American Journal Of Philological Sciences
251
https://theusajournals.com/index.php/ajps
VOLUME
Vol.05 Issue05 2025
PAGE NO.
251-254
10.37547/ajps/Volume05Issue05-68
Lexicon of Dialects Found in The Works of Ismailkhan
Faqiri
Yakubova Safiya Khamdamovna
Pedagogy and language teaching, Assistant of the Department of Methodology, Urgut branch of the Samarkand State, University named
after Sharof Rashidov, Uzbekistan
Received:
26 March 2025;
Accepted:
22 April 2025;
Published:
24 May 2025
Abstract:
The article also touches upon the controversial issue of using the term dialectism in relation to words
included in the lexical fund of classical sources. Ismailkhan Fakiri is one of the greatest representatives of Uzbek
literature, in whose works the wealth of oral folklore is presented through artistic language. In the linguistic
analysis of Fakiri's works, his unique lexical capabilities and linguistic features characteristic of the Kashkadarya
region are of particular importance. The article examines the vocabulary of Ismailkhan Fakiri's works, as well as
the relationship and analysis of the historical dialects of Kashkadarya.
Keywords:
Classical source, historical working language, vocabulary, dialectal vocabulary, dialectalism, hadzhr,
hijr, mendey, kashka payola, khidr, kyykir, guffash, criteria of dialectalism.
Introduction:
The relationship between the linguistic
features of classical texts and modern Uzbek dialects is
an extremely complex problem that can be answered
by a number of complex questions. In this regard, we
are faced with a number of problematic aspects. For
example, if a word used in the works of Alisher Navoi is
present in the lexicon of modern Uzbek dialects, then
in Navoi’s works these units were usually presented as
dialectisms. In fact, several questions need to be
considered here: firstly, when comparing the classical
language of the text and modern Uzbek dialects, what
can be considered their common criterion? For
example, in the works of Alisher Navoi, and in general
in the works of another representative of our classical
literature, it is incorrect to consider the activity of the
declension forms -
г‘a//
-qa, -
г‘ǝ//
-
qǝ as an element of
the Kipchak dialect.[11, p. 67]. Secondly, linguistic
materials related to different stages of language
development are not considered on the basis of the
same criteria. Thirdly, in any case, although it is
impossible to give an exact conclusion about what this
or that dialect was like at the time when the classical
texts were created, it is obvious that their phonetics,
vocabulary and grammar were not in the form in which
we are trying to compare them, that is, in the form in
which they exist today. Therefore, it is completely
unfounded to claim that the phonetic, lexical and
grammatical elements of the classical text exist in
modern dialects, and to evaluate these elements in the
classical text as dialectisms. Therefore, at this stage, we
can only talk about one thing - the relationship
(correlation) of the language of the classical text to the
dialect or adverb. The reason for the difficulty in
reflecting on the issue of dialectal units in such works
written in the Old Uzbek language is the lack of the
ability to compare such units as words, suffixes and
phrases, which are considered dialectal elements, with
the dialects used at that time. Therefore, in works
written in the Old Uzbek language, especially those
created after the 16th century, or more precisely, after
the period when the language of Alisher Navoi's works
began to serve as a literary standard, only those units
that are not found in other works created in the Old
Uzbek language (works created in other regions) and
which are still used in the dialects of the same region
can be assessed as dialect elements. A certain stage of
language development also plays a major role in
determining dialectality. For example, although the use
of the declension in the form -a // -
ǝ is considered a
American Journal Of Philological Sciences
252
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American Journal Of Philological Sciences (ISSN
–
2771-2273)
morphological dialectism from the point of view of the
current literary language, in the Old Uzbek language it
was created in different periods and regions. [6, p. 53].
We can find similar historical forms in other classical
artists. We see this in the works of Babur, Mashrab,
Turdi Farogi, Ismailkhan Fakiri, a native of Kashkadarya.
For example, in the works of the king, poet and writer
Babur (“The hair trade has fallen, and you have
returned again”), Mashrab (“The lo
ve trade has fallen,
and you have returned again”), and Turdi Farogi we can
find the following form. Considering that it is also used
in the language of his works (“This old porch does not
give anyone peace”), it is appropriate not to evaluate it
as a dialectism, but rather to consider it as one of the
passive forms of the departure declension in the old
Uzbek language. We can also find elements of historical
classical vocabulary in the same form in the works of
Ismailkhan Fakiri. In his literary works, Ismailkhan Fakiri
not only used traditional. He made extensive use of
literary styles and elements of folk oral literature. His
works reflect the artistic potential of language and the
diversity of folk speech.
Fakiri's vocabulary, in particular, is shown as an
expression of personal and social aspects and has many
dialectal and colloquial features typical of the language
of his time. In his works, Fakiri makes extensive use of
folk expressions, proverbs, legends and interesting
phrases. With their help, he describes the language,
psyche and social status of the characters in his works.
The artistic imagery and lexical elements of Fakiri's
language enliven his works and bring them closer to the
reader. His language contains elements of folk oral
literature, especially his own folk idioms, dialectal
differences and dialects characteristic of the
Kashkadarya region. [10, 65 p.]. The Kashkadarya
region is one of the regions of great strategic and
cultural significance in the history of Central Asia. The
people speaking this region are known for their rich
linguistic features. The Kashkadarya dialects have
unique phonetic and lexical characteristics that
distinguish them from other Uzbek dialects of that
time. The specific features of the Kashkadarya language
and its historical forms are largely associated with
traditions, cultural changes and historical processes.
The preservation of archaic and some elements in the
dialects of the Kashkadarya region, as well as the
preservation of dialect-specific forms in colloquial
speech is of particular importance to linguists. These
elements are manifested mainly through phonetic
changes, differences in the meaning of words and
grammatical structure. For example, when studying the
Kashkadarya dialect, one can encounter many archaic
forms, words and phrases that have remained since
ancient times. Among them, a special place is occupied
by some dialectal differences, specific forms of word
usage, as well as phonetic features.
The connections of the vocabulary of the works of
Ismailkhan Fakiri with the historical dialects of
Kashkadarya demonstrate the richness and originality
of his artistic creativity. Fakiri successfully used the
diversity of the folk language and dialects typical of the
Kashkadarya region in his works. His works are
important not only for literary studies, but also for
linguistic research. It would not be a mistake to say that
an in-depth analysis of the Fakiri language and the
study of the dialects of Kashkadarya will make a greater
contribution to the development of Uzbek literature
and language. The connections between the
vocabulary of Ismailkhan Fakiri’s works and the
historical dialects of Kashkadarya demonstrate the
richness and originality of his artistic creativity. Fakiri
successfully used the diversity of the folk language and
dialects typical of the Kashkadarya region in his works.
[14, p. 120]. His works are important not only for
literary studies, but also for linguistic research. An in-
depth analysis of the Fakiri language and the study of
the dialects of Kashkadarya will make a greater
contribution to the development of Uzbek literature
and language. The reflection of the Kashkadarya dialect
in the ghazals of Ismailkhan Fakiri has a special linguistic
and artistic significance. The ghazals contain many
dialectal elements that reflect the uniqueness of the
language and national spirit. Some words and phrases
from the ghazals given demonstrate lexical and
phonetic features characteristic of the Kashkadarya
region. Let us analyze the words in these ghazals that
reflect the Kashkadarya dialect:
I am so fortunate, I am so grateful that I have had to
drink from the same cup as the poor.
Is there in heaven the richest homeland in the world, O
Lord, for I am a poor man [16, 105b.].
Let us see how the word "Kashka payola" is expressed
in this verse. This expression means "to drink from a
cup" or "to drink", but in the Qashqadaryo dialect the
word "qashqa" is more often used. The word "kashka"
here means to drink from a "cup" or "vessel". This
word, which comes from the dialect, is widely used only
in the Qashqadaryo region.
From night until dawn, my work screams and screams,
I do not know when I will become a worshiper of the
world of poverty. [16, p. 97]. In this verse, we will
consider the expression "He screams". This expression
means "he leaves screaming". The word "krik" has a
pronunciation more common in the Qashqadaryo
dialect, reflecting this dialect. The verb "to go" is also
used in a unique way. These words are a form of verb
forms in the Qashqadaryo dialect.
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American Journal Of Philological Sciences (ISSN
–
2771-2273)
Longing and sadness pierce my soul every day,
Don't let me fall into the trap of poverty. [1, p. 58].
"Don't be like me, trapped in poverty." In this sentence,
the word "mendey" is characteristic of the
Qashqadaryo dialect and means "like me." At the same
time, we have scientific evidence that the verb -day can
also be expressed as a prepositional or adverbial
auxiliary. It served as a metaphorical complement to
the gazelle. We can see the expression of the suffix -day
in the form -dey. In addition, the use of the word "trap"
in the meaning of "trap" reflects the dialect. This word
demonstrates a folk and simple vocabulary. The
reflection of the Qashqadaryo dialect in the ghazals of
Ismailkhan Fakiri makes his works very unique and
interesting. The words and phrases he uses, especially
such lexical features as “qashqa”, “kyqırıb ketar”,
“mendey”, “g'uffosh” and “sog'inch”, enhance their
artistic impact and reflect the dialect beautifully. These
words also indicate that Fakiri’s ghazals originated fro
m
oral folklore. Their use demonstrates the liveliness and
sincerity of the language, as well as its unique forms.
Ismailkhan Fakiri’s ghazals contain many historical and
ancient words. Below we will list some historical words
and their formation forms fro
m Fakiri’s ghazals: The
word “bakht” and its formation: In fact, the Arabic word
“bakht” is used in the Uzbek language to mean “good,
luck, happiness”. The original form of this word is
Arabic "bakhṭ" (
تخب
), which means "luck" or "fortune".
The word "Behora" is derived from the Arabic word
"bichara" (
ه َراَچَب
), which means "in need of help" or
"afflicted with evil". This word in modern Uzbek means
"a stranger left to his own devices, needing only help".
Formation of the verb "qiyqir": Uzbek is derived from
the Arabic word "qiyqir" (
رقيق
), which originally meant
"to moan loudly" or "to scream in excitement".
Formation of the word "khidr": The word "khidr" is
derived from the Arabic word "al-khidr" (
رضخلا
), which
means "green" or "long-lived". Khidr is also known as
one of the ancestors in Islam, a long-lived and
enlightened being. The word "Hajr" is a word that is
often used in a lingua-poetic sense in classical literature
and is formed as follows: The word "Hajr" comes from
the Arabic word "Hijr" (
رجه
), which means
"separation". In Islamic history, this word refers to the
migration of our Prophet Muhammad (peace be upon
him) to Mecca and Medina. In the ghazal, this word is
used in the meaning of "separation, farewell" or
"sorrow". The lexeme Fakir is also one of the words that
is very actively used in classical poetry, and we can see
how it is formed as follows: The word "Fakir" comes
from the Arabic word "faqīr" (
ريِقَف
), which means "poor,
needy". The Uzbek form of this word is also used in the
meaning of "poor, needy". The abstract noun "gam" is
often used in fiction to describe the character of a
lover, and historically it looked like this. The word
"gam" comes from the Arabic word "gamm" (
مغ
), which
means "sorrow, grief and sorrow". This word is used in
the Uzbek language in the form "gam" and means
sadness, grief. The word "Guffash" comes from the
Arabic word "ghufran" (
نارفغ
), which means
"forgiveness" or "pardon". This word is used in the
Uzbek language in the folk lexicon and is close in
meaning to "forgiveness" or "improvement". The word
"longing" comes from the Arabic word "sugun" (
نغص
),
which means "sorrow, separation". This word is used in
the Uzbek language in the form of "soginch". The word
"guidance" comes from the Arabic word "hidayah"
(
ةياده
), which means "guidance, the right path". The
meaning of this word in the Uzbek language can be "to
show a good path" or "to guide correctly to the path of
science and humanity". In conclusion, it should be
noted that many historical and ancient words used in
Fakiri's ghazals have Arabic roots. These words are
important not only in literary works, but also in folk
literature. The use of these words in his ghazals reflects
the richness of the language, historical heritage and
culture. Lexical combinations and historical words in
the ghazals of Ismailkhan Fakiri reflect the richness of
the content and language of his poetic expressions. The
poet used words borrowed from Arabic in his works,
adapting them to the phonetic and semantic features
of the Uzbek language.
Thus, Fakiri highlights not only the rich lexicon of the
Uzbek language, but also the historical and cultural
layers of that era. We believe that the historical words
quoted in Fakiri's ghazals, their interrelation and their
construction in the poetic context have the following
characteristics. Fakiri used many Arabic words in his
ghazals. These words reflect not only linguistic
features, but also the historical and cultural context.
For example, words such as "Khizr", "Fakir", "Gam" and
"Hajr" reflect not only the Arabic vocabulary of the
Uzbek language, but also concepts borrowed from
Islamic history. The use of Arabic words in Fakiri's
ghazals indicates their historical roots. For example,
words such as "Khizr" (symbol of longevity and
wisdom), "Hajr" (separation, farewell) and "Fakir"
(poor) represent the past religious and spiritual values
of the Uzbek people. Through these words, the poet
created the spiritual and educational atmosphere of his
time in his works. The use of historical words not only
increases the lexical richness of the Uzbek language,
but also deepens the content of poetic works. Words
such as “Bakht”, “Bechora” and “Gam” convey the
dramatic spirit of Fakiri’s ghazals and express the
emotional state of the poet. These words reflect not
only the semantic richness of the language, but also the
poet’s inner world, his thoughts and feelings. As a result
American Journal Of Philological Sciences
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American Journal Of Philological Sciences (ISSN
–
2771-2273)
of the introduction of Arabic into the Uzbek language,
historical words have undergone changes in phonetic
and morphological terms and began to be used in forms
characteristic of the Uzbek language. For example, the
word “bakht” comes from the Arabic word “bakht”, and
the word “behora” comes from the Arabic word
“bichara”. This process demonstrates not only lexical
and morphological changes, but also cultural exchange.
An analysis of Fakiri’s ghazals from a linguistic point of
view shows that the Uzbek language has been enriched
with Arabic words. It also reflects the historical
development of the Uzbek language and the influence
it draws from its cultural and religious heritage. By
using these words in his ghazals, the poet expressed his
respect for the religious and spiritual roots of the Uzbek
language. Historical words in Fakiri's ghazals reflect not
only the poet's mastery of the language, but also his
connection with the historical and cultural heritage.
These words deepen the meaning of his poetic works,
reflect the spirit of his time, demonstrate the richness
of the language and the transformation of its historical
forms. Such historical words in Fakiri's poetry allow us
to deeply understand the development of the Uzbek
language and its response to cultural changes. This, in
turn, requires scientific research in the field of
linguapoetics of ghazals.
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