American Journal Of Philological Sciences
27
https://theusajournals.com/index.php/ajps
VOLUME
Vol.05 Issue04 2025
PAGE NO.
27-31
10.37547/ajps/Volume05Issue04-07
Harmony of Rhythm and Poetical Image in Poetry
Khurshida NISHONOVA
Academy of Sciences of Uzbekistan, Institute of Uzbek Language, Literature and Folklore, basic doctoral student, Uzbekistan
Received:
12 February 2025;
Accepted:
13 March 2025;
Published:
10 April 2025
Abstract:
The article discusses rhythm, which is an important artistic element of poetry and poetic image are
analyzed in harmony with each other. Rhythm appears as a means of determining the external structure of the
poem, its tone, and musicality. Poetic image serves to express the poet's imagination, feelings, and thoughts in a
figurative form through an artistic approach. The article argues that it is precisely the harmony between rhythm
and image that enhances the internal content and aesthetic impact of a work of art. Examples illustrate how a
poet enhances images through rhythm, and how image gives meaning to rhythm. This article may be useful for
readers, students, and literary critics interested in studying literary analysis, artistic thought, and the
interrelationship of poetic means.
Keywords:
Rhythm, poetic image, artistic harmony, poetic musicality, imagery, artistic image, melody,
compositional structure, poetic style, means of artistic expression, poetics, poetic art, poetic language, image-
creation technique.
Introduction:
Since the emergence of literature The
idea that the author wants to convey is realized as a
word, image, or idea. and this phenomenon has
become a law. The creator comprehends existence
through the medium of the image
, “
expresses the
essence he perceives and his emotional attitude to the
thing he perceives. In this sense, the image is
considered a form of thinking, a method of literature
and art” [5.77]. Although the idea of reflecting reality
in art and literature through images has existed since
the time of Aristotle, it was mainly in the first half of the
11th and 12th centuries that the problem of creating a
beautiful image that would express the true nature of
freedom and emotional expression, according to
Hegel's theory, was raised [1.58]. Representatives of
various fields of science, literary critics, linguists, and
art historians have expressed their reactions to certain
aspects of the term "image". At first glance, when we
think of an image, we see scenes and characters that
reflect life in a unique artistic form in art and literature.
However, research aimed at studying the image has not
yet come to an end. Ideas related to the image and its
nature, characteristics, social, linguistic, artistic, and
psychological aspects have not yet been concluded.
MAIN PART
Scholars have turned to the problem of poetic image in
the Greek have expressed their views since the times of
civilization. These studies are mainly devoted to the
origin of the image and methods of expression, and
studies have been conducted by the Greek philosopher
Aristotle, oriental thinkers Abu Nasr Farobi, Ibn Sina,
German scientist Hegel, modern thinkers Fitrat,
Chulpan. In particular, the Russian literary scholar Y.E.
Bertels, studying the work of Alisher Navoi, says about
the scholar's epic poem "Saddi Iskandariy": "The goal
that Navoi had in mind for this work was to create an
image of a perfect king, which should serve as an
example for the rulers of Alexander's time"[ 22. 408]. It
should be noted that an objective assessment of the
image is impossible. Because, just as each poet is a
separate phenomenon, the criteria for evaluating the
images he creates should also be separate. From this
perspective,
the
German
philosopher
Kant
recommends a subjective approach to the image. It
seems that the image arises in the context of a certain
situation and period.
The image was studied by representatives of the
European Renaissance, Baumgarten, Hegel, Kant, Later,
Belinsky, Dobrolyubov, denied the view that life is
identical with reality, and showed it as life dreamed of
and understood by the author. Abdurauf Fitrat, on the
other hand, shows that art is a means of re-creation.
The article discusses the nature of the poetic image,
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American Journal Of Philological Sciences (ISSN
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2771-2273)
one of the age-old problems of literary criticism. It
describes aspects related to its origin and development
in the last quarter of the 20th century.
In Uzbekistan, the criteria for images characteristic of
Eastern and Western literature were analyzed and
compared in literary studies. The theory of the norms
of approach to poetic images in higher education was
substantiated with the help of the analysis.
RESULTS AND DISCUSSIONS
We perceive the characteristics of poetry, the nature of
the poetic image through the dimensions of form. Just
as a poetic work has a certain formal structure, a poetic
image cannot exist without a formal structure. They
exist in a verse, a couplet or a stanza, in a rhyme, in a
rhythm. That is why, when we talk about the nature of
a poetic image, we have in mind “not only concrete
metaphors and words that reflect a new thought - an
idea, individualized by the poet in the process of
creation, but also unique musical words and
expressions that are in harmony with the rhythm and
melody of the poem” [5.46]. So, since each word is
meaningfully and grammatically embedded in the
general text of the poem through a certain melody in
the structure of the verses, the poetic image appears in
this text as a reflection of the creative soul.
Rhythm brings poetry closer to music, and the poet
chooses a rhythm that is similar to the nature of the
image, which is harmonious with the melody. “
The
“Lie” in Navoi’s prose was considered incomparable by
the wise, and in verse it caused delight and amazement,
which shows that poetry is given special value,
including the “magical” power of poetic rhythm and
music” [5.49],
- wrote the literary critic B. Akramov.
Rhythm attracts the reader. Perhaps this is connected
with the ancient creation of humanity. After all, it is no
secret that people enjoy the melody of a poem before
its content. Therefore, the harmony of form and
content is one of the primary aspects in showing the
nature of the poetic image.
If we look at the history of literature, in poetics, form is
the primary phenomenon for the expression of an
image. However, not every written text whose form is
considered perfect is considered a poem. Mr. Fitrat in
his work “Literary Rules” says, “We call every group of
words that have a rhyme and a rhyme a poem. Because
the ancient Persian-Arabic writers used to define a
poem as “a sentence that has a rhyme and a rhyme”
[10.13]. However, in the course of his thought, Fitrat
compares the works of Sufi Olloyor “Sabot ul
-
ojizin”
and Chulpan “Cleopatra” and concludes that a written
text that has any form of perfection is not a poem. In
this study, we tried to analyze the sources we are
analyzing not from the perspective of the problem of
whether they are poems or “pieces of verse”, but from
the perspective of the poetic image created in existing
examples of art.
In the artistic thinking of the last century, we witness
the balance of form and content. The genre research of
these years, the improvement of artistic speech, the
language of the work, the pursuit of diversity in form,
served as a foundation for the literature of the 80s-90s.
Our poets expressed the reality of life reflected in
literature within the framework of the environment in
which they lived.
It can be said that form is an important aspect of lyric
poetry. The attitude towards the surroundings, the
creatures of the Creator, to perceive them differently
from others, to express new thoughts about them, to
create new original images is the task of poets. These
understandings are revealed through formal research
such as a certain rhythm, rhyme, genre. In order for the
new idea expressed by the poet to arouse pleasure in
the reader, it must have a figurative expression, be in
harmony with figurative expression, figurative thought,
rhythm, meter, rhyme, genre. In this sense, the poet
must, with the power of subtle inner feelings, imbue
the nature of the images with the hidden melody of the
poem. The idea that has developed in the poet's mind
must find its expression in a certain line that
corresponds to the formal dimension of the poem.
More precisely, a word, metaphor, form, tone are very
important for the expression of the poet's pain,
thought, and feelings. Just as any poetic form is made
up of words with a certain emotional expression, the
words must also conform to the requirements of a
certain form.
Each artist can create unique works only when they
have their own unique and inimitable style, as a true
talent. In such works, the artist speaks in a single tone
so that his spiritual world does not fall into fragments.
Therefore, each work of art appears as an inner
statement, a confession of its creator.
In Uzbek literary criticism, researchers such as Izzat
Sultan, Ummat Tu'ychiev, Bohodir Sarimsakov, and
Nuriddin Shukurov recognize rhythm as the main sign
and important element of poetic speech. Literary critic
Dilmurod Kuronov defi
nes rhythm as follows: “Rhythm
is an extremely broad concept, which is inherent in
many phenomena and natural processes in rhythmic
existence. Therefore, in a general sense, rhythm is
understood as the orderly repetition of certain
fragments at a certain t
ime interval”
[29.292].
Just as there is no phenomenon or situation in the
world that moves without its own order, literature,
especially poetry, which reflects the artistic perception
of real life, cannot be imagined without rhythm.
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American Journal Of Philological Sciences (ISSN
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Because any unnatural example of creativity, like wild
nature, over time bores and tires the reader, and
interest and excitement in it fades. In this regard,
rhythm is not only one of the organizational elements
of literary creativity, but also an important factor that
increases its spiritual impact.
A poem that lacks the rhythm of sounds and the breath
of words cannot captivate the reader, cannot become
the property of his soul [32.4]. In the works created by
creators with an individual creative direction, whether
in prose or verse, their unique voice - rhythm - is
reflected. Especially in poetry, this voice is the main
feature, an important component of the individual style
of the creator. If we look at it from this perspective, it
becomes clear that the concepts of individual style and
rhythm are mutually exclusive phenomena, and it is a
complex matter to study them separately.
We can see these musical and formal explorations in
the poetry of the 80s and 90s. These explorations serve
to reveal the nature of the poetic image created by the
artist. For example, in the poem "Thoughts Before
Navruz" by Chori Avaz, he creates a new melody, a new
coherence of thought, both for the world and for man.
I saw the tears, dried up,
I saw the maple trees, and they were rotten.
I saw the tears that were shed, saying, "I am right."
I saw the big stone that was supposed to be real.
They said they saw the winds, and it was true.
I saw the mountains, I swear.
I saw the flood that was raging,
I saw the sky that was ringing with truth.
Oh man, restrain yourself from drowning,
Nature is preparing for rebellion.
The unique musicality of this poem can be observed in
the nature of the images, the world described by the
poet - the awakening in the sky and the earth, the
awakening objection to winter, the rebellion against
winter, the striving for truth that the poet wants to
infect the poet's poetry, the understanding of the truth,
as well as the state of man and nature, which
harmonizes. The rhythmic structure of the work is
consistent, and the repeated use of the word "I saw"
emphasizes the consistency of observation and reality.
This repetition gives the poem melody and increases
the impact of poetic expressions. The length of the lines
and the balance of accents ensure rhythmic harmony,
enhancing the internal dynamics of the poem. The
orderly arrangement of rhyme ensures the connection
of poetic images with each other, strengthening the
internal harmony of the poem. Rhymes such as “Dried
-
rotten”, “large stone
-
tear” emphasize the internal
connection of the described situations and enhance the
effect of artistic images. At the same time, they serve
the general content flow of the poem and create
rhythmic consistency. In the poem, natural phenomena
are poetically perceived, the scale of the clear
impression is at the same time the awakening of
nature, as well as the awakening of the human spirit, is
placed in the 6 + 5 meter. Depicting spiritual rebellion,
the poet, through such a comprehensive rhythm,
expresses the lamentation of nature in the poetic
image.
The poem belongs to the philosophical-lyrical genre, in
which, through natural landscapes, a deep observation
is made about human life, truth, and the process of
change. Although the poetic images are related to real
events, their symbolic meaning is also deep: the dried-
up ravine, the rotten maple, the flood, and the shaking
mountains point to the fate of humanity and the power
of truth.
The lines are concise and clear, providing a poetic tone.
In particular, the line “O man, restrain yourself from
drow
ning,” is in the form of an appeal, marking the
climax of the poem and inviting the reader to observe.
The final line of the poem concludes the entire content
with a sharp dramatic tone, summarizing the main
essence of the poetic images through the conclusion
“Nature is preparing for rebellion.”
Thus, rhythm, rhyme, genre, and stanza are used
harmoniously in the poem, which serve to deepen the
content of poetic images. While rhythm and rhyme
strengthen the internal structure of the poem, genre
reveals its philosophical essence. Stanza enhances the
dramatic effect of poetic images and conveys an
emotional and philosophical conclusion to the reader
more strongly. As a result, the poem demonstrates its
poetic power through the harmony of formal research
and artistic means.
In A'zam Oktam's poem titled "Qo'shiq", the role of
rhythm in showing the nature of poetic imagery is
unparalleled.
I come from Fergana,
Are you coming, my friend, are you coming, my friend?
I fell in love with you.
Do you know, man, do you know, man?
There is a method of singing in oral folklore. It goes back
to ancient epic traditions. The melody of the poem
corresponds to the method of enumeration, which is
characteristic of the ancient Fergana school of epic
poetry. (Usually, when a person complains about
someone, he lists their deeds one by one. Perhaps the
Fergana method of enumeration was used in this
context - XN)
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This song is written in a folk style, with a strong rhythm
and melody. The repetition of the stanzas in the poem
and the use of accented sounds such as "yo", "ey", and
"a" further enliven the melody of the song. The double
rhymes and simple but meaningful word choice
emphasize its folk song character.
The poem has a motif of a journey: the line "I come
from Fergana" describes the lyrical hero's journey. This
is not only a physical journey, but also a symbolic one -
the path to love, destiny, and life. The lines "Do you
know that I fell in love with you, my friend?" reveal the
feelings in his heart.
The following lines reflect on human nature and the
realities of life. The line "There are people in the world,
you are very cunning, you dog" reflects the complex
relationships between people and the sometimes
unfairness of life. The lines "You are ready to help, even
if you dig your own shadow" express betrayal or
instability in life.
The idea of "one death for one person" reminds us of
the inevitability of life. No matter how hard we try, we
cannot escape fate. The line "Whoever is unfaithful, we
have made him a god" connects concepts such as
betrayal and disloyalty with fate and divine justice.
The most philosophical part of the poem is connected
with the image of water. The lines "The water stood
still, drinking its mud" describe the two sides of human
nature - calm and pure on the outside, but with secrets
and sorrows inside. The line "If we are calm, we will see,
what is its condition" refers to the fact that over time,
the truth will be revealed.
Finally, a philosophical thought is expressed about the
past. The lines "It is a mistake to throw sand in the eyes
of the past," emphasize the wrongness of trying to
forget the past. The line "Taskinum shul - the light of
the lonely is God," concludes with the idea that
ultimately everything depends on divine justice.
This song is a perfect example of conveying folk
philosophy, human emotions, and the truths of life
through simple yet deeply meaningful lyrics.
The nature of the poetic image of "the world" is
outlined through figurative expressions such as the
hypocrisy of people moving away from humanity, the
lover, the mistress, the world being stained, one death
per head, and throwing sand in the eyes of the past.
The harmony of the melody is achieved through the
double repetition of the combination in the fourth line
of each stanza, and the betrayal of the world is
expressed through the metaphor. At the same time,
the lover who has been betrayed puts his situation in a
playful tone, because it also hints that "the life of the
world consists of a game."
The poet presents the reader with a unique expression,
hiding helplessness in the tone and rhythm. The poet
uses the rhythm of the poem in the traditional form,
musical structure, and proximity to folklore to show the
uniqueness of the creator and the colorfulness of the
images. It is important that the sonority and musicality
of each line, each word in the poem correspond to the
text and general content of the poem. Therefore, when
creating the rhythm, music, and tone of the poem, the
poet pays attention not only to the words of the lines,
but also to the harmony of sounds. Because in
understanding the nature of the poetic image, even a
single sound in the poetic text is an important element.
In Nazar Shukur's poem "In the City," rhythm and music
play a key role in expressing the content and meaning.
Actions
It fills the corridors and flows.
On asphalt roads
It is "a little bit".
From heavy legs
Even the trace fades.
Everywhere,
In every direction
–
Flowing so chaotically
Leaving the city...
Towards dirt roads
It's going to be shallow.
Imagery takes precedence in the poem. In order to
emdiv city life in front of the reader, the author gives
the title “In the City”. The use of the sound “Sh” in the
title itself creates a noisy impression in the reader’s
mind. Initially, this impression is indicated by the verb
“to flow” in the verse “To fill the corridors” in the poem.
Note that this word is usually not used for things that
can be counted with numbers. So, the verb to flow is
used for innumerable things, water, sand, rain, etc. The
poet t
ransfers the process of “flowing” to the roads.
These people flowing in the corridor… the poet here
refers to the crowding of the city roads. Since the
crowding is given by the word “flow”, the noise of the
city, the roar of the crowd, the voices of people, the
sounds of footsteps harmonize with each other. This
noise, the liveliness, the hustle and bustle of people,
the conversation enliven the street life. This noise also
touches the human heart. For a person living in the city,
time passes very quickly. Sometimes a person gets used
to this situation. The narrowness of space in the city,
the emptiness of time are shown through the sound “z”
in the word “taqlid” used at the end of the line “Asphalt
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American Journal Of Philological Sciences (ISSN
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roads are crowded”.
In poetry, the harmony of rhythm and image is one of
the main factors determining the artistic value of poetic
works. While rhythm forms the internal structure of the
poem, images enhance its emotional impact. When the
two are in harmony, poetry has a deeper impact on the
reader. That is why poets paid special attention to
these elements and made them an integral part of their
creative style. As a result, masterpieces of our
literature were created, and they continue to inspire us
all today.
CONCLUSION
In conclusion, it can be said that the problem of the
poetic image has always been one of the most
important scientific and theoretical issues of literature.
Because the image of literature, the images of man and
the world in it, and, above all, the reflection of the
Supreme Truth, are manifested in the poetic image.
The poetic image shows the level of understanding and
comprehension of existence in each period of national
literature. The poetic image expresses beauty and
grandeur more through art. Therefore, the poetic
image is associated with the worldview of the creator.
First of all, the poet, through his work, passes reality
through the prism of his ideal and transfers the
conclusions he has drawn to the image, that is,
materializes them in his written works. We, as readers,
perceive, feel, understand and explain the thoughts
that the creator wants to express, the pathos he feels,
the meanings he wants to convey through words.
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