American Journal Of Philological Sciences
127
https://theusajournals.com/index.php/ajps
VOLUME
Vol.05 Issue04 2025
PAGE NO.
127-129
10.37547/ajps/Volume05Issue04-31
The Issue of Rhyme and Refrain in Asriy's Lyrics
Fayzullayev Zavqiyjon
Basic doctoral student Candidate at Samarkand State University named after Sharof Rashidov, Uzbekistan
Received:
18 February 2025;
Accepted:
17 March 2025;
Published:
17 April 2025
Abstract:
This article discusses the issues of rhyme (qofiya) and refrain (radif) in the works of the Turkic-language
poet Asriy Tabrizi, who lived and wrote in the territory of Iran. The study analyzes, with concrete examples, how
masterfully Asriy selected rhyme and refrain
—
two key elements that define the structure of a poem
—
and how
deeply he had mastered the science of rhyme (‘ilm al
-
qāfiya)
.
Keywords:
Asriy, Fuzuli, ‘ilm al
-
qāfiya, rawī, muqayyad, mutlaq, radif, rujū‘, iḍāfa, takrīr, dhū
-l-
qāfiyatayn, radd al
-
qāfiya, muraddaf
.
Introduction:
In classical Eastern poetry, the triad of
sciences
—‘ilm al
-
‘arūż, ‘ilm al
-
badī‘, and ‘ilm al
-
qāfiya—
constitutes
the
foundation
of
poetic
expression. In the grand tr
adition of the East, a poet’s
artistic mastery was judged not only by their theoretical
understanding of these sciences but also by the extent
to which they utilized them effectively in conveying
poetic meaning.
As is known, the repeated use of similarly sounding
words at the end of each poetic line is called rhyme
(qofiya). The science dedicated to its study
—‘ilm al
-
qāfiya—defines rhyme as consisting of the rawī
(literally, “the rope that binds a load to a camel”
; in
terminology, the main sound element of the rhyme).
For example, in the words vafā and jafā, the vowel ā is
the rawī; in vafādor and jafādor, the consonant r is the
rawī. According to rhyme theory, in addition to the
rawī, there are eight more componen
ts: four that
precede (ridf, qayd, ta’sīs, dākhil) and four that follow
it (waṣl, khurūj, mazīd, nā’ira).
In classical poetics, rhymes are divided into two main
groups: muqayyad (based on root consonants) and
mutlaq (based on affixed forms). The muqayyad type
includes seven varieties (e.g., muqayyad mujarrad,
mu’assas, with ta’sīs, ridf asliy, etc.), while the mutlaq
type includes 25 detailed classifications, each
distinguished by specific phonetic and structural
features.
As evidenced by the above citation, Eastern classical
rhyme theory represents a highly developed phonetic
system, the mastery of which requires considerable
effort. Asriy Tabrizi, having thoroughly studied this
field, demonstrates in his work a high level of skill in
choosing both rhyme and refrain
—
key elements in
shaping the poetic form.
Only 33 ghazals (4 of which are musannā), 1
mukhammās, 1 didactic pandnāma, and 2 qo‘shma
(folk-style) poems by Asriy have survived. Of these 33
ghazals, 8 end in rhyme and 25 in refrain. The
mukhammās and
the pandnāma sometimes end in
rhyme and sometimes in refrain; the same is true for
the qo‘shma poems. This shows that Asriy preferred to
conclude his poems more often with a refrain rather
than a rhyme.
The analysis begins with the verses that end in rhyme,
although they are fewer in number.
Sani har ko‘rdugimda, boshqo bir olam bo‘lur paydo,
Mana maqsud ulan olam, dur ko‘yinda der: jono.
Dur ko‘yinda der: jono mana maqsud ulan olam.
Na olam
–
olami jannat, na jannat
–
jannati a
’
lo.
Boshimdan ketmadi hargiz, sani la
’
lingdagi lazzat,
Na lazzat
–
lazzati shakkar, na shakkar
–
shakkari go‘yo...
In the first couplet of this ghazal, which is built upon the
rujū’ poetic device, the rhyme is expressed through full
American Journal Of Philological Sciences
128
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American Journal Of Philological Sciences (ISSN
–
2771-2273)
words (paydo, jono), while in the second and third
couplets, it is expressed through iḍāfa constructions
(jannati a’lō, shakkari gōyō).
The repetition of a single word multiple times within a
single line of poetry with a rhythmic enumeration is
referred to as takrīr (repetition). “Emphasizing the
meaning and essence of a word through repetition is
considered the core characteristic of this literary
device” [6:125]. In Asriy’s use of takrīr, the vivid
portrayal of the lover’s emotional state becomes
dominant, intensifying the expressiveness of the
depiction.
Soqiyo! Soqiyo! Sharob, sharob,
O‘ldi dil, o‘ldi dil, xarob, xarob.
Sandadir, sandadir, umid, umid,
Ila ber, ila ber, savob, savob…
In these lines, Asriy creates the poetic device of takrīr
by repeating the words sharob (wine), xarob (ruined),
and savob (reward). In the following couplet, along
with takrīr, he also employs dhū
-l-
qāfiyatayn—
a device
in classical literature where each line ends with two
rhyming words (zulqofiyatayn)
—
thus enriching the
poetic texture.
Lutfing-
la kim o‘lur mana onchoq marom, rom,
Lutf aylakim, olub ulo ko‘nglum ba kom, kom.
Soqiy! Tag‘oful aylama, may sun, hamon, hamon,
Sandan budurki, boshqana o‘lsun rajom, jom...
In the above couplets of the ghazal, the literary device
dhū
-l-
qāfiyatayn is realized through word pairs such as
marom, rom; ba kom, kom; rajom, jom, while the
device takrīr is created by the repetition of the word
hamon, hamon.
It is worth noting that in the science of rhyme (‘ilm al
-
qāfiya), the dhū
-l-
qāfiy
atayn is closely related to nearly
a dozen classical poetic devices. These include i’nāt,
musajja‘, tajziya, tashtīr, tajnīs, tarse‘, hājib, and radd
al-
qāfiya(ito), among others.
Radd al-
qāfiya(ito) refers to the technique of replacing
one rhyme with another identical rhyme
—
repeating a
rhyme without any change in form or meaning, but
using it in a different rhyming position. In Asriy’s div
of work, there exists at least one ghazal that
demonstrates this type of rhyme usage.
Ey
tiyri
g‘amin
-chun
dili
ushshoq
nishona,
Ruxsorini gustur biza, san gulda miyona.
Sokin o‘luram masjid
-u dayr ichra damo-dam,
Ya’ni sani doim ororom xona
-baxona.
Ka’bayla ba
komdir hoji, man tolibi diydor,
Maqsudi unun Xonay manim Sohibi xona.
San-
san dilayim, Ka’ba
-vu butxonadan onchoq,
San-
san dilayim, Ka’ba
-vu butxona bahona.
Har dilda tarannum ulunon hab sanin ishqin,
Oshiqda surudi g‘am
-u bulbulda tarona.
Har
zarrada
aksin
sanin
ulduqjo
namoyon,
Devona manamkim, guzaram xona-baxona.
Osiyligi
Asriynin
umidi
karamin-la,
Yo‘xdur bu gunahkor laqiyno boshqa bahona.
In this seven-couplet ghazal, Asriy uses the words xona-
baxona and bahona twice each as rhymes. In our view,
Asriy, by repeating rhymes that convey the same
meaning and do not acquire a new sense with each use,
allows a minor flaw in his poetic construction.
However, certain sources offer a different perspective
on this matter: “... in poetic practice, the appropriate
repetition of a rhyme is not considered a flaw, but
rather is regarded as a poetic device, and the great
representatives of Persian-Tajik literature have
employed it skillfully” [7:108]. As noted in the above
citation, experts in the field maintain that the justified
repetition of a rhyme is not considered a defect.
Nevertheless, this conclusion does not fully apply to the
current case in Asriy
’s poetry. Asriy’s ghazals, built
upon repeated rhymes (mukarrar) that ensure a unique
musicality, provide readers with a distinct poetic
pleasure.
1)
Kufr zulfindan olub iymon-iymon ustuna,
Yora qul o‘ldum edub paymon
-paymon
ustuna...
2)
Ohim misoli sarvi xiromon uzun-uzun,
Dardim misoli zulfi parishon uzun-uzun...
As previously mentioned, out of the 33 ghazals
attributed to Asriy, 25 are muraddaf
—
that is, ghazals
featuring a radif (refrain). In classical poetry, rhyme
(qafiya) is often used in conjunction with radif. The
term radif, meaning “that which follows in succession,”
refers in literary criticism to a word or phrase that
comes immediately after the rhyme and is repeated
exactly throughout the poem. Radifs serve to
emphasize the leading idea expressed in the poem,
draw the reader’s attention to the central theme, and
help deliver the poet’s ideological message more fully
and
deeply into the reader’s heart [6:84].
In his poetic works, Asriy employs a wide range of
diverse, playful, and appealing radifs:
1)
Nigohi yor ilon mast o‘lmishiq paymonadan avval,
Dari dildora dushdik, go‘shayi mayxonadan avval…
2) Biz bu dunyo bazmina rindona kelmishlardaniz,
Qoilizkim, go‘shayi vayrona kelmishlardaniz…
3)
Gahi oqil, gahi hayron, gahi shaydo ko‘nuldur bu,
Gahi obid, gahi ma'bud, gahi mavlo ko‘nuldur bu…
American Journal Of Philological Sciences
129
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American Journal Of Philological Sciences (ISSN
–
2771-2273)
4)
Abro‘ ila, chashmon ila mushkil, ikilashdi,
Qotil ila,
maston ila mushkil, ikilashdi…
Asriy composed a
complete mukhammās based on
Muhammad Fuzuli’s seven
-couplet ghazal that begins
with “Tariqi faqr dutsam, tab’ tobeyi nafs rom o‘lmaz,”
masterfully aligning his verses to the original rhyme
scheme with jewel-like precision. In the process of
takhmis, he skillfully employed rhymes such as iltiyom,
orzuyi xom, and lajom, which correspond seamlessly to
the rhymes in the base ghazal.
Additionally, in his didactic work titled Pandnomayi
Asriy, consisting of 25 couplets, the poet wove over
twenty proverbs into ver
se. In this pandnāma, Asriy
makes use not only of rich (to‘q) rhymes but also
employs light (och) rhymes, demonstrating his
versatility in handling diverse rhyming techniques:
Kechar ahbob-
u do‘stlarin yuzidan,
Kechmasin dodli dil kular o‘zidan.
Har zamon uyama dodli so‘zlarsan,
Og‘la der do‘st, kuldirar dushman.
San fanolar-
la yo‘l dutub yurma,
Qorolir chun boxib o‘zum
-
o‘zuma.
It should be noted that Asriy’s qo‘shma poems are of
particular significance due to their style, form,
language, and expression, which closely resemble
those familiar to the modern reader. The inner
emotions of a person separated from their beloved are
conveyed with simplicity and sincerity.
The rhyme scheme of this poem, composed in an 8-
syllable meter, does not differ from that of
contemporary poetry written in the barmoq (syllabic)
meter. Its rhyming pattern follows the structure:
v-a-s-a, d-d-d-a, s-s-s-a:
Falakning charxi yixilsin,
Mani nozli yordan etdi.
O‘lumi afg‘on etmamak?
Bulbuli gulzordan etdi.
Ko‘zin nargis, sochi
sunbul,
Bog‘inda o‘lmusham bulbul.
Kiprigi xordi, o‘zi gul,
Ham guldan, ham xordan etdi.
Asriy g‘am libosin kiyar,
Oyriliq belini iyar.
Etdigi “oh” dog‘o deyar,
Qor
li dog‘i qordan etdi.
Overall, Asriy Tabrizi was a poet who had thoroughly
mastered the art of selecting the fundamental formal
elements of Eastern poetry
—
qafiya (rhyme) and radif
(refrain)
—
and made a worthy contribution to enriching
Turkic poetry with his literary masterpieces.
REFERENCES
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Fozilov. To‘rt tomlik. T.1. Toshkent, 1983.
Alisher Navoiy asarlari tilining izohli lug‘ati/Tuzuvchi: E.
Fozilov. To‘rt tomlik. T.2. Toshkent, 198
3.
Alisher Navoiy asarlari tilining izohli lug‘ati/Tuzuvchi: E.
Fozilov. To‘rt tomlik. T.3. Toshkent, 1984.
Alisher Navoiy asarlari tilining izohli lug‘ati/Tuzuvchi: E.
Fozilov. To‘rt tomlik. T.4. Toshkent,, 1985.
Alisher Navoiy qomusiy lug‘ati.
Ikkinchi jild.
–
Toshkent:
Sharq
nashriyot-matbaa
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jamiyati
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https://samxorfil.uz/yangiliklar/gadoiy-ijodida-qofiya--
shakllarining-oziga-xos-ifodalanishi
