American Journal Of Social Sciences And Humanity Research
56
https://theusajournals.com/index.php/ajsshr
VOLUME
Vol.05 Issue02 2025
PAGE NO.
56-58
10.37547/ajsshr/Volume05Issue02-13
Linguistic features of ghazals
Nurmuhammedova Maftuna Hilol qizi
Independent researcher, Tashkent State University of Oriental Studies, Uzbekistan
Received:
15 December 2024;
Accepted:
17 January 2025;
Published:
19 February 2025
Abstract:
Sakkokiy is considered a poet who gained fame in his time for the simplicity and comprehensibility of
the language of his ghazals and odes. A distinctive feature of Sakkokiy's works is that he used Persian and Tajik
vocabulary.
Keywords:
Tanosib, mubolagha, ghazal, tuyuk, simile, metaphor, praise and narration.
Introduction:
According to Alisher Navoi, Sakkokiy is
one of the poets who gained fame in Movarunnahr. He
lived and worked since the time of Ulugbek. The poet
wrote ghazals and odes. Sakkokiy, like Atoi, skillfully
used elements of the folk language and sought to
create original figurative means. He used methods such
as ghazal, tanosib, animating, praise and narration, and
resorted to simile, mubolagha, metaphor and other
types of figurative means. As a result, he created
ghazals in the style of folk songs, which are
characteristic of folk oral art.
Although Sakkoki did not complete his works in the
genre of tuyuk, his mastery of wordplay is evident in
the ghazals he wrote. He enriched both the content and
language of his ghazals with folk proverbs.
Sakkoki also wrote qasid, a literary genre of political
lyrics. As is known, qasids are written in honor of
statesmen, political and military events. In his qasids
dedicated to Ulugbek, the poet praises his scientific and
political activities. He glorifies Ulugbek with such
adjectives as "Suleiman of the Age", "Musotek",
"Shubon". This style of qasid, characteristic of the
qasid, was continued by poems after Sakkoki. In
Sakkoki's works, the influence of the Oghuz language
and the Western literary language tradition is strong
about the elements of the Kipchak language. Sakkoki's
ghazals sing of human love, enjoyment of worldly
pleasures, and delight in the beauties of nature.
According to the pineapple of this period, all of
Sakkoki's works are written in the vernacular in a
simple, fluent style. He widely and skillfully uses the
rich vocabulary, forms and expressions, and various
figurative means characteristic of the lively vernacular,
creating such wonderful artistic and figurative methods
as contrast, analogy, and exaggeration. Like Atoi,
Sakkoki enriches the language of his works, enhances
its artistry and content, and uses folk proverbs, wise
sayings, and phrases with skill.
Several of his ghazals are written directly in the style of
folk songs.
Kim korsa aning yuzini aytur,
Ne turfa erur bu turk balosi
Turkona ir irlagulcha aning
Kuydiradi meni yalay-bulosi.
In terms of language, such stylistic fluency and
simplicity are also characteristic of his odes. In the
language of Sakkoki's works, along with new forms
characteristic of the Uzbek language of that period,
elements of old literary languages are also used. In
particular, the phenomenon of declension is noticeable
in affixes, the harmony of vowels and consonants is
preserved phonetically: tuttuk, ezukqum, janga. The
occurrence of the sonority of the sonority of the
sonority in the form of -a, -na is also found. The word in
the sonority of the sonority of the sonority is combined
with the conjunction -, and acts as a participle: Hos
davron bizingdur, kechti Majnun navbati.
Also, verb forms such as (tolgonu, tolganib) are used,
the adjective with the affix -gan and its occurrence as a
American Journal Of Social Sciences And Humanity Research
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American Journal Of Social Sciences And Humanity Research (ISSN: 2771-2141)
noun are often found, but in its inflected state, the
agreement is not visible. The present future tense of
the verb is given by -man, -mon: ne kilgusi, bilmon bu
makkora kaye. In these works, auxiliary verbs such as
ayla, kolma, kilma occur.
Gul uyseng nin arzulab uys kozini gulzar ayli. The past
tense adjective is formed by adding the affix -mish to
the verb stem.
It is known that this compound is widely used in Urhun-
Enasay writings and the later Yodnomala language. In
poets after Sakkoki, this compound is rarely found. For
example, Adolat bogi sabz aldi, chu Noshiravon keldi.
The words "bilin" and "yangliq" that appear in Sakkoki's
works, like "alaq", "alaq", have similar meanings. These
words are found in all poets up to Navoi. Another
unique aspect of Sakkoki's works is that compared to
the Atoi language, there are many Tajik and Persian
words and expressions in it. For example: qohnan-tak
köporuvchi, garam-barbad.
The main theme of Sakkoki's lyrics, like that of many
poets, is mainly the glorification of love. When he sings
about the love of man for man, he sings of love
inextricably linked with love for life, its pleasures,
natural landscapes, and human virtues. He paid great
attention to the meaning and form of his poems.
Sakkoki, like his contemporaries, skillfully uses
wonderful wordplay in his ghazals. While describing the
charm of the depicted lover:
Qochon
kim gʻamzasi koʻzlab oʻqin kirpiki kezlosa,
Qora qoshlaridan paydo boʻlur ushshoqning yosi,
–
said.
Many of the artistic images and analogies presented in
Sakkoki's ghazals can also be found in the ghazals of
Alisher Navoi, Babur, and other poets.
Sakkoki did not limit himself to writing only lyrical
poems, but, as we have said above, wrote beautiful
odes, and these odes are closely connected with the
social life of the time in which he lived and worked.
It will be useful to pay attention to another verse in
Sakkoki's ode to Ulugbek, which:
Raiyat qoʻy erur, Sulton anga choʻpon yo boʻri,
Boʻri oʻlgayu qoʻy tingʻay, chu Musotek shubon keldi,
–
writes.
With this, Sakkoki reflects on the rulers of that time and
likens the just rulers to a shepherd and the unjust rulers
to a wolf.
The poet describes the event of Ulugbek's rise to power
as follows:
Jahondin ketti tashvishu mabodoyi amon keldi,
Xaloyiq aysh eting bu kun, sururi jovidon keldi.
Tan erdi bu ulus barcha, aningtek joni bor yo yoʻq,
Bihamdilloh, oʻgʻon f
azli bila ul tanga jon keldi.
The words "nation", "nation", "people", "peace",
"surur", "adolat" are often used in the ode dedicated to
Ulugbek. It is clear from this that, as a progressive
thinker of his time, the great poet Sakkoki, while
thinking about the state of the people, expressed his
satisfaction that the rise of an enlightened ruler like
Ulugbek to the top of the state was a good thing for the
people.
Thus, as Hazrat Alisher Navoi said, Mavlana Sakkoki
went down in history as one of the great poets who
created wonderful lyrical poems and unique odes and
made a certain contribution to the development and
flourishing of Uzbek classical literature.
In general, Sakkoki is also one of the poets who made a
significant contribution to the development of the
Uzbek literary language.
When analyzing Sakkoki's ghazals, first of all, the depth
of his thoughts and the concise, simple language that
they are written in attract attention. The length of his
ghazals is mainly 7-9 verses, but we can also find
ghazals of 10-11 verses. The poet widely uses purely
Turkish similes and figurative means. The main theme
of Sakkokiy's ghazals is love (i.e. divine love). The lyrical
hero in them is humble and simple, ready to sacrifice
his life for his beloved. No matter how much his
beloved tries, tortures, and torments him, he continues
to love her. Because the reason for his existence, love,
life, and sighs in this world is all because of his beloved.
He lives believing that he will be blessed. Mystical ideas
permeate all his ghazals. These two things: lofty ideas
and simple-rich language are inherent in Sakkokiy's
ghazals and always occupy a place in the hearts of
ghazal writers.
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