Volume 04 Issue 07-2024
77
International Journal Of Literature And Languages
(ISSN
–
2771-2834)
VOLUME
04
ISSUE
08
P
AGES
:
77-80
OCLC
–
1121105677
Publisher:
Oscar Publishing Services
Servi
ABSTRACT
This article gives information about the artistic language of Abdulla Qodiri’s novel “Mehrobdan Chayon”, the skill of
using words effectively and attractively in a unique way, and the combination of words and images in the novel.
KEYWORDS
Novel, image, character, archaism, archaic, exaggeration, hero.
INTRODUCTION
The importance of language in fiction is considered
immeasurable. However, if the writer does not have his
own style and artistic language, the work written by
him will not have a sufficient impact on the reader. One
of the influential writers with such a unique style of
language is Abdulla Qadiri, one of the great figures of
our literature.
When we mention Abdulla Qodiri, his no
vels "O‘tkan
kunlar" and "Mehrobdan chayon" certainly come to
mind. Every image in the work appears alive before our
eyes. If we fall in love with some heroes and feel close
to them, our hatred for some heroes increases. This is
a sign that the writer has the ability to give life to
words.
Abdulla Qodiri had a very rich vocabulary, he
understood the essence of each word, he was able to
find its subtle aspects and he was able to use the
bouquet of wonderful words in his place. Although, as
His Holiness Navoi said:
Barcha ko‘ngul durji aro javhar ul,
Barcha og‘iz huqqasida gavhar ul.
Research Article
HARMONY OF WORDS AND IMAGES IN THE NOVEL
Submission Date:
Aug 13, 2024,
Accepted Date:
Aug 18, 2024,
Published Date:
Aug 23, 2024
Crossref doi:
https://doi.org/10.37547/ijll/Volume04Issue08-06
Ismonova Yorqinoy Abdumutalib kizi
Tashkent State University of Uzbek Language and Literature named after Alisher Navoi, 3rd year Foundation
PhD student, majoring in Uzbek literature 10.00.02, Uzbekistan
Journal
Website:
https://theusajournals.
com/index.php/ijll
Copyright:
Original
content from this work
may be used under the
terms of the creative
commons
attributes
4.0 licence.
Volume 04 Issue 07-2024
78
International Journal Of Literature And Languages
(ISSN
–
2771-2834)
VOLUME
04
ISSUE
08
P
AGES
:
77-80
OCLC
–
1121105677
Publisher:
Oscar Publishing Services
Servi
Gar xud erur xanjari po‘lod til,
So‘ftidag‘i injulari so‘zni bil.
Til bu chamanning varaqi lolasi,
So‘z duraridin bo‘lubon jolasi.
Donai dur so‘zini afsona bil,
So‘zni jahon bahrida durdona bil.
Abdulla Qadiri really knew every word and used it as
skillfully as if he picked a necklace on a string. For
example, let's take the writer's description of Rano in
the novel "Mehrobdan chayon"
: “Ra’noning sochi
gungurt
–
qora, ya’ni quyoshsiz joylarda qora ko‘runsa
ham, quyoshda biro z sarg‘ish bo‘lib ko‘rinar edi.
Shunga o‘xshash Ra’noning ko‘zida ham buning asari
ko‘riladir: mudavvarga moyilroq jodu ko‘zi kishiga
qattiq qarag‘anda qoraliqdan
boshqacha yana bir
turluq nur sochar edi. Kipriklari ostida nafis bir surma
doirasi bor edi. Qoshi tutash kabi ko‘rinsa ham,
ko‘ndalang yotqan ikki qilich orasini nafis bir quyulib
ko‘tarilish ajratib turar edi. Burni hech bir munaqqidg‘a
berishmaslik
mutanosib,
har
zamon
uyalish
tabassumiga hozir turg‘an nafis irinlarining yuqorig‘i
qismida sezilar-
sezilmas tuklar ko‘kargan edi. Yuzi
cho‘ziq ham emas, oy kulcha ham deb bo‘lmas, kishiga
kulib qarag‘anda qizil olma ostlarida ikkita zamma
ravishlik shakl ho
sil bo‘lar, go‘yo bizga chin ra’no guli
ochilg‘an holatda ko‘rinar edi. Sochlari juda quyuq,
sanoqsiz kokillar Ra’noning orqa, o‘ngini tutib yotar,
qaddi uzunliq bilan qisqaliqning o‘rtasi, do‘ndiq
barmoqlarining jimjilog‘ida xina gullari, har holda bu qiz
yolg‘iz Qo‘qonningg‘ina emas, umuman Farg‘onaning
kuylariga qo‘shilib maxtaladirg‘on go‘zallaridan edi”.
In another place, the author writes: “Gumbazi niligun
qandilinda sham’i kofuriylar yoqila boshlag‘an edi” that
is “Moviy gumbazi qandilida shamlar yo
qila boshlagan
edi”. Here, the writer describes very beautifully that
the night has fallen and the stars in the sky are slowly
twinkling.
Looking at the novel "Mehrobdan chayon", we can be
sure that the words chosen by the writer from the
treasury of our native language to express the story of
the work, reveal the character of the characters, the
way they are used and the fluency of the writer's
language. In the speech of the characters, dialectisms
and archaisms, folk proverbs and expressions, puns,
and
phraseology
were
used
fruitfully
and
appropriately. For example, “Ba’zan Shahodat mufti
ishdan charchag‘an kabi .. tortib, o‘zicha: “Yamutal
-
asadu fil g‘abobi ju’an va lahmuttayri yutrahu lil
-kilob
(arslon changalzorda ochlikdan jon beradir, ammo itni
qush g
o‘shti bilan boqadirlar (muall.))”,
- desa, ikkinchi
yoqdan Kalonshoh mirzo shu maqolning davomini
so‘zlab: “Va xinziru yanomu fil
-firosh va ulul-uquli
yanomu allaturob (to‘ng‘iz hanuz huzur qilib to‘shakda
uxlaydir, oqillar tuproqda yotadirlar (muall.))” –
der
edi. Yoki “Kesak otib arslonni yengmakchi bo‘lg‘an
galvarslarning ishiga kulgim qistaydir…” it is evident in
sentences like that. The author also used historical and
dialectal words. We can find many words related to our
language that have become archaic such as tunqotar
instead of the guard, dahboshi instead of captain of the
ten, yasamol instead of the word decorated, tig‘nab
og‘an instead of what he listened to, magiz instead of
raisins, qusqi instead of old clothes, kori xayr instead of
useful, mimit instead of small, agarchandi instead of
Volume 04 Issue 07-2024
79
International Journal Of Literature And Languages
(ISSN
–
2771-2834)
VOLUME
04
ISSUE
08
P
AGES
:
77-80
OCLC
–
1121105677
Publisher:
Oscar Publishing Services
Servi
the word really. We can find many words related to our
language that have become archaic, like bo‘g‘joma,
alak, buloqi, mursak, jevak, mohona, majjonan, shoyi’a,
mazana, mushkit. All these words are of course words
taken from the folk language.
Also, in the novel, simile, qualification, and
exaggeration are widely used. For example, the writer
made a beautiful exaggeration that the red flower of
Kashkar was pink at first, and the flower became red in
2 years because of Rana's red lips. In another place the
writer says: “Mahdumga biror narsani tushuntirish,
(masalan,
Anvarning
mirzaboshi
bo‘lishni
xohlamasligini) toshning qulog‘iga azon aytish bilan
teng”. In addition, the face with a beard is described
as “nonga chumoli yopishgandek”. Such skillful similes
can be found a lot throughout the work. For example,
the writer, who knows very well that a woman is
sensitive and that you should always be vigilant in your
relationship with her, says:
-
Ra’no burni ustidagi bil
inar-bilnmas marvarid rezalarini
ro‘moli bilan artdi.
The writer, who compared the drops of sweat on his
face to pearls, showed not only his writing skills, but
also his respect for women. However, it could be said
that Rano's nose was covered in sweat from heat or
excitement. But in this case, the idea would be more
crazy or it would be like adding a little "harm" to Rano's
unique merit.
The artistic skill characteristic of Abdulla Qadiri's style
is also clearly visible in the description of the
appearance of the characters in his work. The writer
skillfully drew the appearance of the heroes of the
work like an artist and made these drawings using the
riches of the lively folk language. For example, in the
chapter "Qiziqlar" in the work, he very skillfully
described the khan's interests:
“Chiqqanlardan biri pak
-pakana, yum-
yumaloq, lo‘p
-
lo‘nda bir maxluq edi. Uning gavdasi bu qadar
“kelishkan” bo‘lishi ustiga, basharasi ham shunga
monand tushkan, tomog‘ining ostida cho‘guri
qovundek bo‘qoq g‘ovlab yotar e
di. Uning gavdasi
misoli bir gupchak bo‘lsa, shu gupchakning yuqorisig‘a
kata bir suv qovoqni bosh bo‘lsin, deb o‘rnatqan edilar.
Va bu yaltir qovoqning betida ko‘z bo‘lib, quyoshda
qovjiragan ikkita g‘ulun turshak, og‘iz yerida bir kafsh,
burun o‘rnida yuqorig‘a qarab o‘rmalag‘an bahaybat
bir qurbaqa va quloq maqomida suv qovoqning ikki
bag‘riga tiralg‘an ikki oshlov turar edi. Qosh va
boshdag‘i soch to‘g‘risida og‘iz ochib bo‘lmas, ammo
besh-
o‘n tuk, ya’ni soqol mo‘rt g‘ira
-
shira ko‘zga
chalinar edi. Sep
kil va chechak dog‘i bu betni
“muzoyaqakor” qilib ko‘rsatganidek oyog‘idagi choriq,
ustidagi qisqa, eski alak chopon, belidagi besh-
o‘n
aylantirib bog‘langan bo‘z belboq, boshining uchdan
bir qismigagina qo‘nib o‘lturgan tor pilta to‘ppi bir
“husn”gay an bir yuz “husn” qo‘shib arz qilar edi. Bu
maxluq doimiy o‘rdada turadirg‘an xonning kundalik
qizig‘i mulla Baxtiyor edi”.
Abdulla uses words extremely resourcefully to
describe the powerful reality. He uses words suitable
for the image, putting them in their place. From the
description of the writer, it is clear that the heroes of
the work have a negative color. From the words
"complimentary", "beauty", "humorous" in the cited
passage, sarcasm, pity, mockery and laughter can be
felt towards the hero. This shows the skill of the writer
and makes the reader's attention and will not let go of
the work until the end. In short, Abdulla Qodiri clearly
shows that he is a visual artist through his works.
Volume 04 Issue 07-2024
80
International Journal Of Literature And Languages
(ISSN
–
2771-2834)
VOLUME
04
ISSUE
08
P
AGES
:
77-80
OCLC
–
1121105677
Publisher:
Oscar Publishing Services
Servi
REFERENCES
1.
Alisher Navoiy “Hayratul
-
abror” O‘zbek adabiyot
i
bo‘stoni 1989.
2.
Abdulla Qodiriy “Mehrobdan chayon” Toshkent
-
2019.
3.
O‘zbek adabiy tanqidi Toshkent “Turon
-
Iqbol”
2011.
4.
Kitoblardunyosi.uz
