust rotation of fate stand at the forefront. M. Fuzuli raised this long-evolving genre to its absolute peak. The master artist acted as a spiritual guide (murshid), helpingindividuals look into their inner worlds, urging them to renounce the fleeting bpleasures of the material world, and Layla and Majnun, Fuzuli addressed the saqi (cuobearer) as an emotional sanctuary to escape personal grief and worldly oppression. Keywords: saki, symbol, qrief, wine, mstisizm, tavern