International Journal Of Literature And Languages
65
https://theusajournals.com/index.php/ijll
VOLUME
Vol.05 Issue06 2025
PAGE NO.
65-67
10.37547/ijll/Volume05Issue06-20
Issues Of Artistic Impact And Consequence In Ghazal
Writing
Akhmadaliyev Lochinbek Makhamadyusuf ugli
Doctor of Philosophy (PhD) in Philological Sciences, University of Business and Science higher education institution Faculty of Social
Sciences and Humanities Acting Associate Professor of the Department of Language and Literature Education, Uzbekistan
Received:
12 April 2025;
Accepted:
08 May 2025;
Published:
17 June 2025
Abstract:
Ghazal (
لزغ
) is an Arabic word meaning "to flatter women." When this lexeme became the nomeme of
a lexical genre, it began to be used in relation to lyrical poems on the theme of love, written in the bahrs of the
aruz meter. Over time, the content of this genre has expanded. Despite the fact that it differs from other classical
lyrical genres in its specific features, among the people, this term has been transferred to the meaning of a general
poem and song. While the first detailed definitions of the term ghazal were given by great word artists such as
Shamsiddin Muhammad Qays ar-Razi and Rashiduddin Vatvot, Abdurahman Jami emphasizes that its main
content should consist of love. Alisher Navoi says that "pain and word" (love and the fire of love) lead in it:
Ey Navoiy, sen-u Xusrav bila Jomiy tavri,
San’at
-
u rangni qo’y, so’zda kerak dard ila so’z. [1.219]
Although Alisher Navoi portrays the pain of love and the fire of love as leading themes, the thematic nature of the
ghazal has broadened considerably in his work. In fact, the enrichment of the content of the ghazal in Turkic
literature began with the work of Lutfi.
Introduction:
Qabul Muhammad calls the limit of the
ghazal up to 19 bayts, and more than that a qasida. In
the works of Alisher Navoi, seven- and nine-verse
ghazals predominate. The smallest ghazals consist of
five bayts, the largest - of thirteen. His seven-verse
ghazal is close to 1700. The poet himself wrote about
the volume of his poems, in particular, his ghazals:
Navoiy she’ri to’qqiz bayt
-
u, o’n bir bayt
-
u, o’n uch
bayt,
Ki lavh uzra qalam ziynat berur ul durri maknundin,
Bukim, albatta, yetti baytdin o’ksuk emas, ya’ni
Tanazzul
aylay
olmas
rutba
ichra
yetti
gardundin.[2.703]
Since the ghazal consists of the inner feelings of the
lyrical hero, it is imbued with deep lyricism. At the same
time, general lyrical features are also embodied in the
ghazal. For example, one can see the combination of
praise in the qasida, philosophy in the rubai, artistic
perfection of the tuyuq, life reflections in the tarji'band
and tarkibband, advice in the qit'a and fard, irony in the
problem, and satire in the chistan in the ghazal.
Alisher Navoi did not use a pseudonym in 27 of his
ghazals. In ghazal writing, the ramal meter prevails. Of
Alisher Navoi's 2,600 ghazals, about 1,600 were written
in this meter.
Muhammad Fuzuli compared imitators to young
children, and their imitative work to riding a wooden
horse, imitating horsemen:
Muddai aylar mana taglid nazm-u nasrda,
Leyk namarbut alfaz-u mukaddar zati var.
Pahlivanlar badpalar sayr idanda hap yana,
Tufl ham chalan adar amma ag’achdan ati var.
Similarities and differences in the ghazals of Alisher
Navoi and representatives of the Kokand literary
environment:
1. If in the time of Alisher Navoi there were no titles for
ghazals, and the radif, rhyme, or first line served as a
title, then in the poetry of the 18th-19th centuries, the
naming of ghazals was also observed, and this situation
was especially reflected in satirical poems.
2. If in the satirical ghazals of Alisher Navoi not a specific
person, but generalized persons, bad vices are
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International Journal Of Literature And Languages (ISSN: 2771-2834)
criticized, then in the satire of representatives of the
later period, in particular, the literary environment of
Kokand, one can see addressing. This, in turn, indicates
that by this time, realism had significantly improved in
the development of this genre. For example,
Makhmur's poems "Hapalak," "Ghazali Muhammad
Rajab Avj dar borai xud," "Ghazali Hoji Niyoz," "Ghazali
louboli dar borai xud," "Dar sifati hakim Turobiy hazor
xalta budur," "Ghazal guftani mulla Ya'qub," "Ghazali
qoziyi Xoja sagbon" can serve as clear examples of this.
3. The satires of the poets of the Kokand literary
environment are closer to performance lyrics than to
autopsychological lyrics. In them, the expression is
expressed in the language of the person being
ridiculed, and the method of "confession" is used. This
shows that the poetry of that time became closer to
folklore. Because this method has long been
characteristic of folk oral poetic creativity.
4. In the works of representatives of the Kokand literary
environment, one can witness the syncretization of the
literary influence of three great artists of the word:
Alisher Navoi, Abdulkadir Bedil, and Muhammad Fuzuli.
In particular, it can be seen that Azerbaijani lexemes
and lexical units entered the lexicography of works
written in Kokand under the influence of Muhammad
Fuzuli. This situation is observed in all poets of this
environment.
The ghazal of the Qari, which begins with the verse
"Necessary constant ablution from your tears," is
written in a religious-mystical context. In Furqat's
ghazals such as "If there is a garden to enjoy flowers in
spring," "Life is not pleasant without the desert in
spring," "I saw the image of a crescent moon in
Kashmir," "In the meadow, you are wearing a rosebud
on your neck, nightingale," "My cry, I am separated
from that idol idol," "Not everyone remembers
Andijan," "I have strayed from the house of this strange
province," "This is springtime, come, oh friends,"
"Hasratiy, come here, speak of that playful beloved,"
along with the depiction of nature, the longing for the
Homeland is also expressed.
In the second half of the 19th century, as a result of the
development of satirical poetry in the works of Kokand
poets, critical realism took the lead. Muqimi's "Saylov,"
"Dar mazammati zamona," "Dar shikoyati Laxtin,"
"Hajvi xalifai Mingtepa," "Turf anodon bachchağar,"
"Dar mazammati qurbaqa," "Avliyo," "Choyfurush,"
"Uruğ," "Asrorqul"; Zavqiy's satirical ghazals, such as
"Dar mazammati zamona," "Bol," "Qarz," "Ko'p qiziq,"
"Kajdar zamona," "Hajvi igchi eshon," "Abdurahmon
shayton," "Go'daslik boy," and "Pashshalar," are
imbued with the spirit of critical realism. For example,
in the ghazal with the radif "bo'l," the penetration of
capitalism into Central Asia, the fact that the decisive
power of money in the life of society came to the
forefront, is mercilessly revealed:
Ahli dil bo’lma, zamonning boyi bo’l, bazzozi bo’l,
Aqchadin langar cho’p ushlab rastaning dorbozi bo’l.
She’r eshitmaydi birov, davron qulog’i kar anga,
Bir hovuch oltin, kumushning xushjarang ovozi bo’l.
Tegmagay hargiz nishonga otgan o’q yuz hajv ila,
Xoh zamonning shoiri bo’l, xoh tirandozi bo’l.
Istamas bo’lsa zamona Zavqiy yozgan she’rini,
Kim eshitsun arzini xoh rozi, xoh norozi bo’l.
Muqimi's "Hajvi xalifai Mingtepa," "Turfa nodon
bachchağar," "Dar mazammati qurbaqa," "Avliyo,"
"Asrorqul"; In Zavqi's ghazals "Hajvi igchi eshon," the
actions of scholars that do not comply with Sharia are
exposed.
By the second half of the 19th century, the ghazals
created by Kokand poets continued to be constantly
enriched from the point of view of the system of
images. For example, in the ghazals written during this
period, along with traditional characters such as lover,
beloved, rival, thinker, hypocritical scholar, and
tyrannical official, usurer, merchant, common people's
representative, musician, craftsman, and others began
to be mentioned. Of these images, such images as
lover, beloved, rival, thinker, sheikh are mainly found in
romantic, philosophical, and journalistic ghazals, while
the swindler, usurer, merchant are found in satirical
ghazals, and the musician, craftsman, and common
people are found in humorous ghazals.
In Muqimiy's ghazals "Toleyim," "Uruq," Zavqiy's "Dar
mazammati zamona," "Qarz," "Kajdar zamona," "Uy
puli," and "Zolim puli," the oppression of the common
people by tyrannical officials is exposed.
In the second half of the 19th century, Uzbek ghazals,
in particular, the works of Kokand poets, rose to a new
level both in terms of language and artistic means of
expression, and folk expressions, original similes, and
lexical combinations were widely used. Poets also
frequently used words that were widely used among
the people, but had not yet entered poetry and
solidified in literary works. In the Kokand literary
environment, ghazals based on folk expressions,
proverbs, and analogies emerged. For example, vivid
examples of this can be found in the works of Muqimiy,
Furqat, Zavqiy:
Bozor shabda, qaysi tarafdin debon, kelur,
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International Journal Of Literature And Languages (ISSN: 2771-2834)
Hayron yo’lida diydalarim chormen yana…
Nogoh, Muqimiy, uchrasa aql-u hushim ketib,
Ko’rgan yerimda surati devormen yana.[3.55]
Necha zamondur ko’zga nihon
dur,
Har kim yomondur
–
soldim Xudoga.[3.60]
Rang-u, ruxsor-u, nazokatlarki, jono, sandadur,
Mo’min ermas aylagan inkor, aylansun quling.[3.78]
Iqbol-
u davlatingiz bo’lsun baland doim,
Yo Rab, tijoratingiz qilsun hayon, afandim.[3.141]
Bazm ahli bo’lsal
ar mayxoralar anda zaif,
Dardi yo’q, ag’yor o’shal majlisda aslo bo’lmasa.[4.22]
Toqatim yo’q javringdin ammo shunchakim,
Bir taraf ko’ngul uzib sendan kettolmayman,
begim.[4.145]
Qoshingga chin solib tanho, chekib domoni noz o’tding,
Niyoz ahliga bir
boqib, yoring Xudo bo’lsun.[4.162]
Mol-
u jong’a ko’z tikib, to’plandi chor
-atrofdin,
Uyma-
uy bosqin yasab olg’ur qaroqchi
-duzdlar.
O’ldi ko’plar beajal, nomus bo’ldi poymol,
Qiz anodin ajralibkim, bo’talardek bo’zlar.[5.16]
Hiylakor dog’ulidek surat sov
uq, siyrat buzuq,
Bir cho’qib, ikki qaraydurg’on alo qarg’o eshon.[5.35]
Tang ko’zingdek muncha tang
-
u tor bo’lmay o’l,
Jamoat vaqti peshin jome’da tayyor bo’lmay o’l.[5.55]
El aro afsonalar qildi, ko’ring,
Har tarafdin chiqdi ming bayt-
u g’azal.[5.67]
Verses in which proverbs and sayings are used:
Bor masalkim: “Yaxshi odam der edim, o’zi bilur”,
Yo’qsa, naylardim qachon sizlarga men da’vo
anor.[6.184]
Mani qachong’acha hijron g’amida yig’latasan,
Ko’zum yoshi bir kun sani tutor, mayligamu?
[6.210]
Bo’zda rish, eshakda jon, to’ti gapurgoni bilan,
Ey afandim, sizga ul, albatta, inson bo’ldimu?
[6.212]
Jadal birla kishi maqsudiga yetgan emas ore,
Bo’lur vaqti bilan har na’v kor ohista
-ohista.
[7.23]
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