Volume 04 Issue 11-2024
199
American Journal Of Philological Sciences
(ISSN
–
2771-2273)
VOLUME
04
ISSUE
11
P
AGES
:
199-203
OCLC
–
1121105677
Publisher:
Oscar Publishing Services
Servi
ABSTRACT
This article analyzes the poems of the poet Fakhriyor, who holds a special place in our modern poetry with his unique
poems, written in the genres of rondel and elegy, which are examples of Western poetry. As the poet himself noted,
the fact that the creative person is not afraid to experiment with poetry helps to increase the artistic weight of his
work. Such experimental poems are of particular importance in the poet's work. In particular, sonnets are an
important part of Fakhriyor's poems, but in addition to them, the poet also practiced poems in the form of rondels,
elegies, and rhapsody.
KEYWORDS
Rondel, elegy, rhyme, feeling, time, loneliness, longing, tiyramoh.
INTRODUCTION
The 20th century Uzbek poetry is characterized by
various genre and stylistic innovations. During this
period, the use of finger meter increased significantly
compared to the aruz meter in our classical literature.
At the same time, world poetry genres such as hokku,
tanka, rondo, sonnet, verlibre, rondel, turku, elegy
began to enter our national literature. At the beginning
of the century, literary innovation began to be seen in
the work of Jadidists, while by the end of the century,
leadership was clearly manifested in the work of Rauf
Parfi. In the article “The First Interpreter of Hokku” by
literary critic Olim Altinbek, who conducted scientific
Research Article
RONDEL AND ELEGY IN THE WORK OF THE FAKHRIYOR
Submission Date:
November 20, 2024,
Accepted Date:
November 25,2024,
Published Date:
November 30, 2024
Crossref doi
https://doi.org/10.37547/ajps/Volume04Issue11-36
Habiba Ergasheva
PhD student, TSUULL named after Alisher Navai, 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.
Volume 04 Issue 11-2024
200
American Journal Of Philological Sciences
(ISSN
–
2771-2273)
VOLUME
04
ISSUE
11
P
AGES
:
199-203
OCLC
–
1121105677
Publisher:
Oscar Publishing Services
Servi
research on the poet's work, it is noted that R. Parfi
made a great contribution to the introduction of
genres such as hokku, tanka, rondo, and rondel into
Uzbek literature. After Rauf Parfi, this tradition is
continued by the poet Fakhriyor. The sonnet is of
particular importance in the poet's work, in addition to
it, we can also see poems written in genres such as
prose poetry, elegy reminiscent of ancient Greek
poetry, and French poetic forms such as rondel and
verlibre. While sonnets appear in the poet's first book,
we witness that rondel and elegy were written
relatively later.
Rondel is a poetic form that appeared in French
literature in the 14th century. It has a special pattern
like a sonnet, that is, it is formed by repeating the form
consisting of two rhymes, three verses and a two-line
refrain two and a half or three times. Usually, the
rondel rhymes in the style of ABba abAB abbaA, but the
rhyme can change according to the author's desire.
Even in Fakhriyor's rondels, the rhyme does not always
correspond to the above pattern. The poems Rondel-1,
Rondel-2, Rondel-3 were originally included in the
collection "Geometric Spring", and later included in the
collection "Izlam". Unlike subsequent rondels, Rondel-
1 has four stanzas, and the first line of the first stanza
serves as the last repeating line:
Butterfly - spark of the heart [Fakhriyor. Izlam. 2023, p.
80]
The theme of the first rondel is love. The butterfly is
depicted as a spark of love. The butterfly, as a symbol
of tenderness and elegance, is often seen in poems
written on the theme of love. However, in the second
stanza of this rondel, the butterfly's wandering
through the garden is compared to the movement of a
spider, saying that it "webbed the garden like a spider."
With this movement, the butterfly, landing from flower
to flower - the flower touched by the spark, burns and
turns red. In this case, the trace of the heart burns the
garden. If we are a little inattentive here, we may not
notice the subtle analogy. That is, the state of the
flower burned by the spark and the heart is the same
red. The last paragraph says that although the winds
touch the spark, the heart does not let this spark be
extinguished:
For a day, two days, three days,
the butterfly plays in the gardens.
The winds touch the spark,
the heart does not let it be extinguished. [Fakhriyor.
Izlam. 2023, p. 80]
The lines that came in the place of the conclusion
expressed an extremely beautiful content. Every heart
wants love. Especially for a creator, isn't it the most
primary feeling - love, which inspires and encourages
to live and write?
Volume 04 Issue 11-2024
201
American Journal Of Philological Sciences
(ISSN
–
2771-2273)
VOLUME
04
ISSUE
11
P
AGES
:
199-203
OCLC
–
1121105677
Publisher:
Oscar Publishing Services
Servi
Rondel-2 consists of three stanzas and one repeating
stanza (13 stanzas in total). Its main theme is time:
The step of the endless hour,
the ongoing adventure of time
in the div of every moment -
the endless steppe of life. [Fakhriyor. Izlam. 2023, p. 81]
In this rondel, the repetition of the stanza differs from
the first, that is, the first stanza of the first stanza is
repeated in the first stanza of the third stanza, the
second stanza of the first stanza in the first stanza of
the second stanza, and the fourth stanza of the first
stanza is repeated as the last separate stanza. In the
endless wilderness of life, each person has his own
time adventure, and in it the steps of the clocks
relentlessly run after the heart. Life does not pass
smoothly, it is natural that there are sometimes bitter
and sometimes sweet moments throughout our lives.
When time shows us the bitter secrets of life,
sometimes we cannot find a way to console our hearts.
This rondel reflects such thoughtful thoughts. The last
stanza has a concluding content:
The wilderness of life is endless… [Fakhriyor. Izlam.
2023, p. 81]
The last rondel-3 also consists of three bars, one
repeated line (a total of 13 lines):
Go. What kind of separation is this,
you became a thief when you were young?
Don't go, don't go, okay?
My salty soul was filled with these words. [Fakhriyor.
Izlam. 2023, p. 82]
As for the repetition in this rondel, it differs from the
repetition in both rondels above. That is, the first line
of the first stanza is repeated as the last separate line,
and the second line of the first stanza is repeated in the
first line of the next two stanzas. The content of the
rondel genre is to express a depressed, sad, and
melancholy feeling. The theme of the poem is
separation. This theme is also one of the most common
and frequently mentioned themes in poetry. It is
natural that thoughts such as begging, pleading, and
the pain of separation are depicted around the theme
of separation. Although the theme of separation is not
foreign to poetry, the author's achievement is seen in
depicting the age-old theme in a different tone and in
a unique style. In the poems of the veteran, the
unconventionality of the image and the author's way
of using words seem somewhat perfect, and
sometimes even strange. That is why there are cases
of misunderstanding and misinterpretation of the
poet's writings among literary critics and readers.
Nazar Eshonkul's thoughts about Fakhriyor are true:
"Fakhriyor's poems are not a popular status that has
become a standard today, but a product of individual
thinking: because, precisely for this reason, it is difficult
Volume 04 Issue 11-2024
202
American Journal Of Philological Sciences
(ISSN
–
2771-2273)
VOLUME
04
ISSUE
11
P
AGES
:
199-203
OCLC
–
1121105677
Publisher:
Oscar Publishing Services
Servi
for our taste, which is increasingly entangled in the
pathos and rhyme of popularism and hymnody, to
accept his poems, the form he chooses, his way of
using words" [Nazar Eshonkul. Kitab bandasi. 2022,
278]
As a distinguished innovator, he practiced poems in
many genres of European poetry. In particular, we can
also see elegies in the poet's work. This genre
appeared in ancient Greek literature and later
developed significantly in European literature, in
particular, first in English and French, and then in
Russian literature. The content of the elegy, expressing
a sad, thoughtful, depressed, and mournful mood,
showed elements of the romantic movement. Elegy
appeared in Russian literature in the 18th century and
was further developed in the works of V.A. Jukovsky
and K.N. Batyushkov. We can also see elegies in the
works of Pushkin and Lermontov. “In Jukovsky's
elegies, we can see thoughts about nature, the world,
and humanity in sharp pathos. He tells his life stories
based on the patterns of sentimentalism. If in his
elegies such as “Sea” and “Evening” only the
expression of feelings is depicted, in the elegies
“Village Cemetery” and “Singer” the sorrows of the
lyrical
hero
are
reflected.
[Karomatova
Z.
Characteristics of Russian elegy. 2022] So, we can say
that elegies mainly express the depressed mood of the
creator. The first appearance of elegy in Uzbek
literature is found in the works of Hamza and Chulpon
at the beginning of the 20th century.
In the collection of the poet "Izlam" there are elegies
called "States of Loneliness". The poem consists of
three parts, and it caught our attention that all three
were written in different years (July 22, 2007, March 27,
2009, summer 2009). This elegy resembles a sonnet in
form. The rhyme scheme in all three parts of the poem
is the same: a-b-a-b, a-b-a-b, v-g-v, d-g-d. The first part
of the poem describes the mental state of the lyrical
hero, who is left alone and, as a result, falls into
despair. The second part gives the reason for this
loneliness, that is, unrequited love! The poet calls this
misfortune an "unfulfilled dream", which describes the
fact that he has not been able to rest his whole life,
neither his heart nor his happiness are complete. The
lyrical hero, who has fallen into despair and faced
misfortune, now searches for himself all his life. In the
third part, the hero searches for the reason for this
state and brings the result:
Is it my love, my friend, that has committed a thousand
sins and made no mistakes? Why [Fakhriyor. Izlam.
2023, p. 37]
Is love a sin, its continuous suffering, like a thorn in the
side of the lyrical hero, does not give a day. As a result,
there is no way to walk, and no hand to remove the
gravel. On the one hand, there is the pain of longing,
on the other hand, exile. The poem ends in this state.
Volume 04 Issue 11-2024
203
American Journal Of Philological Sciences
(ISSN
–
2771-2273)
VOLUME
04
ISSUE
11
P
AGES
:
199-203
OCLC
–
1121105677
Publisher:
Oscar Publishing Services
Servi
In the poem, we can see the mental state of the lyrical
hero, who describes the unrequited love and its exile,
longing result.
The next elegy from "Izlam" is called "Elegies", it also
consists of three lines. Unlike the previous one, this
elegy consists of stanzas rhymed in the a-b-a-b style,
like a finger poem. The first and second parts consist of
four lines, and the third part consists of two lines. This
poem depicts the transience of time and life using the
image of autumn. As time passes and the year ends, the
poet remembers that he has not written a single
worthwhile line. Unwritten lines always torment and
torment the creative heart. As the poet himself noted
in another poem, it is difficult to wash away the "sin of
unwritten poems". The poet can only calmly draw what
is in his heart when he puts it on paper, otherwise the
feelings that should be written will not leave him in
peace. Our great poet wants to say, "the most terrible
silence is when the poet remains silent!" In the last part
of the poem, which describes such experiences, the
poet is amazed by the justice of the Creator and praises
him:
The tyramoh knows justice,
kills every leaf beautifully. [Fakhriyor. Izlam. 2023, p.
136]
It is described that the One who controls all of
existence and the fate of creation also makes the end
of His creations beautiful.
In conclusion, it can be said that Fakhriyor, as a poet,
was not limited to certain measures and genres, but
rather makes a worthy contribution to the
improvement of many genres in Uzbek poetry.
Fakhriyor is not afraid to experiment in our poetry, on
the contrary, he believes that such experiments help to
improve the poet's talent. For him, the most important
task is not to put feelings into a certain form and
rhyme, but to write real POETRY: “For a good poem to
be a model of art - regardless of whether it is
experimental or traditional - it must be written well.
Therefore, any creative product must be able to meet
the requirements of art in order to be a true work of
art” [Fakhriyor. Metahikoyaya oralab. 2020, p. 173].
REFERENCES
1.
Fakhriyor. Izlam.
–
Toshkent: Akademnashr,
2023.
2.
Fakhriyor. Metahikoyalar oralab.
–
Toshkent:
Akademnashr, 2020.
3.
Karomatova
Z.
Rus
elegiyasiga
xos
xususiyatlar. Journal of Innovation, Creativity
and Art, Vol. 2, Nov. 4, 2022.
4.
Nazar Eshonkul. Kitob bandasi.
–
Toshkent:
Akademnashr, 2022.
