American Journal Of Philological Sciences
189
https://theusajournals.com/index.php/ajps
VOLUME
Vol.05 Issue04 2025
PAGE NO.
189-193
10.37547/ajps/Volume05Issue04-47
The Poetics of Literary Genres in Uzbek And Korean
Classical Literature During the Xvii-Xix Centuries:
Scientific Significance
Abrueva Mokhigul Ilkhomovna
Master’s degree, Samarkand State University, Faculty of Uzbek philology, Uzbekistan
Received:
23 February 2025;
Accepted:
19 March 2025;
Published:
22 April 2025
Abstract:
This article examines the similarities and differences in the lyrical genres found within Uzbek and Korean
classical literature, drawing on an analysis of the lyrical works of poets from both nations. The study explores the
poetic features and stylistic characteristics that reflect the socio-political and cultural contexts of these literary
traditions.
Keywords:
Uzbek, Korean, sijo, Joseon, genre, 17th century, Nodira, Mashrab, Sufism, concept.
Introduction:
The history of literature is an inseparable
component of a nation’s history. The development of
literary arts is intrinsically linked to the broader
progress of society. Periodization of literature is
considered a purposeful approach in literary studies,
though it remains a complex issue. What serves as the
basis for literary periodization? Providing a definitive
answer to this question is challenging. Some scholars
associate the historical stages of literature with the
reigns of dynasties or rulers, while others connect them
to significant historical events. Certain Uzbek scholars,
such as Professor N. Mallaev, argue that the history of
Uzbek literature should be divided into stages based
on, firstly, the general laws of societal development
and the socio-political progress of the Uzbek people,
and secondly, the unique characteristics of literary
evolution, including the social essence and growing role
of literary works, the formation and development of
literary forms and genres, and the refinement of other
aspects of the art of words. Professor B. Tokhliev
proposes the following periodization of Uzbek literary
history:
1. Ancient literary monuments (“Avesto,” “Alpomish,”
etc.).
2. Early medieval literature (“Kul Tegin” inscriptions,
etc.).
3. Medieval literature (9th
–
16th centuries).
4. Timurid-era literature.
5. The literature of Alisher Navoi and his period.
6. Literature of the XVII
–
XIX centuries.
7. Literature of the XX century. [1, 2000, p. 16]
In the textbook authored by Professor N. Mallaev for
university students, the following stages are outlined:
1. Ancient literary monuments.
2. Literature of the X
–
XII centuries.
3. Literature of the XIII century and early XIV century.
4. Literature from the mid-XIV century to the XVII
century.
5. Literature from the XVII century to the mid-XIX
century.
6. Literature of the second half of the XIX century and
early XX century.
Until a new textbook on the history of Uzbek classical
literature is published, we find it appropriate to study
Uzbek classical literature based on the stages proposed
by N. Mallaev. The earliest literary monuments
originate from the Central Asian region, reflecting the
literary heritage of the Uzbek, Tajik, Turkmen, and
other peoples who inhabited the area. Subsequent
developmental stages represent literature directly
created by the Uzbek people. The XVII
–
XIX centuries
mark a significant period of growth for Uzbek classical
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American Journal Of Philological Sciences (ISSN
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2771-2273)
literature, shaping a unique aesthetic and spiritual
legacy within Eastern literature. The poetics and
styli
stic features of this era’s poetry not only reflect the
internal dynamics of literary processes but also mirror
the influence of socio-political and cultural contexts.
The flourishing of Sufi poetry in the XVII century, the
expansion of secular themes in the XVIII century, and
the rise of women’s literary contributions in the XIX
century served as primary sources for the diversity of
poetic devices and stylistic richness in Uzbek literature.
METHOD
Poets such as Boborahim Mashrab, Turdi Faroghi, and
Nodira stand out as prominent representatives of this
period, enriching the poetic structure and stylistic
individuality through their works. This analysis
scientifically examines the functional characteristics of
poetic devices and the formation of stylistic features in
Uzbek classical literature of the XVII
–
XIX centuries,
evaluating their literary-aesthetic significance.
Poetic devices in Uzbek classical literature served as
primary tools for enhancing the aesthetic and spiritual
impact of poetry. Among these, figurative arts such as
metaphor, simile, allusion, and paronomasia hold
significant importance. In the Sufi poetry of XVII-
century poet Boborahim Mashrab, metaphors and
symbols are employed to depict divine love and
spiritual quest
s. For instance, in his poem “Sham ila
parvonaman” [2, 1989, p. 45], the word “sham”
(candle) symbolizes divine truth, while “parvona”
(moth) represents the lover’s soul.
These images not only unveil Sufi philosophy but also
deepen the semantic richness of the text. Similarly, in
the works of XIX-century poetess Nodira, similes and
allusions play a crucial role in expressing the inner
world of women. Her lines, “Gul yuzingda ochildi bahor,
ey yor, / Ko‘nglim sening hijrongda bir bemor” [3, 2001,
p. 72],
use “bahor” (spring) as a metaphorical depiction
of the beloved’s beauty, while “bemor” (patient)
conveys the profound emotional anguish of love. These
examples demonstrate that poetic devices serve not
only a decorative function but also enrich the content.
The musical aspect of poetic devices also holds
particular importance in the poetry of the XVII
–
XIX
centuries. The aruz meter, a traditional system in
Eastern poetry, was widely utilized by Uzbek poets. In
Mashrab’s works, the ramal meter faci
litated the fusion
of Sufi ideas with folk melodies, while in the poetry of
XVIII-century poet Turdi Faroghi, the hazaj meter
rendered lyrical depictions more subtle and balanced.
Rhyme strengthened the musical structure of poetry
while reinforcing its meaning. For example, in
Mashrab’s lines, “Ey dil, bu dunyoda ne topding
sendan, / Mashrab devona bo‘ldi oshiq dardin” [2,
1989, p. 45], the rhyme between “sendan” and
“dardin” ensures rhythmic harmony, emphasizing the
Sufi theme of self-realization. These musical devices
played a vital role in creating unity between form and
content in Uzbek poetry.
The symbolic meanings of poetic devices in XVII
–
XIX
century poetry also warrant special attention. In Sufi
literature, widely used images such as “gul” (fl
ower),
“bulbul” (nightingale), and “sham” (candle) served not
only to depict the external world but also to
symbolically express internal spiritual states. In
Mashrab’s poetry, the image of “devona” (madman)
signifies detachment from worldly life and a pursuit of
divine truth, while in Turdi Faroghi’s works, natural
elements like “daryo” (river) and “shamol” (wind)
symbolize the transience of life. For instance, his lines,
“Daryo bo‘yida o‘tkinchi shamol, / Ko‘nglim izlar seni
har bir paytda mol” [4, 1995, p. 34], use “shamol” as a
symbol of fleeting existence. These symbolic devices
enhanced the philosophical depth of poetry, offering
readers multilayered interpretations.
Stylistic features emerged as the primary factor
defining the creative individuality of poets in the XVII
–
XIX centuries. Mashrab’s style is distinguished by the
harmonious blend of Sufi poetry with folk melodies. His
use of simple lexicon alongside Sufi symbols provides
both spiritual and emotional impact. For example, in
the line
s “Mashrab devona bo‘ldi oshiq yo‘lida, / Dunyo
maloli ketdi ko‘ngul cho‘lida” [2, 1989, p. 87], the words
“devona” and “cho‘l” (desert) express Sufi themes of
renunciation and self-awareness with folk simplicity.
The uniqueness of Mashrab’s style lies in
the synthesis
of Eastern traditions with Uzbek folk poetry. Turdi
Faroghi, on the other hand, integrated secular and
spiritual themes in his style, creating lyrical tones
through nature imagery.
The essence of Turdi’s style lies in revealing life’s
transience through lyrical and philosophical reflections.
In the works of XIX-century poetess Nodira, stylistic
features are marked by the deep expression of
women’s spiritual realm and emotions. Her lines,
“Hijron o‘tida yondi ko‘ngil chirog‘i / Sening va
fongdan
ketdi mening orog‘im” [3, 2001, p. 72], employ allusion
and simile to depict the torment of love and self-
awareness. The interplay between poetic devices and
style played a crucial role in enhancing the aesthetic
and spiritual impact of Uzbek poetry during the XVII
–
XIX centuries.
In Mashrab’s works, symbols and allusions reinforced
the Sufi style, while in Turdi’s poetry, similes and nature
imagery enriched the lyrical style. In Nodira’s oeuvre,
figurative devices served to unveil the inner world of
women. Poetic devices, as integral components of
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style, shaped the poet’s unique worldview, while style
determined the application of these devices, ensuring
each poet’s creative identity. This interdependence
ensured harmony between form and content,
solidifying aesthetic traditions in Uzbek literature.
The poetics and style of Uzbek classical literature in the
XVII
–
XIX centuries represent a significant phase in the
diverse development of Uzbek poetry. The works of
Boborahim Mashrab, Turdi Faroghi, and Nodira vividly
illustrate the mutual influence of poetic devices and
style during this period. Similes, metaphors, aruz
meter, rhyme, and symbols enriched the form and
content of poetry, while the poets’ distinctive styles
ensured literary diversity. This analysis confirms that
poetic devices and style in XVII
–
XIX century Uzbek
poetry functioned not only as aesthetic enhancers but
also as carriers of spiritual-philosophical significance.
The uniqueness of this period’s poetry lies in its
incorporation of Sufi, lyrical, and social themes, playing
a vital role in transmitting Uzbek literary traditions to
future generations.
Korean literature, similarly, has undergone a long
historical evolution, shaped by distinct cultural,
political, social, and religious conditions in each era. Its
development responded to historical circumstances,
societal changes, and external influences. This section
analyzes the major historical stages of Korean literature
and their socio-political contexts. The initial stages of
Korean literature (1st millennium
–
668 CE) featured
multiple states on the Korean Peninsula, including the
prominent Goguryeo, Baekje, and Silla kingdoms, each
with its own literary traditions. Early written works
were predominantly religious and philosophical in
nature. During the Unified Silla period, the “hyangga”
genre emerged as the first written form of classical
Korean poetry. Hyangga poems, written in the
hyangchal script, typically consisted of 4, 8, or 10 lines,
with themes reflecting Buddhist philosophy, nature,
and the interconnectedness of human life. For
example, the poem “Mo chukchi lang” [5, 1997, p. 78]
(Silla period, circa 8th century) depicts a Buddhist
monk’s spiritual quest. The structure of hyangga, with
its three parts
—
introduction, main content, and
conclusion
—
represents an early model of the tripartite
structure characteristic of Korean poetry.
The Tang and Goryeo periods (668
–
1392) were pivotal
for the development of Korean literature. The Goryeo
era is recognized as one of the high points of Korean
literary achievement, influenced significantly by
Confucianism and Buddhism. During this period, genres
such as “sijo” and “kasa” began to take shape,
alongside the widespread use of “si” (poems in the
Chinese style) written in hanja script.
The sijo genre, in particular, is regarded as a
cornerstone of Korean classical poetry. Typically
comprising three lines with 14
–
16 syllables each
(following a 3-4-3-4 rhythmic structure), sijo is noted
for its conciseness and philosophical depth. For
instance, the “Autumn Night” sijo by Goryeo poet Yi
Kyu-
bo reflects nature’s tranquility and human
contemplation: “The autumn night is still, the
moonlight shines, / Thoughts arise in my heart,
recalling the past, / This world is transient, my soul
seeks peace” [6, 1980, p. 245]. Sijo themes encompass
nature, love, the impermanence of life, and spiritual
pursuits, reinforcing the philosophical foundation of
Korean poetry.
The Joseon Dynasty period (1392
–
1910) witnessed
further refinement of sijo and kasa genres, bolstered by
the introduction of the hangul alphabet by King Sejong
the Great in 1443, which made poetry more accessible
to the populace.
Joseon poet Chong Chol’s sijo poems
are renowned for celebrating Confucian ethics and
natural beauty, as seen in his “Songgang kasa”
collection, which exalts nature’s grandeur and human
self-awareness. The kasa genre, longer in form,
combines lyrical and narrative elements. During this
period, women poets like Hwang Jini contributed
uniquely to Korean poetry. Her sijo, “The blue river
flows, stones remain unchanged, / Love is fleeting, yet
my heart finds no rest, / I remain myself, unconformed
to the world” [7, 2003, p. 156], reflects themes of love
and female independence. Two main literary directions
emerged in Joseon: formal aristocratic literature,
rooted in Confucian teachings, and folk literature,
comprising poems and stories circulated among the
common people. This era saw the expansion of sijo and
kasa in form and content, addressing social life, family,
governance, and moral values.
The modern phase of Korean literature (1910 to the
present) began with Japan’s colonization of Korea,
significantly impacting its cultural and literary life.
Despite Japanese attempts to alter the Korean
language and literature, Korean writers strove to
preserve national identity and cultural heritage.
The early XX century saw literary innovations, with the
postcolonial period fostering new genres like novellas
and novels as part of efforts to restore national
independence. This period also reveals parallels with
Uzbek literature, particularly in the transition from oral
to written forms.
Korean classical poetry’s distinctiveness is evident in its
themes, which include nature, the transience of human
life, spiritual purity, and social justice, shaped by a
synthesis of Confucianism, Buddhism, and folk beliefs.
Nature imagery often serves as a metaphor for the
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2771-2273)
inner self, while love themes in sijo and kasa are
portrayed as unattainable emotions or spiritual
aspirations. Social critique also emerged during the
Joseon period, highlighting tensions between the
yangban (aristocratic) class and the common people.
Structurally, Korean poetry’s uniqueness lies in its
concisen
ess and rhythmic patterns, with sijo’s 3
-4-3-4
syllable structure enabling deep meaning within
brevity. Kasa, being longer, integrates narrative and
lyrical elements, while hyangga’s tripartite structure
influenced later genres. The adoption of hangul
democratized poetry, expanding its audience beyond
the confines of hanja.
The historical evolution of Korean classical poetry
traces a path from folk traditions to a richness infused
with philosophical and social themes. Its uniqueness,
distinct from other East Asian poetries, lies in the
harmonious integration of local beliefs with Confucian-
Buddhist influences, as well as the development of
distinctive genres like sijo and kasa. The depth of its
themes and structural conciseness have established
Korean poetry as a rich aesthetic and philosophical
legacy, with its Joseon peak profoundly influencing
modern Korean literature.
The XVII
–
XIX centuries
represent a critical period in the development of both
Uzbek and Korean classical literatures, contributing
unique poetic traditions to Eastern literature. Section
1.1 of this dissertation analyzes the historical context,
poetic devices, and style of Uzbek classical literature,
linking its creative processes to socio-political changes
in Movarounnahr and Khorezm, the flourishing of Sufi
movements, and the rise of women’s creativity. Section
1.2 examines the historical evolution, distinctiveness,
themes, and structure of Korean classical poetry,
highlighting its formation under the influence of
Confucianism, Buddhism, and folk beliefs during the
Goryeo and Joseon dynasties. Based on these sections,
a comparative conclusion can be drawn regarding the
poetics and scientific significance of the literary genres
in Uzbek and Korean classical literatures.
The historical context of Uzbek classical literature in the
XVII
–
XIX centuries is distinguished by the flourishing of
Sufi poetry (Boborahim Mashrab), the expansion of
secular themes (Turdi Faroghi), and the development
of women’s creativity (Nodira). Poetic devices—
similes,
metaphors, aruz meter, rhyme, and symbols
—
enriched
the form and content of poetry. For example,
Mashrab’s “Sham ila parvonaman” reveals Sufi
meaning through symbolic imagery, while Nodira’s
“Gul yuzingda ochildi bahor” elegantly expresses love
an
d feminine emotions. Stylistically, poets’ unique
worldviews and adaptations to social contexts ensured
literary diversity. In Korean classical poetry, the XVII
–
XIX centuries align with the Joseon Dynasty, where sijo
and kasa genres dominated poetically. Themes of
nature, impermanence, and Confucian ethics prevailed,
as seen in Chong Chol’s “Songgang kasa,” which
celebrates nature and spiritual purity, and Hwang Jini’s
sijo, which reflects love and independence.
Structurally, sijo’s 3
-4-3-4 syllable structure enabled
conciseness with philosophical depth.
A comparative analysis of Uzbek and Korean classical
literatures reveals both similarities and differences in
their poetics and scientific importance. Similarities
include the prominence of nature imagery and spiritual
quests in both traditions. In Uzbek poetry, symbols like
“gul” (flower) and “bulbul” (nightingale) convey Sufi
meanings, while in Korean poetry, images like “daryo”
(river) and “oy nuri” (moonlight) reflect philosophical
musings. The musical aspect of poetic devices is also
significant: the aruz meter in Uzbek literature ensures
rhythmic balance, while the syllable structure in Korean
sijo enhances melodic harmony. Differences are
evident in literary genres and styles. Uzbek poetry
features long epics and Sufi ghazals, whereas Korean
literature emphasizes concise sijo and lyrical kasa.
Stylistically, Uzbek poets blended Sufism with folk
melodies, while Korean poets harmonized Confucian
ethics with individual emotions.
The scientific significance of these literatures lies in
their unique roles within Eastern literature and their
influence on modern literary traditions. The poetic
devices and styles of Uzbek classical literature
preserved the spiritual heritage of the Uzbek people,
inspiring future generations and shaping aesthetic
traditions in contemporary Uzbek literature. The sijo
and kasa genres of Korean poetry, with their
conciseness and philosophical depth, are recognized as
distinctive aesthetic models not only in Korea but also
globally. The democratization of poetry through hangul
during the Joseon period laid the foundation for
modern Korean literature’s democratic trends.
RESULTS AND DISCUSSIONS
The XVII
–
XIX century Uzbek and Korean classical
literatures showcase the diversity of Eastern literary
traditions through the poetics of their literary genres.
The richness of Sufi and lyrical themes in Uzbek poetry
and the philosophical conciseness and aesthetic
refinement in Korean poetry define their uniqueness.
The poetic devices, styles, and themes of both
literatures not only mirrored their socio-cultural
contexts but also profoundly influenced subsequent
literary developments. This analysis, through a
comparative study of Uzbek and Korean classical
literatures,
elucidates
common
and
local
characteristics within Eastern literature, affirming their
scientific importance in the global literary heritage.
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American Journal Of Philological Sciences (ISSN
–
2771-2273)
REFERENCES
Tokhliev B. Uzbek Literature. Textbook. 9th Grade. -
Tashkent, 2000, p. 13
Mashrab. Collected Works.
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Tashkent: Gafur Gulom
Publishing House of Literature and Art, 1989, p. 95
Nodira. Collected Works.
–
Tashkent: Fan Publishing
House, 2001, p. 72
Turdi Faroghi. Collection of Poems.
–
Tashkent: Sharq
Publishing House, 1995, p. 34
Iryon. Samguk Yusa. - Seoul: Minjok Munhwa, 1997, p.
78
Yi Kyu-bo. Tongmunson. - Seoul: Kyongin Munhwasa,
1980, p. 245
Hwang Jini, “Selection of Hyangga and Sijo,” Seoul:
Donga Chulpansa, 2003, p. 156
