American Journal Of Philological Sciences
223
https://theusajournals.com/index.php/ajps
VOLUME
Vol.05 Issue04 2025
PAGE NO.
223-225
10.37547/ajps/Volume05Issue04-56
The Use of Enjambment in Uzbek Poetry
Eshdavlatova Aziza Ubaydulla kizi
Turon University, Uzbekistan
Received:
23 February 2025;
Accepted:
19 March 2025;
Published:
22 April 2025
Abstract:
This article reveals the phenomenon of enjambement and its use in world literature. In the process of
analysis, the formal semantic features expressed by enjambement in the work of the poet Rauf Parfi were studied.
Keywords:
Enjambement, kesura, Rauf Parfi, semantic-stylistic, poetry, rhythmic.
Introduction:
The term enjambement comes from the
french word "enjambement" which means "step".
Enjambement is a literary term that refers to:
a) inconsistency of rhythmic and syntactic pauses at the
end of a verse, verse or half-verse;
b) use of kesura (pause) in a series of words that are
close in meaning.
That is, enjambement is a passage in a poem that
results from a mismatch between rhythmic division and
syntactic division. In this case, the whole idea starts
from one line and continues in the second line. When
reading such a poem, the intonation is necessarily
determined by a kesura (pause), without which the
verses lose their rhythmic expressiveness. Of course,
there are various methods of expression and stylistic
tools in poetry. One such powerful semantic-stylistic
tool is enjambement. To put it more simply for readers,
enjambement is the transition of a sentence from one
line to another. In this case, the whole idea starts from
the first line and continues in the second line. As a
literary term, enjambement is called by the same name
in English literature, in Russian literature it is used in
such variants as "transfer", "versification" and
"enjambement", in Uzbek literature there are no
alternative naming options because enjambement has
not been studied separately. In our opinion, it is
possible to replace this literary term with "transfer" or
"transmission".
LITERATURE REVIEW
In different literary periods, there was a conflicting
attitude towards the use of enjambement. About this,
S.A. Matyash presents the following classification:
1. Antiquity. Enjambement has been used in literature
since ancient times. Pindar's lyric is mainly based on
strophic enjambement. Pindar is an ancient Greek poet
whose works are part of choral lyrics. They were
written mainly as hymns to the Gods.
2. Post-medieval period. Strophic isolation is more
characteristic of the poetry of this period.
3. Classicism. The poetry of this period is distinguished
by avoiding enjabement.
4. Romanticism and some poetic schools of the 20th
century, on the contrary, further developed them.
Historically, the use of enjabement has been viewed as
a type of kesura (pause) or continuous semantics.
Nevertheless, in modern poetry, the tool of
enjambement, which is charged with a complex
semantic task by means of internal displacement, is
widely used.
In Russian literature, enjambements were used by
Alexander Pushkin, Marina Svetayeva (she made this
style one of the main ones in her poetics), Vladimir
Mayakovsky, Mikhail Kuzmin, Vadim Shershenevich,
Georgy Obolduyev, Bulat Okudjava, Joseph Brodsky in
their works.
Мне всё равно, каких среди
Лиц –
ощетиниваться пленным
Львом, из какой людской среды
Быть вытесненной –
непременно…
Сколько раз я пытался мечтать головой,
Думать сердцем, и что же?
Enjabements can be found in the works of such poets
as Emily Dickinson, Lang Leave, Charles Bukowski, Ella
Higginson in English literature.
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American Journal Of Philological Sciences (ISSN
–
2771-2273)
DISCUSSION
In Uzbek literature, when we analyze the poems of
poets such as Rauf Parfi, Usman Azim, Fakhriyor,
Bahrom Rozimuhammad, Abduvali Qutbiddin, we can
find places where enjambement is used.
Vaqti
о‘tmayotgan odam iztiroblarin,
ikkilanishlarin suvga tashlaydi
tush kabi.
There are three types of enjambement:
1) restoration (rejet) - in which the sentence ends at the
beginning of the next line.
2) copying (contre-rejet) - where the beginning of the
sentence starts from the end of the previous verse.
3) intermediate (double-rejet) - in this case, the
sentence starts from the middle of one verse and ends
in the middle of the next verse.
In Russian philology, this topic has been widely studied
by M. Shapir, G. Shengeli, Y. Tinyanov, M. Gasparov, A.
Zholkovsky, I. Loschilov. M.I. Shapir created a clear
direct parallel between form and content
–
enjambement and a technique that teaches poetic text.
This method was used by the author as a fundamental
method in his research. V.M. Zhirmunsky is one of the
first researchers of enjambement. Following traditional
lines in lyric poetry, he deduced that the clearest
indicator of enjambement at the end of a line is the
appearance of a punctuation mark in the middle of the
line.
At the end of the 20th century, experts associate the
development of enjambement with the name of Joseph
Brodsky. M. Shapir says about this: "During the 60s of
the last century, Brodsky conducted more daring
experiments on form changes in poetry.
a) lengthened the poetic phrase;
b) sharp transitions (enjambements) between verses
were used more;
d) he was able to use the kesura (pause or stop) in an
unusual way between the stanza and the verse.
This is especially true of his «Волосы за висок»(1967),
«На смерть Т.С. Элиота»(1965) is clearly visible:
«Волосы за висок
между пальцев бегут,
как волны, наискосок,
и не видно губ,
оставшихся на берегу,
лица, сомкнутых глаз,
замерших на бегу
против теченья...»
In the poems of skilled poets, the appearance of
enjambement is always justified and has a certain
meaning. One of the simplest and most common
enjambements is lowercase. This is used by many
poets.
Anatoly Kobenkov's (1948-2006) lyrical-philosophical
poems are enhanced by enjambements that show the
dramatic continuity and drama of life. He wrote in one
of his best poems:
«Человек рождается, вырастает в мужа,
Не тонет в воде, не сгорает во зле,
Потом узнает, что нисколько не нужен
Ни себе, ни дочери, ни земле...»
We are not paying attention here to the poetic
technique, in particular to the lower case
enjambement, which plays an invisible, supporting
role. The lyrical-philosophical depth of the poet, who
has reached the peak of poetic development, makes
one think about the deep meaning of existence, the
main questions of the universe. Enjabement used by
the poet only enhances the tragic and at the same time
natural and logical development of human life.
Hyphenation in a poetic work is of great importance as
a figurative tool. If the poems are rhythmically
structured evenly, enjambement is expressed through
intonation (tone) and allows to highlight and
emphasize the main semantic word. In this, the author
can
convey
various
emotions:
excitement,
thoughtfulness,
confession,
anger,
love,
etc.
Enjambement is very effective in poeticizing prosaic or
colloquial speech.
Literary experts have classified many types of transfer
(enjambement). For example:
Enjambement, represented by dashes, emphasizes
parts of phrases using intonation, even if they are
separated by another part of the verse.
Line enjambement - moving a phrase to the next line.
Syllable enjambement is the transfer of a given part to
another small phrase. Enjambement, represented by a
pause, is when one word is left on a line and is used to
express thought continuity.
The use of enjambement as a poetic figure is often
related to the semantic content it contains. We can find
several types of enjambement in the work of the skilled
poet Rauf Parfi. The poet's poem "Song about Vietnam"
begins as follows:
Kezadir bulutlar boshim ustida.
Havo dim.
Baqirgan sukunat.
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American Journal Of Philological Sciences (ISSN
–
2771-2273)
Sukunat
—
vujudlarga,
miyalarga
sanchilgan igna!
Burun kataklarida
tо‘lg‘ongan achchiq nafas,
Vetnam yuraklarida yig‘lagan Vetnam.
In this, the poet uses the "rejet" (restoration) type of
enjabement. That is, the sentence that begins with
"Silence - to beings..." continues in the second stanza
as "to brains" and ends in the third stanza as "a pricked
needle". By expressing a single thought in 3 lines, the
poet attracts the reader's attention and semantically
strengthens the image of silence. Expressing the
sentence "Bitter breath filled in the nostrils//" in two
lines also continues the thought with a pause by using
enjambement, increasing the emotional impact.
CONCLUSION
In summary, enjambement is a passage in poetry that
results from a mismatch between rhythmic division and
syntactic division. In this case, the whole idea starts
from one line and continues in the second line. When
reading such a poem, the intonation is necessarily
determined by a kesura (pause), without which the
verses lose their rhythmic expressiveness. If the
semantics of translation in classical poetry is limited to
the intonation-expressive sphere, then non-classical
poetry, especially Rauf Parfi's work, activates its
linguistic mechanisms, turning the given style into one
of the main sources for increasing meaning.
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