Volume 04 Issue 09-2024
34
International Journal Of Literature And Languages
(ISSN
–
2771-2834)
VOLUME
04
ISSUE
09
P
AGES
:
34-39
OCLC
–
1121105677
Publisher:
Oscar Publishing Services
Servi
ABSTRACT
Information about the expression of the concept of "perseverance" in artistic style by various means is provided in
this article. For example, words expressing determination (I swear, I believe, I'm sure, I must do), phrases (promise,
pledge), sentences (I swear, I'm sure), various poetic figures (repetition, chiasm, gradation), explanations of
pleonastic usages in the artistic style are explained with the help of examples.
KEYWORDS
Concept, concept of "perseverance", lexical level, artistic style, poetic figures.
INTRODUCTION
An artistic style is a style that opens up all the
possibilities of the language, reveals all its beauties,
can raise the author's ways of expressing any meaning,
and can provide information about the author and the
image.
Perseverance has a different meaning in the literary
text. In the literary text, it is expressed that the
linguistic person is firm in his feelings, his feelings, he is
sure that his thoughts are true.
Qay Onam ogil tug‘sa mendirman o‘sha
Qay Onam o‘gil tug‘sa mendirman o‘sha
Kim yurtidan
yovni quvsa mendirman o‘sha
Kim yurtiga sodiq tursa mendirman o‘sha
Research Article
REALIZATION OF THE CONCEPT OF " PERSEVERANCE " IN ARTISTIC
STYLE
Submission Date:
September 16, 2024,
Accepted Date:
September 21, 2024,
Published Date:
September 26, 2024
Crossref doi:
https://doi.org/10.37547/ijll/Volume04Issue09-07
Jamoliddinova Iroda Bahodir kizi
Doctoral student of Tashkent State University of Uzbek Language and Literature, 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 09-2024
35
International Journal Of Literature And Languages
(ISSN
–
2771-2834)
VOLUME
04
ISSUE
09
P
AGES
:
34-39
OCLC
–
1121105677
Publisher:
Oscar Publishing Services
Servi
It can be understood that the identification in this text,
the meanings of the words, the general content are
given by the lexeme of sodiq. But this semantics is
created and strengthened with the help of additional
methods. One such artistic technique is pleonasm. In
the word Mendirman, there are two means of
expressing the first person unity: I am the personal
pronoun and -man is the personal plural suffix. Here
the pleonastic use is two-fold, with a plurality of first-
person agents and conjunctions: -dir and -man. In this
word, the personal-number suffix -man is used
pleonastically, as it expresses "first person unit" with
the personal pronoun "me", and with the affix -dir as a
"connecting function".
N.Mahkamov analyzed a similar situation as follows.
"When it is expressed by possessive I and II personal
pronouns in noun clauses, the participle usually agrees
with it in person and number: You are a student. Like
I'm a student. However, it is also possible to omit the
affix indicating compatibility in the participle, because
the meaning of person-number is understood from the
possessor: you are the reader. I am a student. In the
first case, the meaning of the subject is expressed
pleonastically, i.e., both by the analytical method
(through a certain word - possessive) and synthetically
(through the participle affix), and in the second case, it
is expressed only by the analytical method.
By this pleonastic use, which is used for the purpose of
strong emphasis, the author has increased the
determination even more.
Let's compare:
Kim yurtidan yovni quvsa o‘sha men. (1)
Kim yurtidan yovni quvsa o‘sha mendir. (2)
Kim yurtidan yovni quvsa menman o‘sha. (3)
Kim yurtidan yovni quvsa mendirman o‘sha
. (4)
In these four sentences, as the emphasis increases
according to the set numbers, the strong emphasis in
the last high-level line creates determination. In this
sentence, kim and o‘sha deictic units also served to
express strong emphasis.
There is a tradition of expressing commitment to
thoughts, feelings, and words through the lexeme of
an oath (qasam) in the literary text. It is known that the
lexeme of oath in Uzbek has two meanings:
“
QASAM
[a.
—
oath; promise] 1 A responsible word
that is spoken with the name of holy things and people
in order to confirm his rightness, the correctness of his
words, etc. it, to convince others. Qasam(i)dan
qaytmoq. Qasam(i)ni buzmoq. sht [Safar:] Shu
ka’batulloning ichida o‘ltirib yolg‘on gapirgan odam
musurmon emas. Kishining qasamiga ishonmagan ham
yetti mazhabda mo‘min emas! (A. Qodiriy, Mehrobdan
chayon.)
2 A formal promise of loyalty, an oath. Mayli, yomg‘ir,
qor yog‘sin, o‘z postimdan ketmayman. Askarlik
qasamiga hech xiyonat etmayman. (Uyg‘un) .
The first meaning of this lexeme is effectively used in
the literary text. In the works of Muhammad Yusuf,
there are many expressions of determination from
compound words with the component "qasam". After
all, it is known that Muhammad Yusuf himself is strong
and determined as a person. The personal qualities of
the author are still noticeable in the formation of the
linguistic personality in the work. This applies
especially to poetic works. In the prose works, the
author creates different linguistic personalities by
Volume 04 Issue 09-2024
36
International Journal Of Literature And Languages
(ISSN
–
2771-2834)
VOLUME
04
ISSUE
09
P
AGES
:
34-39
OCLC
–
1121105677
Publisher:
Oscar Publishing Services
Servi
giving different characters of different characters. In
this case, the personal linguistic portrait of the author
becomes moderate. If the author expresses himself in
an image, personal linguistic possibilities can be
opened. In poetic works, the personal linguistic
capabilities of the poet can be directly realized. Young
researcher S. Yaqubova wrote that the human virtue of
the poet Shodi Otamurod is reflected in his art: Shodi
Otamurod
–
o‘ziga talabchan, she’riyatning ulug‘
qudratiga ishongan shoir. U yozganlari hozircha to‘kis
emasligini-
da ilg‘aydi, ammo so‘zga nisbatan qilingan
zig‘ircha xiyonatni ko‘ngilga, yurakka nisbatan
diyonatsizlik
–
jazoga mahkum amal deb biladi.
Burchga sadoqat, mas’ullik tuyg‘ulari izhoridagi ifoda
keskinligi va keskirligi qalamkash qalbida yetilgan
qat’iyatni yaqqol namoyon etadi .
She’riyat! Sen o‘zing go‘zal diyonat,
Mayli, senda yashay kamu ko‘st bilan.
She’riyat! Men senga qilsam xiyonat,
Yuragim portlatib yubor so‘z bilan. (Sh. Otamurod)
In the following poetic passage, the determination in
the sentence "I will not give to anyone" is realized
through the sentence "I took an oath". If an oath is
taken, it cannot be turned back:
Ishoning, ko‘zimni to tuproq bosib
-
Qolguncha Sizniki bo‘lmayman desam.
Ammo Siz hech kimga qilmaysiz nasib,
Hech
kimga
bermayman,
ichganman
qasam.
(Muhammad Yusuf)
Usually, the oath is taken on sacred concepts. Such
sacred concepts can be universal and personal. Oaths
to universal sacred concepts are more common in
official oaths. Swearing on personal sacred concepts
can often be observed in the poems of proud poets
such as Muhammad Yusuf and Iqbol Mirzo. In the
poems of Muhammad Yusuf, the verses "the right of
my whole life are sworn", and in the poems of Iqbol
Mirzo, the sentence "the right of our love" is found:
Agar seni tarif etsam,
Ul oy qayda, bunda gul ham,
Butun umrim haqqi qasam
Bir oshiqman! (Muhammad Yusuf).
Bog‘imda kapalak sayr etib uchar,
Istasang chiroyin ko‘rgani kelgin.
Xijronlarga qo‘ngan ishqimiz haqqi,
Umrim bo‘yi seni sevaman degin. (Iqbol Mirzo)
In the poetry of Iqbol Mirzo, there is a tradition of
swearing by personal sacred concepts. The following
poetic passages prove our point:
Ayriliqni o‘ylasam, Tomirimda muzlar qon
Ko‘zlaring haqqi qasam, sensiz kun yo‘q Qizlarxon (
Iqbol Mirzo ).
Qayrilma kipriging haqqiga qasam,
Dunyo gumroh edi gar men kelmasam.
Dilda gohi umid, gohida alam,
Volume 04 Issue 09-2024
37
International Journal Of Literature And Languages
(ISSN
–
2771-2834)
VOLUME
04
ISSUE
09
P
AGES
:
34-39
OCLC
–
1121105677
Publisher:
Oscar Publishing Services
Servi
Dunyoning qo‘lini tutib o‘tyapman (Iqbol Mirzo).
In the literary text, there was a lot of strengthening of
determination through the double use of negative
forms: I can't see you today (I must see you).
This phenomenon is not a pleonasm. "If the
indivisibility indicator is added to both components,
the negative meaning of the leading verb is negated by
the -ma formant of the auxiliary verb, resulting in an
affirmative meaning. For example: he can't help saying,
he can't know. A.Gulomov showed that the
phenomenon of divisibility of two negatives is not
limited to the scope of the compound verb. He did not
pass away without a child (-siz and -ma). If we omit one
of the two negations used in the above examples, the
grammatical meaning changes completely, that is, a
pure negation is expressed. It is known that if we omit
one of the affixes in pleonastic use, the meaning does
not change dramatically, even if it does, the difference
is only stylistic.
We will try to prove this point through the following
artistic text:
Balki quyosh kular ertaga,
Ochiladi gullar ertaga,
Nima bo‘lsa, bo‘lar ertaga,
Seni bugun ko‘rmasam bo‘lmas.
Uzun tunlar bunchalar mahzun,
Mahzun tunlar bunchalar uzun,
Men ertaga yashashim uchun
S
eni bugun ko‘rmasam bo‘lmas. (Muhammad Yusuf)
In this piece of artistic text, the fact that the lover must
see, his determination in this opinion is given through
the construction of the verb consisting of two negative
forms, and other artistic image tools are also used.
Comparing yesterday and today, an antithesis is
created. Or Long nights are so sad, Sad nights are so
long sentences, chiasm was created. The gradation in
the poetic passage also emphasizes once again that
the author's opinion is firm:
Men ertaga yashashim uchun
Nima bo‘lsa, bo‘lar ertaga
↑
Balki quyosh kular ertaga
↑
The negative forms used in this text express an
undeniable determination, a determination that has
reached the limit of stubbornness. Although the modal
meanings of desire and desire are formed when the
sentence " Bugun seni ko‘rishim kerak " is used with
signifiers such as very and really, determination is a
condition and necessary modal words for the
emergence of the necessary condition of seeing. But in
the artistic style, the rigidity created by the use of two
negations provides both artistic expressiveness and
the modality that the action should be carried out in
any case.
Volume 04 Issue 09-2024
38
International Journal Of Literature And Languages
(ISSN
–
2771-2834)
VOLUME
04
ISSUE
09
P
AGES
:
34-39
OCLC
–
1121105677
Publisher:
Oscar Publishing Services
Servi
Let’s compare:
Sentences
Modal meanings
Bugun seni ko‘rishim lozim
Desire
Bugun seni ko‘rmoqchiman
Desire
Bugun seni juda ham
ko‘rmoqchiman
Strong desire
Bugun seni rosa ham
ko‘rmoqchiman
Strong desire
Bugun seni ko‘rishim kerak
Necessary
Bugun seni ko‘rishim shart
Necessary and strictness
Bugun seni ko‘rmasam bo‘lmas
Necessary and strong strictness
An example of the side-by-side use of negative forms in
a literary text is the occurrence of the word "no" with
the infinitive form of the verb. In such devices, the
negation of indivisibility is made more strict by the
word no:
Yo‘q, halovat istamayman,
Orom bilmas yosh jonim.
To‘lqin urgan ummoncha bor
Yurakdagi tug‘yonim (E.Vohidov).
Yo‘q, ke
rak emas,
Kambag‘alman, lekin gado bo‘lganimcha yo‘q
(E.Vohidov).
Yo‘q, u qochoqmas.
Qochoqlarni men ko‘rganman —
urushdan qochib
Yillab somonxonalarda yashaganlar bor (E.Vohidov).
Repeating the word no twice increases the
determination:
Volume 04 Issue 09-2024
39
International Journal Of Literature And Languages
(ISSN
–
2771-2834)
VOLUME
04
ISSUE
09
P
AGES
:
34-39
OCLC
–
1121105677
Publisher:
Oscar Publishing Services
Servi
Yo‘q, yo‘q, muhabb
atga aslo egmam bosh.
In the literary text, determination is clearly expressed
through repetitions. The firmness of the idea is further
exaggerated by the repeated use of a particular word:
Bir she’r yozay BAXT haqida, armonlardan charchadim,
Rashku firoq, arazlardan,hijronlardan charchadim.
Osmoniy bir so‘roqlarni jamlab kelsin so‘zlarim.
Jonim yegan, shubhalardan, gumonlardan charchadim
(Muhammad Yusuf).
So, determination in the artistic text is expressed by
different means. Such tools include words expressing
determination (swear, I believe, I'm sure, I must,
condition), phrases (give a promise, pledge),
sentences (I swear, I'm sure), various poetic figures
(repetition, chiasm, gradation), pleonastic uses can be
exemplified.
REFERERNCES
1.
Яндашева Т. Ўзбек ва инглиз тилларида
“гўзаллик” концептининг ифодаланиши ва
лингвопоэтикаси. Филол. фан. бўйича фалсафа д
-
ри (PhD) дисс. –
Тошкент, 2021. 21
-
бет.
2.
Ма
ҳ
камов
Н
.
Адабий
норма
ва
плеоназм
.
–
Тошкент
:
Фан
, 1988. -
Б
. 70.
3.
Ўзбек тилининг изо
ҳ
ли
лу
ғ
ати
. 5
жилдли
. 3-
жилд
.
–
Тошкент
:
Ўзбекистон
миллий
энциклопедияси
,
2007.
–
Б
.
4.
Мещанинов И.И. Члены предложения и части
речи.
-
М.
-
Л., 1978. –
C.82-84
5.
5.
Бекмуродов М. Миллат ру
ҳ
и
/
Ўзбекистон
адабиёти
ва
санъати
.
–
Тошкент, 2019
–
№43 (4545).
6.
Muhayyo Hakimova. (2024). The Influence of
National Thinking on the Formation of Abstract
Vocabulary. American Journal of Language,
Literacy and Learning in STEM Education (2993-
2769), 2(5), 447
–
450.
7.
https://yoshlikjurnali.uz/tadqiqot/yoniq-kongil-
daftari/
