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AGES
:
85-96
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ABSTRACT
This article discusses one of the components of onomastics, phytomymics (phyto-Greek. Phyton-plant), and their
usage in Hofiz Khorezmi
’s "Devon." The study analyzes the skillful use of plant names by the poet for artistic purposes
and the creation of artistic devices. Until now, the phytomymics in this work had not been the subject of study. During
the analysis, the plant names used in H
ofiz Khorezmi’s "Devon" are examined, categorized into semantic groups, and
their variants
—
Arabic, Persian, and Turkic
—
are identified. Furthermore, the meanings these words convey in "Devon"
are compared with how they were used in the works of Beruni, Mahmud Kashgari's "Devonu lug'otit turk," Alisher
Navoi, and Babur. The forms of plant names used in the Uzbek literary language and how they are explained in the
Uzbek explanatory dictionary are also analyzed. Examples are provided to explain phytomymics whose meanings have
expanded today. The article compares how these phytomymics are explained in B.V. Miller's “Persian
-Russian
Dictionary,” the “Tajik
-
Russian Dictionary,” and the "Explanatory Dictionary of the Uzbek Language," conducting an
etymological analysis. Additionally, the poetic devices created through these phytomymics are explained with
examples. Each phytonym is given a specific definition. For example, "Isiriq" is a perennial wild plant from the family
Zygophyllaceae. It contains alkaloids and is used in folk medicine for its healing properties, including being burned as
incense. In modern Uzbek, the word "isiriq" has served as the root for words like "isiriqdon" (incense burner) and
"isiriqchi" (incense seller). The word "isiriq" was borrowed from Persian into Old Uzbek. In "Devon," this borrowed
word appears seven times in the sense of "isiriq" and "isiriq seed." This information enriches the article. The study
holds significant value in examining the lexicon of the work. The materials researched in the article will be useful in
creating the “Dictionary of the Language of Hofiz Khorezmi’s Devon," the "Dictionary of Borrowed Words in Uzbek,"
Research Article
HOFIZ KHOREZMI’S "DEVON" AND PHYTONYMS
Submission Date:
October 03, 2024,
Accepted Date:
October 08, 2024,
Published Date:
October 13, 2024
Crossref doi
https://doi.org/10.37547/ajps/Volume04Issue10-13
Madaminova Rayhon Maratovna
Doctor of Philosophy in Philology (PhD), Uzbekistan
Journal
Website:
https://theusajournals.
com/index.php/ajps
Copyright:
Original
content from this work
may be used under the
terms of the creative
commons
attributes
4.0 licence.
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and the "Dictionary of Written Monuments," as well as in teaching specialized courses to students in the philology
faculties of higher educational institutions.
KEYWORDS
Arabic, dictionary, language, phytonym, explanation, Persian, variant, alternative, plant, simile, image, art, metaphor.
INTRODUCTION
The language of all peoples around the world reflects
their way of life, traditions, and customs. In this sense,
the past, lifestyle, and overall history, as well as the
present of each nation, are fully embodied in their
language, and the naming of every object carries a
historical significance. While onomastics (from Greek:
onomastikos
–
related to names) deals with the
naming of objects, the names of plants are studied by
the branch of phytonymy (Phytonymy - referring to the
proper names of individual plants and trees).
Phytonyms are among the oldest semantic groups in
the lexical composition of any language. Due to the
development of figurative meanings, they are actively
used to describe human characteristics and behaviors.
The issue of figurative nomination of individuals
through phytonymic words is of great importance in
science. Plant names play a significant role in human
life. The use of phytonyms to describe the appearance
and character traits of figures in classical literature, or
to draw comparisons to them, is a clear example of
this. It has become a tradition to compare the
beloved's face to a tulip, their eyes to narcissus, their
lips to a pistachio, their stature to a cypress or
boxwood, and their locks of hair to an ear of wheat.
This tradition is also continued in Hofiz Khorezmi's
"Devon."
It is well-known that phytonym names have been
passed down to us through literary works since ancient
times. The names of plants have been recorded in
works such as Abu Rayhan Beruni's “Kitobus
-Saydana
fit tib” ("Book on Medicinal Plants"), Ibn Sina's "Canon
of Medicine" and "The Book of Healing," Alisher
Navoi's works, Babur's "Baburnama," and many
others.
Main Part:
In this article, we will attempt to classify and conduct
an etymological analysis of the phytonym names in
Hofiz Khorezmi's "Devon." During our observation, it
became evident that the names of some plants in
"Devon" are used in two or three different variants,
namely in Arabic, Persian, and Turkic.
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The phytonyms in "Devon" can be divided into the
following semantic groups according to their
meanings:
1) Names of trees and their parts:
1) barg f. (yaproq), varaq a. (barg, yaproq), daraxt f.
(daraxt, buta), mevador f. (meva daraxti), Muso a.
(Sarv daraxti), naxl a. (ko‘chat), nihol f. (ko‘chat, nihol),
norvan f. (bot. Qayrag‘och), sanavbar a. (Qarag‘ayga
o‘xshash xushqomat daraxt),
sandal a. (Yog‘ochi qora
-
sarig‘ rangli, xush isli daraxt), sarv f. (To‘g‘ri, tik
o‘sadigan, qishin
-
yozin ko‘m
-
ko‘k turadigan, hidi
yoqimli, xushqomat bir daraxt (rus. kiparis), sarviston f.
(sarv daraxti o‘sgan joy, sarvzor), soq a. (Tana, daraxt
tanasi;
o‘simlik poyasi), tana f.(tana), tok f.(tok), To‘biy
a. (Diniy e’tiqodda jannat daraxti deb faraz etilgan
go‘zal daraxt), to‘bo a. (to‘bo), xazon f. (Daraxtning
kuzda sarg‘ayib to‘kilgan bargi), chinor f. (chinor),
cho‘be f. (daraxt), shajar a. (daraxt), s
hamshod f.
(Sarvga o‘xshagan xushqomat va chiroyli daraxt), shox
f. (The part growing from the main trunk of the tree is
called a branch, which extends from the main trunk
and holds the leaves, flowers, or fruits.) Such
phytonyms in this group number 24.
The word sandal is a borrowing from Arabic into Old
Uzbek. In Hofiz Khorezmi’s "Devon," it is used in only
one instance in the meaning of "a tree with black-
yellow wood and a pleasant fragrance."
Shona qilmoq tilasang turra-i tarroring uchun,
Shona shamshoddin aylamavu ayla sandal. (Xorazmiy,
H. 1981:
Ⅱ
:23).
The poet, in this couplet, uses words that express
concepts closely related in meaning to create
figurative expressions. That is, by using the words
**"shona"**
and
**"turra,"**
as
well
as
**"shamshod"** and **"sandal,"** he creates the
artistic device of **tanosub** (proportion). By placing
two synonymous or similarly meaningful words at the
beginning of the couplet, he brings out the rhetorical
device of **radd-ul-ajuz al-as-sadr**. Additionally,
through the inclusion of Persian-Tajik, Turkic, and
Arabic words, he employs the literary device of
**talmi'** (allusion). Furthermore, by repeating
consonant sounds, the poet utilizes **alliteration** or
**tavzi'** (dispersal). The role of alliteration is
unparalleled in ensuring the melodiousness and impact
of artistic speech.
In Alisher Navoi’s work *"Lisonut
-Tayr,"* the word
**"sandal"** is also used in the meaning of **"a tree
with black-yellow wood and a pleasant fragrance."**
Sandalu mushku abiru za’faron,
Tab’ jahlidin sarosar za’fron. (Навоий, 1996:28).
According to Bahrom Bafoyev in his work *"The
History of Ancient Words,"* the word **sandal** was
borrowed into the Uzbek language from Persian-Tajik,
which in turn had adopted it from Hindi. He notes that
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the word **sandal** does not appear in ancient Turkic
written sources. Additionally, in this work, it is
mentioned that in Old Tajik, the word was used in the
forms **chandan**, **chandal**, and **sandal**,
with **chandan** and **chandal** being of Hindi
origin, while **sandal** is the Arabic form (Shukurov
M.Sh.,
Kapranov
R.,
Hoshim
R.,
Ma'sumiy,
1969:190.523). It is also noted in scientific sources that
“Beruni tried to clarify the etymology of a term to
determine its origin.” It is recorded that the words
**saydena** and **sandanani** originated from the
Hindi word **chandan** (sandalwood tree) (Karimov
U.I. 1971:37). The word **chandal** appears in Tajik,
Persian, and Afghan as **sandal**; in Kyrgyz,
Turkmen, Kazakh, Tatar, and Uzbek as **sandal**; in
Azerbaijani as **sändäl** (с
ə
нд
ə
л); and in Bashkir as
**handal**. Beruni mentioned the form **chandan**
in his work. Based on this, it is hypothesized that the
first form of the word **sandal** was **chandan**
(Bafoyev B. 1991:72, 73).
The word **sandal** is used in Z.M. Babur’s
*"Baburnama"* in the sense of a **low table**:
“Through Mullah Bihishti, Hindal was sent a belt
encrusted with precious stones, a dagger, an inkwell
similarly decorated with mother-of-pearl, and a sandal
(low table), along with a robe I wore and a belt, as well
as the alphabet of the 'Baburi script'”
(Babur Z.M.
2019:399).
Currently, there are three meanings of the word
**sandal** in modern Uzbek literary language. The
following definitions are given in the Uzbek
Explanatory Dictionary: **Sandal I** - a brazier
designed to heat a specific area, known in Central Asia,
the Middle East, and Japan. **Sandal II** - a highly
fragrant, evergreen perennial tree rich in essential oils.
**Sandal III** - a lightweight summer shoe without a
heel; a sandal or slipper (ЎТИЛ. 2020:
Ⅲ
:438, 439).
In Mahmud Kashgari’s
*"Devonu Lug'otit Turk,"* the
word **sandal** is given in the forms **samda** and
**çïndan** (Abdurahmonov Gh., Mutallibov S.
1967:206, 328). **Samda** refers to a sandal worn on
the foot. This meaning is also present in modern
Uzbek. **Çïndan** refers to sandalwood or redwood.
**Chinor** - a large, long-living, shady tree with a
bluish bark and palm-
shaped leaves (ЎТИЛ. 2020:
Ⅳ
:489), is a Persian borrowing. In Hofiz Khorezmi
’
s
*"Devon,"* it is also used in the sense of a tree,
appearing five times in the text.
Chinor qadini ko‘rganda lof qilmasun
Kim, ani ko‘rdisa haddi
-i chinor paydodur. (Xorazmiy, H.
1981:
Ⅰ
:93).
In this couplet, the author compares the figure to a
**plane tree** (*chinor*), and this type of simile is
expressed in the phrase **"chinor qad"** (stature like
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a plane tree). The literary device **tashbihi kinoya**
(ironic simile) is employed here.
This borrowing is presented in Mahmud Kashgari's
*"Devonu Lug'otit Turk"* in the forms **çarun**,
**çünük**,
**şünük**
(Abdurahmonov
Gh.,
Mutallibov S. 1967: 322, 337, 339).
It is also used in the same meaning in the works of
Alisher Navoi.
Ul oyg‘a etmasa qo‘l o‘tlug‘ oh ila, ne ajab,
Chinor kuysa, bo‘lurmu quyoshqa dastrasi? (Навоий,
1987:579).
In Babur's *"Baburnama,"* this word is also actively
used in the sense of a tree:
**"In the middle of the spring, there are thick plane
trees (chinor)."** (Babur, 2019: 148).
Today, the meaning of the borrowed word **chinor**
has expanded:
1. A large, long-living, shady tree with bluish bark and
palm-shaped leaves.
2. Figuratively, a **spouse** or **son/child** (in
relation to a woman).
3. Figuratively, a **supportive** or **helping
person** (ЎТИЛ. 2020:
Ⅳ
:489).
**Names related to herbs and plants.** In *"Devon,"*
there are 20 words in this category.
bo‘ryo f. (bo‘yra, qamish), giyoh f. (giyoh, giyo, o‘t),
kirta f. (giyoh, eyforiya hosil qiluvchi o‘simlik.), koh f.
(somon), ko‘k (o‘t, o‘lan, giyoh), mehrigiyoh (bo
t.
Mehrigiyoh), mug‘aylon a. (bot. Akattsiya), nabot a.
(o‘simlik), nay f. (qamish), nayiston f. (qamishzor), nol
f. (qamish qalam ichidagi ingichka tomir), rog‘ f.
(o‘tloq), sabza f. (maysa), savdo I a. (qora o‘t,
melanxoliya, savsan f. (gulsapsar), sipand f. (isiriq, isiriq
urug‘i), sunbul (bir turli xushbo‘y qora rangli o‘simlik),
xor-
xori f. (tikan), hadoyiq a. (bog‘lar, gulzorlar),
chaman f. (gulzor: bog‘u bo‘ston) kabi.
**Mehrigiyoh** (mandrake). According to accounts, it
was named **yabruh** [mehrigiyoh] because its
shape resembles that of a human figure. **Yabruh** is
the name of a natural idol, meaning a plant in the shape
of a human. According to Dioscorides, some people call
it **ontamis**, while others refer to it as
**mavqulun**. Some physicians have named it
**varafiya**, as its root is believed to arouse feelings
of love. **Mehrigiyoh** comes in two types. The first
is the female, known as **rivkus** (lettuce mandrake),
and the second is the male variety. Some call it
**muriyun** (Ibn Sina, 1993:210, 211). It is a perennial
plant from the **nightshade family**. There is a folk
legend that those who carry its seeds with them will be
loved by others (ЎТИЛ., 2020:
Ⅱ
:588).
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In Old Uzbek literary language, specifically in Hofiz
Khorezmi’s *"Devon,"*
the word **mehrigiyoh** is
used in the same plant-related sense, as found in the
"Explanatory Dictionary of the Uzbek Language." It
appears in the source three times.
Gul davrida andog‘ki bo‘lur sabza damida,
Ul lola yuzi uzra karak mehrgiyohe. (Хоразмий,
Ҳ
.
1981:II:235)
In this couplet, the words **gul** (flower), **sabza**
(greenery), **lola** (tulip), and **mehrigiyoh**
(mandrake) are used to form the literary device of
**husni ta'lil** (a poetic explanation based on beauty).
The poetic device **tashbihi kinoya** (ironic simile) is
clearly visible in the phrase **"lola yuzi"** (tulip face).
The name **mehrigiyoh** is used in B.V. Miller’s
*"Persian-Russian Dictionary"* as **mehr-giyah**,
and in the *"Tajik-Russian Dictionary"* it also appears
as **mehrgiyoh**. In the "Explanatory Dictionary of
the Uzbek Language," the **rg** sound cluster has
been made easier to pronounce by inserting an **i**
sound between the **r** and **g**. Additionally, the
**h** sound at the end of the word is no longer
pronounced (Rahmatullaev Sh., 2009:III:137, 138).
In *"Devon,"* however, the **i** sound has not been
inserted between the **rg** sounds, and the word is
used in its original form as **mehrgiyoh**.
In the works of Alisher Navoi, the forms
**mehrgiyoh** and **mehrigiyah** are also used.
Desaki, mehrgiyohin ko‘kartayin gardun,
Zamona ahli vafo ko‘z yoshini dona qilur. (Навоий,
1987:I:156).
Mehri ruhungda mehrigiyah sabzayi xating,
Go‘yoki xoling o‘ldi hamul sabza donasi. (Навоий,
1990:V:419,534).
In Babur's *"Baburnama,"* the form **mehrigiyoh**
can be observed:
**"Some books mention that 'yabruh us-sanam'
(mehrigiyoh, ginseng) is found in these mountains, but
until now we have not seen it. There is a plant said to
grow in the Yettikent mountains, named 'ayiqqoti'
(bear grass); mehrigiyoh is believed to have special
properties, and it seems that this plant is the same
mehrigiyoh, as people call it by that name."** (Babur
Z.M., 2019:16).
The word **sipandi** was borrowed from Persian into
Old Uzbek. In *"Devon,"* this borrowing is used in the
sense of **isiriq** (harmal or rue) and **isiriq seeds**,
appearing seven times in the text.
Xurshidtak yuzinda ko‘rub dona
-yi xolni,
Bir lahza oh o‘tina ko‘nglum sipand erur. (Хоразмий,
Ҳ
.
1981:
Ⅰ
:121).
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In this couplet, the poet employs the literary device of
**tashbihi mutlaq** (absolute simile) by comparing
the beloved’s face to the sun in the phrase
**"xurshidtak yuzi"** (sun-like face). The poet also
skillfully uses the literary device of **talmi'**
(allusion).
In Mahmud Ka
shgari’s *"Devonu Lug'otit Turk,"* this
borrowing appears in the forms **eldrük**, **ïsrïq**,
**ilrük**, **jïzig**, and **jüzärlik** (Abdurahmonov
Gh., Mutallibov S. 1967:42,93,97,128,145).
In the works of Alisher Navoi, the word is used in the
forms **ispand** and **sipand**.
Ne soatki yuzlansa komu murod,
Sochib o‘tqa ispand, o‘qung “in yakod” (Навоий, 1993:
Ⅺ
:531).
To ko‘ngul xoling xayolidin boshingg‘a uyrulur,
Yo‘q sanga hojat yomon ko‘z daf’ig‘a o‘tu
sipand.(Навоий, 1987:
Ⅱ
:106).
In these lines, the words **ispand** and **sipand**
symbolize meanings associated with dispelling or
neutralizing magic and sorcery.
**Isiriq** is a perennial wild plant belonging to the
**Zygophyllaceae** family. It contains alkaloids and
has long been used in folk medicine as a healing
remedy, often burned as incense for various purposes
(ЎТИЛ., 2020:
Ⅱ
:229). In modern Uzbek, the word
**isiriq** serves as the base for words like
**isiriqdon** (incense holder) and **isiriqchi** (one
who burns or sells incense).
2) **Names of field crops, fruits, and grains:**Anor f.
(anor daraxtining mevasi, anor), bar f. (meva), bashoq
(boshoq), bodom, bor f. (meva), bug‘doy, gandum f.
(bug‘doy), karam a. (bot. Karam), meva f. (m
eva), nor
f. (anor), obiy f. (behi), olma, olu f. (olxo‘ri), pista f.
(pista), samar a. (meva), seb f. (olma), turub f. (turb),
tut f. (meva), uzum, xurmo f. (palma daraxtining
mevasi), hastu f. (xurmo, shaftoli va boshqa mevalar),
shaftolu f. (donasi yiri
k, qattiq va achchiq bo‘lgan suvli,
mazali sarg‘ish meva) Such words in this group number
**22**.
The word **pista** (pistachio) was borrowed from
Persian into Old Uzbek. In Hofiz Khorezmi’s
*"Devon,"* it appears in **ten instances**. It is well
known tha
t in our classical literature, the beloved’s lips
are often compared to a pistachio, and the eyes to an
almond. This tradition can also be observed in
*"Devon."*Xolu xating donavu ham domimiz,
Og‘zu ko‘zung pistavu bodomimiz. (Хоразмий,
Ҳ
. 1981:
Ⅰ
:244).
In this couplet, the author beautifully portrays the
lyrical image of the beloved through the div parts
**og‘iz** (mouth), **ko‘z** (eyes), and the
phytonyms **pista** (pistachio) and **bodom**
(almond), creating an elegant depiction. The art of
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crafting such scenes in poetic verses is known as
**tanosub** (proportion). Additionally, the poetic
devices **tavzi’** (dispersal) and **talmi’** (allusion)
are also employed in the couplet.
By comparing the beloved’s mouth and eyes to
**pista** and **bodom**, the poet skillfully uses the
device of **tashbeh** (simile) in the verse.
In the *"Devonu Lug'otit Turk"* manuscript, this
borrowing appears in the form of **bîtrîk**
(Abdurahmonov Gh., Mutallibov S. 1967:42, 93, 97, 128,
71).
In the works of Alisher Navoi, the word is used in the
form of **pista** (pistachio).
Har muqannad pistakim, bazm ichra erdi jilvagar,
La’lingu og‘zing xayolidin ko‘ngul betob edi. (Навоий,
1987:I:526).
Bobur “Boburnoma”da nilufar gulining yangi urug‘ini
pistaga o‘xshatadi:
“Bu urug‘lar
bir qadar pistaga o‘xshab ketadi.” (Бобур
З.М., 2019:412).
In *"Baburnama,"* Babur compares the new seeds of
the **lotus flower** to a pistachio:
**"These seeds somewhat resemble a pistachio."**
(Babur Z.M., 2019:412).
This borrowing is presented in Old and modern Tajik as
**pista**, in Persian as **peste**, in Afghan as
**p’sta**, in Kurdish as **fistig**, in Kyrgyz as
**miste**, in Turkmen as **pisse**, in Azerbaijani as
**puste**, in Tatar as **pestä**, and in Uzbek as
**pista**. According to Bahrom Bafoyev, the word
**pista** is a derived word formed from
**pist+a<po‘st+a**,
because
the
primary
characteristic of this fruit is that when it ripens, its shell,
or skin, falls off (Bafoyev B. 1991:30, 31).
In modern Uzbek, the word **pista** is defined as a
short tree or shrub with a nut-like fruit that grows in
southern mountains, or the hard-shelled fruit of this
tree, and can also refer to raw or roasted sunflower
seeds (ЎТИЛ., 2020:
Ⅲ
:266). The word **pista** is the
root for terms like **pistazor** (pistachio grove) and
**pistafurush** (pistachio seller).
The **peach** is a large, hard-seeded, juicy, and
delicious yellowish fruit. The borrowing **shaftoli** in
Tajik is **shaftolu** (Rakhimi M.V., Uspenskaya L.V.,
1954:453), and in Uzbek, it was adopted by changing
the **u** sound to **i**. In Uzbek dialects, it is
pronounced as **shoptoli**, where the **a** sound is
replaced by **o (â)** and the **f** sound by **p**.
The element **olu** in this word means "tree fruit"
(Rakhimi
M.V.,
Uspenskaya
L.V.,
1954:286)
(Rahmatullaev Sh., 2009:III:262).
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In Hofiz Khorezmi’s *"Devon,"* it is also observed in
the same meaning, appearing twice in the form
**shaftolu**.
Tiriklikdin to‘yubmankim, qo‘lim еtishmadi hargiz,
Biror
shaftolu
olmag‘a,
taqi
olma
saqoqingg‘a.(Хоразмий,
Ҳ
. 1981:
Ⅰ
:42).
In the *"Devonu Lug'otit Turk"* manuscript, this
borrowing appears in the form **jawlï** (jawлï
-
чawлï), referring to **walnut shel
ls used for burning**
or **peach pits** (Abdurahmonov Gh., Mutallibov S.
1967:88).
In Alisher Navoi’s work *"Badoe’ ul
-vasat,"* the word
appears in the form **shaftolu** (peach).
Turfa ko‘rkim, bir chamandur orazikim, davrida
Ochilur olu guli, o‘rtada shaftolu guli. (Навоий,
1990:V:366).
In *"Baburnama,"* the word **shaftoli** (peach) is
mentioned as follows:
**"Its leaves somewhat resemble peach leaves, but
the trunk is ugly and unsightly."** (Babur Z.M.,
2019:314).
The word **shaftoli** appears in Persian as **holu-
shaftalu**, in Tajik as **shaftolu**, in Afghan as
**shaftalu**; in Nogai as **shapdal**, in Azerbaijani as
**shaftali-hulu**, in Uyghur as **shaptula**, and in
Uyghur dialects as **shaptol**, **shaptul**,
**sheptol**. In Kyrgyz, it is **sh
abdalı
-
shaptalı**, in
Kazakh **shapdalı**, and in Turkmen **shepdalı**
(Bafoyev B. 1991:10).
In modern Uzbek literary language, the word is used as
**shaftoli**. In some Uzbek dialects, the **f** sound
is replaced by **p** or sometimes **b**, as in
**sha
ftoli//shabdalı**. In this example, not only does
[f>b] occur, but also [t>d] can be observed (Reshetov
V., Shoabdurakhmonov Sh., 1962:142).
In modern Uzbek, the word **shaftoli** serves as the
root for words such as **shaftolizor** (peach
orchard), **shaftoliqoqi** (dried peach), and in
Persian **shaftolixo‘r** (peach eater).
2) **Names of flowers, shrubs, and their parts:**
Kamand-i zulfi bikin qani bir binafsha-yi mushkin,
Yuzi-
bikin
taqi
bo‘stonda
yo‘q
bargi
shaqoyiq.(Хоразмий
Ҳ
. 1981:
Ⅰ
:283).
Bu ba
ytda bog‘ bilan aloqador binafsha, bo‘ston, barg,
shaqoyiq hamda mashuqa a’zolarini ifodalovchi zulf,
yuz so‘zlari asosidagi tanosublar tashbih san’ati uchun
zamin vazifasini bajargan.
Mazkur so‘z “Devonu lug‘otit turk” asarida çeçäk
(чэчäк) (Абдура
ҳ
монов
Ғ
., Муталлибов С. 1967:327)
shaklida kuzatiladi.
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Alisher Navoiy asarlarida binafsh, binafsha tarzida,
sapsar (savsan) rang, shu rangda ochiladigan hushbo‘y
chechak-
gul ma’nosida uchraydi:
Yuzungda nil xoli ravza ichra nilufar shibhi,
Binafsha
gulshan
ichra
yuzda
nilingdin
kinoyatdur.(Навоий, 1987:I:200).
In the couplet, the words **munshiy** (scribe),
**xoma** (pen), **xat** (letter), and **avroq**
(paper) are used to express closely related concepts,
thereby employing the literary device of **tanosub**
(proportion).
In Mahmud Kashgari's *"Devonu Lug'otit Turk,"* this
lexeme appears in the forms **zarg‘unchmud** (bot.
a type of basil) and **jepkin** (bot. basil)
(Abdurahmonov Gh., Mutallibov S. 1967:91,126).
In the works of Alisher Navoi, this word is also actively
used in the general sense of **flower**.
Gar bahor el topsa bo‘stondin gulu rayhon isi,
Kelur ul rayhon ila guldin manga hijron isi. (Навоий,
1990:V:421).
In Babur's *"Baburnama,"* this word appears in the
sense of a fragrant plant:
**"It is necessary to arrange flowerbeds with care,
planting fragrant and colorful flowers, such as basil,
around them."** (Babur Z.M., 2019: 401).
In X.K. Baranov’s *"Arabic
-Russian Dictionary,"* the
word **rayhon** appears as **rayħān(un)** (Baranov
X.K., 1976:319), and it is noted that it was adopted into
Uzbek by replacing the **hoy-hutti** sound with
**h** and the long **ā** sound with **â**, resulting
in the form **rayhon**. This borrowing originates
from the Arabic verb **rāħa** (Baranov X.K.,
1976:318), which means "to emit a smell," and the word
**rayhon** is an original adjective formed from this
meaning (Ibrohimov N., Yusupov M., 1997:
Ⅰ
:43).
Initially, it referred to **"plants that emit fragrance,"**
and later, it came to signify **"a fragrant herb added
to food as a seasoning"** (Baranov X.K., 1976:319;
Miller
B.V.,
1953:255;
ЎТИЛ.,
1981:
Ⅱ
:613)
(Rahmatullaev Sh., 2003:II:351, 352).
CONCLUSION
In conclusion, **Hofiz Khorezmi’s "
Devon"** contains
**eighty-three phytonyms.** Their etymology traces
back to ancient Turkic, Arabic, Persian-Tajik, and Hindi
languages. The tree, plant, shrub, and fruit names
mentioned in the text are presented with their
equivalents in Arabic, Persian, and Turkic languages.
The poet uses these phytonyms to represent the image
of a woman, employing poetic devices. These literary
techniques have long been an expression of the artist’s
creative genius and have reflected lofty social and
moral ideals. The poetic devices used in *"Devon"* are
grounded in specific artistic principles, with the most
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VOLUME
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ISSUE
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P
AGES
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OCLC
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fundamental being the deep connection between the
poetic art and the content of the work.
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Volume 04 Issue 10-2024
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American Journal Of Philological Sciences
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2771-2273)
VOLUME
04
ISSUE
10
P
AGES
:
85-96
OCLC
–
1121105677
Publisher:
Oscar Publishing Services
Servi
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