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ORDINARY SIMILES IN KARAKALPAK LYRICS
Tilegenova Altinay Ernazar qizi
PhD student at KSU
https://doi.org/10.5281/zenodo.14642646
Abstract:
This article examines the characteristics and innovative use of
artistic imagery in contemporary Karakalpak lyric poetry. By studying the works
of poets who are enriching the genre with their creative approaches, we analyze
the current artistic level of similes, their types, and the objects to which they are
frequently applied, as well as the methods used in their implementation.
Key words:
poetics, character, trope, simile, simple similes.
Аннотация:
В данной статье исследуются особенности и новаторское
использование художественных образов в современной каракалпакской
лирической поэзии. Изучая произведения поэтов, обогащающих жанр
своими творческими подходами, мы анализируем современный
художественный уровень сравнений, их типы и объекты, к которым они
часто применяются, а также методы, используемые при их создании.
Ключевые слова:
поэтика, образ, троп, сравнение, простые
сравнения.
Similes consist of several elements according to their use in a literary text,
and are divided into complete and incomplete depending on the presence of
similes or words. Literary theorist T. Boboev asserts that a complete simile
comprises four elements: “a) the subject being compared - the object of
comparison; b) the object of comparison - a similar character; c) the feature of
similarity between the compared objects - the basis of comparison; d) affixes
such as like (-day, -dek, simon, ona, noma, amuz, cha, larcha); lexical auxiliary
words such as like (kibi, like, yangliq, xuddi, göyo, bamisoli, misli, mislsiz, tus,
shakl, holat, barobar); words such as like (sifat, qomat, nusxa, rang, bashara,
taxlit), are simile suffixes. [1:152] Thus, for a simile to be complete, all the
aforementioned elements must be present.
Another distinction in the literature regarding the description of similes is
manifested through their comparative features. G.L. Abramovich categorized
similes into direct similes and negative similes based on their form. [2:153]
Direct similes are comparisons of one object to another through a specific
characteristic, which is easily noticeable in the context. For example:
Their thoughts are a salt market,
their clarity is a bird market.
Five hundred birds from the north,
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five hundred birds from the south,
breeding fledglings
thousand-bird island - thousand-bird mountain -
Were you Mangistaw (Thousand-Bird Mountain),
Mangistaw?!..
The comparison of deep places to a salt market and "moon" birds to a bird
market is manifested in the similar characteristics of two things: shallow areas
where salt accumulates are suitable for salt extraction, natural food, while lakes
where birds frequently inhabit can provide conditions for bird hunting and
sustenance. The comparison of the Mangistau people in the last line to the island
of birds and mountains also stems from its objective factors and the birds'
habitat, with things being accurately compared to each other based on such
natural, objective qualities. Such comparisons are found in almost all poets in
contemporary Karakalpak lyric poetry. Now, negative comparisons become
more complex. In these, one object or person (the comparer) is mentioned, their
qualities and characteristics are given, and then the second, the compared, is
said to be even superior, with the comparer's qualities being weaker than the
one being compared. That is, it's a comparative description of something similar
to show the superiority of one thing over another. Professor B. Genjemuratov, in
his monograph dedicated to the lyricism of Ajiniyaz, analyzes the negative
comparisons in the poet's work as follows: “Biybigul and Ayjamal are compared,
and Biybigul’s dominance in beauty is depicted. That is, Ayjamal’s beauty is
denied in the process of comparing it to Biybigul’s beauty. That's one side of the
issue. But in terms of inner meaning, the equalizing girl – “Biybigul” is also
beautiful, and the equalized girl – “Ayjamal” is also beautiful. These are the
similarities between the equalizer and the equalized, so they are compared more
closely. As a result, Biybigul’s beauty is manifested through the presence of
Ayjamal’s beauty”. [3:39] Such similes are mainly used in descriptive poems
when praising a person or object excessively and glorifying their superiority.
The most common method of similes in modern Karakalpak lyric poetry is
simple similes formed from the similarities of two objects related to their
appearance, appearance, and color. Any element in nature that can inspire the
poet primarily evokes thoughts through its visual characteristics.
Like the feathers of a fluffed-up white hen,
It gently settles on your eyelashes.
The earth's surface, like the bodies of beauties,
Stands slightly pale. [4:50]
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Like a sword drawn from its sheath,
Like a belt tied around a girl's waist,
You are a wisp of golden mist,
You are the golden waters of speech. [5:27]
Summer season.
Red apples,
Apricots - like a girl's lips.
The Khan's daughter - golden beetles,
Crawl ceaselessly, without tiring. [6:110]
In the first example, the phenomenon of snowfall is depicted with exquisite
similes. The appearance of snow is compared to the feathers of a white hen,
followed by an even more powerful comparison - the bodies of beautiful women.
The snow whitening and covering the ground reminds the lyrical hero of a
beauty's fair div. Such aesthetic beauty, portraying the appearance and natural
characteristics of objects through color similarities, cannot fail to astound the
reader. In the second poem, the snake's div structure, based on its physical
attributes, is likened to both a belt and a sword. The sword also evokes the
image of a snake poised for attack, lunging at a person or an animal, while the
belt represents its coiled state. The final example consists of comparisons
derived from color similarities. The natural red hues of apples and apricots are
likened to a girl's lips, carefully chosen to align with the poet's artistic intent.
The fruits are compared not to any similar object, clothing, or red-hued
phenomenon, but to the lips of a girl, which hold great value for the lyrical hero.
Selecting an appropriate detail for a simile also requires skill from the poet.
In modern Karakalpak lyric poetry, there is a collection of similes created using
the methods we mentioned above, which are effectively employed. Such similes,
based on the external appearance, image, color, and similar features of objects in
certain comparable concepts, are considered the simplest and easiest types of
similes to create. This is because objects that immediately catch a person's eye
and evoke other things in their memory through external signs are understood
at a glance to be different yet similar. It is not difficult to notice the similarities in
their external structure. The state of real objects mentioned in the latter
examples and their semantic comparison are created based on the concept of
action, which ensures their semantic connection. In the semantic connection
between living actions in natural phenomena and the state of time passing, time
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serves as the main source of similes and is taken as the object of similes with
other temporal actions, personal qualities, and actions of living and non-living
creatures. Other time-related actions, personal qualities, and behaviors of living
and non-living creatures are taken as objects of comparison with time. Some
poets use the flight of birds, others the flow of water, the blowing of wind, and so
on.
References:
1.
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2.
Абрамович Г. Л. Введение в литературоведение. – Москва.
Просвещение, 1979.
3.
Генжемуратов Б. Əжинияз лирикасыныӊ поэтикасы. - Нөкис,
«Билим». 1997.
4.
Избасқанов Ж. Ақ қуслар. Нөкис, «Қарақалпақстан». 2014.
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Генжемуратов Б. Сайланды шығармалар. Нөкис, «Қарақалпақстан».
2012.
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Каримов К. Қарақалпақ елим мениӊ. Ташкент, «Yangi kitob». 2020.
