American Journal Of Philological Sciences
42
https://theusajournals.com/index.php/ajps
VOLUME
Vol.05 Issue 03 2025
PAGE NO.
42-46
10.37547/ajps/Volume05Issue03-12
Semantics of poetical images
Shahodat Isakjanova
PhD student, Institute of Uzbek Language, Literature and Folklore of the Academy of Sciences of the Republic of Uzbekistan
Received:
20 January 2025;
Accepted:
18 February 2025;
Published:
17 March 2025
Abstract
:
This article examines poetic imagery. In the course of our research, we analyze certain images in the
works of Abduvali Qutbiddin, discussing the inner and outer meanings underlying these images. Additionally, we
present analyses based on poetic examples regarding the types of images according to the relationship between
their expressive and descriptive aspects.
Keywords:
Literary mastery, level of aesthetic consciousness, primary and secondary images, philosophical-
aesthetic image, abstract concept, Sufi ideas, metalogical image, philosophical contemplation, creative
individuality, super logical image.
Introduction:
“The literary image is a very complex
aesthetic category in its nature, character and
properties” [6,P.11]. Its complexity arises, first of all, at
the point where two consciousnesses meet (M.
Bakhtin’s definition): a single work created by one
creator is interpreted differently by different readers.
This continuous process is measured primarily by the
literary skill of the creator of the work and the level of
the reader’s
worldview, thinking and aesthetic
consciousness. In this process, the literary image
naturally carries the greatest weight. It is the literary
image that reflects the main idea of the work and
serves as a means of conveying to the reader what the
writer wants to say. In this case, as B.Sarimsoqov said,
the reader must be able to distinguish between the
main (leading) picture and detailed pictures (especially
in lyrical works). For example, a writer may have chosen
the image of a tree as the main image in a poem, but in
his poem, he may also include other detailed images
that serve to correctly and smoothly lead the way to
the main essence of the work, for example, the image
of a large garden surrounding the tree, the sky, the
earth, birds, and other images.
Of course, in this case, it is natural and necessary for a
common link to be established in order to correctly
convey the writer’s idea, that is, it is of great
importance for the writer to skillfully use detailed
images to “exert ideological aesthetic pre
ssure on the
main image, give it unique clarity and integrity, in short,
raise it from the level of material aesthetics to the level
of a purely philosophical aesthetic image”, so that the
reader can feel that the main pressure is on the image
of the “tree” in the poem. However, the matter does
not end with simply recognizing the difference
between the main image and the detail images in the
work. Now the reader also needs to understand what
kind of semantic 'load' the main image in the poem
carries. We know that in poetry there is a big difference
between the main image and the image that is
expressed. In this case, words that express abstract
concepts take on a specific form and a specific object.
Therefore, we must not forget that when a poet
elevates a tree to the status of a leading image in their
expression, they are actually conveying an entirely
different concept, such as human life.
As evidence for our point, we will analyze Abduvali
Qutbiddin’s poem titled “Gʻayriy daraxt” (“Alien Tree”).
For a comp
lete understanding of the poem’s
interpretation, we deemed it appropriate to present
the verses in their entirety:
Nahr sohilida, daraxt ko‘ringay
Yaprog‘i chig‘alay,
Ildizi baliq.
G‘adir
-
budirida to‘fon ko‘ringa
y
Chayir shoxlariga
Ilingan qayiq.
Shu qayiq ichida sevgi o‘tirgay
Tovonida dovul,
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American Journal Of Philological Sciences (ISSN
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2771-2273)
Tirsagida ilon,
Yana Nuh so‘ziday ma’vo ko‘ringay,
Ko‘ringay
Qo‘ziday
Yav-vosh qoop-lon.
Nahr sohilida
G‘ayriy daraxtga
Intilgan toshqinning barisi qoya,
Daraxt po‘stlog‘
ida yur-
ak ko‘ringay,
Ko‘ringay odamlar qoldirgan soya[1,P.74].
As can be seen, the main image in the poem is a tree.
The image of a tree exists in all types of literature,
sometimes as a central image, sometimes as a detailed
element (in landscapes), from folklore to modern
literature. Moreover, this traditional image embodies
several meanings, some of which we will consider
below:
1) a symbol of abundance, eternity, fertility, and zest
for life;
2) a symbol of human life: it expresses the birth,
growth, aging, and withering (death) characteristic of a
person;
3) a symbol of rebellion against death;
4) as a symbol, it conveys meanings such as the world,
life, and understanding (Babylonian myths, the Buddha
tree, Iggdrasil shumtoli in Scandinavian myths);
5) interpretations related to numbers based on vertical
and horizontal positioning, and others[7,P.62-65].
While getting acquainted with the study “Tree
Symbolism in Turkish Culture and its Reflection in
Films” by Professor Özlen Özgen of Atilim University
and Researcher Eda Turançılı, Gazi University, we
observed that the tree symbol in Turkish culture mainly
expresses various meanings such as: life, vitality,
eternity, abundance, blessing, hope, birth, continuity of
generations, health[4].
In general, the above meanings related to trees can be
found in peoples other than the Uzbek and Turkish
peoples. In this respect, the image of a tree is a
centuries-old and common image among different
peoples, but at the same time it is always found as an
image with completely unique symbolic meanings.
When we look at the image of a tree in Abduvali
Qutbiddin’s poem “The Unnatural Tree”, the first thing
that catches our attention is the qualifier of the tree -
the unnatural.
The description of the tree in the poem also reflects the
author’s individual approach. For the word “gʻayriy”
does not appear among the words transferred from
Arabic into the Uzbek language. The “Explanatory
Dictionary of the Uzbek Language” notes the
explanation of the words “gʻayr”
and “gʻayri” used in
the bookish language, and since these words are close
in meaning (gʻayr –
a stranger, a foreigner; a stranger;
gʻayri –
1) a stranger, a foreigner, a foreigner; 2)
different, different[8,P.648]), they are sometimes used
as synonyms in poetic speech. However, it should also
be taken into account that since the word gʻayri
belongs to the circle of form-related lexemes, only the
meaning of this word taken from the synthesis of the
Arabic and Persian-Tajik languages can be used as a
synon
ym for the word gʻayr.
It is understood that Abduvali Qutbiddin did not like to
use the words gʻayr and gʻayri available in the language
when referring to the tree and found it necessary to use
an original word. The use of the word “gʻayri” in the
title of the poem is not only for the sake of
attractiveness, but also to emphasize the relatively
rarely used meaning of “different, unusual”, as
opposed to the two words above, which are used in the
sense of “different, foreign, alien”.
So, the tree described in
Abduvali Qutbiddin’s poem is
a different, unusual tree. This tree grew by the sea - on
the shore. Based on the detailed images in the poem,
we can say that the tree is a symbol of man.
When we talked about the meanings of the tree above,
we saw that a person is compared to a tree. However,
if we take into account that in these poems it is not the
person himself but the interpretations of the young
periods of a person - birth, growth, death - that are
prioritized, then the fact that Abduvali Qutbiddin
compared a person to a tree in this poem can also be
considered unusual.
So here the tree itself is a person. But why did it grow
by the sea? What does the sea symbolize in the poem?
In general, we can find different interpretations of the
sea in fiction. But given that many of Abduvali
Qutbiddin’s poems are inextricably linked to mystical
ideas, the sea here is a metaphorical high ground, an
infinitely wide and deep path to self-realization.
According to the Sufis, the elements of the material
world - waves and drops, including man - are absorbed
into the sea[7,P.71].
The roots of a tree are compared to a fish and its leaves
to a seagull. As a symbol, fish is often contrasted with
birds. The contrast between fish and birds is also
evident in the poetry of Abduvali Qutbiddin.
Although fish is used in a number of positive meanings
in the cultures of many peoples, we believe that the
poet approached this image in a particular way in his
poem. The fish is a symbol of the soul, which
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American Journal Of Philological Sciences (ISSN
–
2771-2273)
encourages a person to do evil and pulls them down.
The soul is always present at the root of man, and it was
precisely because of his slavery to the soul that Adam
was expelled from Paradise. At this point it becomes
clear that there are many observations behind Abduvali
Qutbuddin’s compa
rison of man with a tree and his
metaphorical reference to man as a tree. In the Holy
Qur'an We also said: “Biz yana aytdik: “Ey odam, sen va
jufting (Havvo) jannatda yashangiz va xohlagan
joylaringizda undan (ne’matlaridan) bemalol tanovul
qilingiz. Faqat mana bu daraxtga yaqinlashmangiz,(aks
holda) zolimlardan bo‘lib qolursiz” [9,P.570]. Since
then, the soul has always accompanied the son of
Adam who was tempted by Shaytan.
Seagulls represent noble qualities and good deeds that
elevate a person to greatness. The seagull is also known
as the “fishing bird” because it feeds on fish. When a
person repents for his mistakes and turns to good
deeds, his faith becomes strong and continues to rise.
Imam Ghazali wrote the following thoughts about this
in the secti
on “Repentance” of his book “Ihyou ulumid
-
din”: “To devote oneself entirely to good is the nature
of the near angels. To devote oneself only to evil
without thinking of correction is a satanic act. To return
to good after evil is a human necessity. Whoever
repents proves that he belongs to the healthy self-
called “human”. One who is always in oppression and
rebellion is considered to have surrendered to Satan.
To devote oneself entirely to good and become an
angel is an impossible task”.
So mankind is always condemned to choose between
good and evil - a fish and a seagull. That is why Ghazali
describes evil as "a very thorough and complete
mixture of good and evil", so that man cannot exist
without his roots - his ego - even if he wants to.
By describing the flood in the trunk of a tree, Abduvali
Qutbuddin emphasizes the eternal struggle in the
human heart - the struggle between ego and goodness.
He also suggests that only love, a boat placed in the
heart, can save him from this flood. Only with love can
he face the storm that uproots the tree - free himself
from sensual desires and enter the sea - the path to
himself.
In general, the poem contains associative units aimed
at revealing the meanings of the image of the tree:
flood, boat, storm, snake, and the word Noah refers to
the event of Noah’s flood. So, what is the connection
between the tree described in Abduvali Qutbiddin’s
poem and the Flood of Noah? The Noah’s flood, the
storm, the boat and the snake appear as images that
serve to reveal what truth the poet has in mind? Such
questions are immediately revealed in the relationship
with the roots and leaves of the tree in the first lines of
the poem. However, in order for the reader to grasp its
essence, it is necessary to be aware of the series of
events associated with Noah, peace be upon him.
In Nasiruddin Rabguzi’s work “Qissasi Rabguzi”, the
story of the Prophet Noah, the Prophet Noah calls
people to faith. In the first verse of Surah Nuh of the
Holy Quran, it is said: "And We sent Noah (as a prophet)
t
o his people, saying: “Warn thy people before a
grievous chastisement comes to them. So, when
Abduvali Qutbuddin said, “A word like Noah's”, he was
emphasizing the issues of belief in the Oneness of Allah
and steadfastness in faith. The gentle leopard
resembling a lamb is the embodiment of the desires of
the material world, the whole image of the ego.
Of course, the image of the tree in the poem, as well as
other detailed images, will undoubtedly have different
interpretations from those we have analyzed above.
After all, “every poem, if it is truly literary, is open to
several interpretations. Because the reader accepts
and interprets the poem on the basis of his own heart,
world view, nature and knowledge experiences”.
In general, in Abduvali Qutbiddin’s p
oetry, not only the
image of the tree, but also other concepts open the way
for the discovery of new poetic meanings through
symbols and metaphors, which in turn is a factor in the
emergence of different interpretations.
We see that the image of the seasons is also expressed
in a very unique way in the poet’s work. In particular,
his poem dedicated to the image of autumn is a vivid
proof of our idea:
Yostig‘i xazondan,
Kalishi xasdan,
Choyshabi bodlarning latta-puttasi,
Yalanglik
–
kulbasi,
Bamaylixotir,
Uxlaydi kuzgina, qari qizgina[1,P.45].
Expressing the image of autumn through metaphors
not only demonstrates the breadth of poetic
possibilities of reality, but also plays an important role
in introducing the reader to the world of art. In Uzbek
literature, especially in poetry, autumn has a special
significance as a leading image, symbolising above all
migration.
In this poem, the way to a new world is opened,
different from the usual similes and metaphors we are
used to. The leaves falling from the trees are the pillow
of autumn, the grass on the ground is the bed,
everything blown by the wind is its blanket.
By calling the hut of autumn bare, the whole nature of
the autumn season is revealed: the shedding of leaves
by all the surrounding trees, their bareness, is
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American Journal Of Philological Sciences (ISSN
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2771-2273)
compared to complete nakedness. Yet autumn sleeps
peacefully, unconcerned with these changes in itself.
Abduvali Qutbiddin also describes autumn as “an old
girl”, which in turn paves the way for the emergence of
a new metaphor in poetry (autumn - an old girl). The
comparison of the image of autumn with the state of
an unmarried girl who has died is important in
expressing not only the pallor and languor of the girl's
appearance, but also her feelings.
In general, although the image of autumn in the poem
superficially expresses the seasons and their changes,
the underlying meaning of this image is actually
symbolic, including the fact that autumn represents
human inner suffering, a fading life, and a life’s path
being blown away by the winds.
We not
e that almost all of Abduvali Qutbiddin’s
paintings are based on such philosophical observations.
If we look at the examples in the poet's creative work,
we see that his use of metalogical images is more
extensive. It is well known that the reality, object,
person, etc., represented by a certain poetic image
does not always coincide with what the image
represents. In literary criticism, “on this basis,
autological, metalogical and superlogical images are
distinguished according to the relationship between
the levels of expression and image” [2,P.112].
Autological images are free of symbols and metaphors,
and in poetry the concept elevated to the level of an
image is perceived in its denotative meaning.
Metalogical images are figurative images in which the
thing-object, person, some reality, state of action
depicted in it is actually specialised to express
something completely different. Professor Dilmurod
Quronov defines metalogical images as follows: “...the
things depicted and expressed are not compatible with
each other, but there is a certain relationship between
them (similarity, relevance, connection between part
and whole, functional similarity, etc.) so that the thing
expressed is understood on the basis of this
relationship” [2,P.112].
To visualize these images more vividly, let's turn to
Abduvali Qutbiddin's poem “Tazod”:
Qarg‘alar qag‘illar baxt
iyor,
Simyog‘ochda muzlaydi chumchuq.
Zanjirda sovuq qotadi vafo,
Tomlarda yayrab yashaydi o‘g‘ri.
If we pay attention to the underlying meanings of the
images, we can see that this poem is not about a crow
or a sparrow at all, and that these images were a means
of concealing the true essence. That is, the image of a
crow, as a metaphorical image, served to express the
image of the Soviets, “those who came from cold
countries dressed in ice” (Chulpon), and the image of a
sparrow served to express the image of the simple
Uzbek people.
To illuminate the image of a thief living on the rooftops,
we turn to another poem:
Qayta qurish o‘zi chiqdi qaydanam? –
yuksak qal’alardan boqqan o‘g‘rilar
ulkan mamlakatning butun aybini
sodda o‘zbeklarga qo‘ydi to‘g‘rilab[3,
P.320].
When Shavkat Rahmon says “yuksak qal’alardan
boqqan o‘g‘rilar” or Abduvali Qutbiddin says “tomlarda
yayrab yashaydi o‘g‘ri”, it is not difficult to understand
that this appeal is directed at the Soviet authorities.
It should be noted that in classical literature
metalogical images are considered figurative images,
and in them, as mentioned above, the specific thing-
object described in the poet’s poem does not
correspond to what he wants to express.
In the following ghazal by Sakkoki:
Kim ermas ul oy mubtalosi,
Yolg‘uz menga yo‘q aning balosi.
Tushti bu zaif jonimg‘a dardi,
O‘lmaktin azin yo‘q ul davosi[4,P.34].
The metaphor of the “moon”(oy) is a metalogical image
that serves to express a lover through analogy, or as
Abduvali Qutbiddin says:
Sirli bandargohda quyuq tuman,
Olmos langar,
Billur kema.
Zarbof ko‘ylak kiygan darg‘a mendirman,
Ey gul, ketasanmi men bilan[1,P.6].
The metaphor of the “flower”(gul) in the poem is also a
metalogical image, which means that the object in the
image can be understood as a beloved lover because of
the resemblance of the lover to the flower.
In superlogical images, as in metalogical images, the
object, person or whatever in the image does not
correspond to the plan of expression, but in
superlogical images, unlike metalogical images, there is
no specific relationship between the image and the
expression. That is, superlogical images are considered
symbolic images, and the word that has become a
symbol can be used in both the denotative and
connotative sense in the context. On the surface,
superlogical images look like autological images, that is,
the literary image gives the impression that the thing it
depicts and the thing it represents overlap, but these
images also contain symbolism, and a special meaning
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American Journal Of Philological Sciences (ISSN
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2771-2273)
is hidden in the underlying layer. Therefore, it is
possible to interpret superlogical images both literally
and figuratively.
As an example, let’s look at the following poem by
Abduvali Qutbidin:
Qishdan o‘tib olsak...
Lolalar yurtiga qarab ketarmiz?..
Qishdan o‘tib olsak...
Dunyodan
Gul-u rayhon
bo‘lib o‘tarmiz[1,P.109].
The images of winter and spring in the poem can be
interpreted both literally, that is, as the end of the
harsh season and the beginning of the season of
renewal, as the revival of nature, the fragrance of
flowers, the total embodiment of beauty, and
symbolically, as the end of tyrannical power, the wind
touching the people's bosom - as a way to freedom. The
important thing is that the images of winter and spring,
interpreted as superlogical images, serve to give the
correct conclusion in each of their surface and
underlying meanings. That is, it is up to the reader to
understand the poem in its literal or figurative sense,
and in both cases it is not considered a mistake.
She’rning so‘nggi bandidagi:
Nashtarli kunlarning azobin
Nasib etsa agar unutarmiz.
Gul-
u rayhon bo‘lib birga
Visol og‘ushida yotarmiz.
Qishdan o‘tib olsak... [1,P.109]
If we pay attention to the lines, when the poet speaks
of “the torment of bitter days”, it may seem at first
glance that he is expressing the harshness of the cold
season. However, in reality, he is referring to the
hardships that the Soviet government inflicted upon
the people. Roses and basil, in turn, not only evoke
memories of spring's beauty but also serve to express
meanings such as the flourishing of people who have
achieved independence, blooming like flowers.
CONCLUSION
In conclusion, the term “image” is a multifaceted and
complex concept, and debates about it will continue in
the fields of science and art. As human consciousness
evolves and the creative process advances, new
meanings and functions are continually “assigned” to
the image that forms its basis. However, it will always
remain an axiom that the literary image is the “blood”
and “soul” of literature and art.
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