Everyone knows that each language has its own characteristics, attractiveness and endearing qualities. And also, some of them side by side with others developed and achieved perfection. The same can be said about the Persian and Turkic languages. Over many centuries, nationalities speaking on these languages have suffered many different events, including the literary and linguistic positions. Words in these languages have passed from one to another and vice versa, some have acquired new meanings. Some types and methods of word formation were borrowed, and with this they enriched their languages. This process is often observed in the works of poets and writers who lived and wrote their works in the Middle Ages. As Alisher Navoi, who wrote works with high skill in the Turkic language, knew the Persian and Arabic languages perfectly, he wisely uses words in his works. And also, if a word denoting a concept does not exist in the Turkic language, he uses the Persian or Arabic language to use these words or based on own observations, forms himself the words according to models. One of such models is the “arabic stem + semi-affix زاس- -sāz” model, according to which, words were formed and many of them are found in the poem “Khayrat al-abror”. Their determination and study is the purpose of this research. In the result of the research, we observed words such as ’ayšsāz, bаẕlsāz, ġāliyаsāz, jilvаsāz, nаġmаsāz, nаqšsāz, sаjdаsāz, vāsiṭаsāz, which were formed based on the aforesaid model, that is with adding Persian semi-affix زاس- -sāz exactly to the Arabic stem. In this article, the above words were analyzed structurally and semantically based on the model, and their meanings were revealed in context. From the considered words bаẕlsāz “giving a gift”, jilvāsāz “shining,” “spreading the light” sājdasāz “performing worship,” vāsiṭāsāz “making smth. as tool” were not found in dictionaries. We can conclude that the poet formed them on the basis of the “Arabic stem + affixoid - زاس -sāz” model to use in his works
T his article explores the Arabic borrowings in the poem "Hairat ul-Abror" ("confusion of the virtuous") by the founder of the uzbek language and world-famous poet Alisher Navoi. For this purpose, the use of 2838 lexemes and phrases of Arabic origin on the basis of the concordance of the “frequency dictionary”, was revealed. In addition to this, there are 52 quotes from Kor’an and the hadiths of the prophet that are not adapted into the Uzbek language system. Approximately 90% of Arab borrowings went through the adaptation process in the literary Uzbek language before Navoi and is still in use. The remaining 10% were not included in the vocabulary of the Uzbek language and, if necessary, the use of the Arabic system of versification "Aruz" and rhyme. The poet compiled a special vocabulary of Arabic borrowings "Sab’ati abhur" (Seven Oceans), in order to use in verses as necessary.Another sign of the complete adaptation of Arabic is compound and affix words composed according to the “Arabic-Persian”, “Arabic-Turkish” models by their morphological and syntactic rule of the Uzbek language.
Maqolada Iqbol Mirzo she’riyatining o‘ziga xos xususiyatlari, shoir ijod idagi yangicha tashbehlar, she’rlaridagi ta’sirchanlik sabablari haqida fikr yuritiladi. Shuningdek, she’rlaridan parchalar tahlil qilinadi.
In the article it is written regarding the works of one of the productive poets, Mukhammad Khasan Mutrib who led a life in the late 19th and in the beginning of 20th centuries literal period in Khorazm. Moreover, it is illustrated some scientifically proven datum about the clause, article as well as about the copies of manuscript. The article “Devom Mutrib Khonaxarob” takes vitally important role with the feature that it indicates Mutr Khonaxarob’s whole legacy of creative works involving tautology and source ology.
The article presents a description of the manuscript, its analysis, characteristics and distinctive features, research history of the composition “Madjm‘a al-Khavadis” which is kept in a single copy in the holdings of the Center of Oriental Manuscripts under the TashSIOS. The paper shows its scientific significance as a literary-historical composition.
This article classifies some of the poems in the “Gulshani Dilafgor” collection. Most of the poet’s poems are in sync with the lyrical works of poets such as Furqat, Muqimi, Hamza, Khislat, Kami, imbued with the ideas of nationalism and enlightenment. The classification of lyrical poems in the collection of the poet “Gulshani Dilafgor” shows that Dilafgor could not avoid the themes that accompanied the poets in Uzbek classical poetry. He, too, relied on the progressive ideas of his time in continuing the traditions of his predecessors.
The article presents a unique plot, poetic structure and compositional features, as well as a chain of compositions that distinguishes “Hayrat ul-abror” from the other “Khamsa’s” poems.
Metaphorical meanings of word “mad” in poem “Farhad and Shirin” are been examined in this article.
The study of poetic works and journalistic articles about the reform of knowledge and education in the journal “Al Islah” (1915-1918) from the influential publications of modern intellectuals, such as “Oyna”, “Sadoi Turkestan”, “Sadoi Ferghana” was researched. The journal analyzed the disputes of modern intellectuals about the upbringing of the younger generation, the system of education in schools and madrassas, impartial comments were given. Jadid’s journalistic articles with the idea of reforming the backwardness and lack of enlightenment in the life of the people of Turkestan are covered for the first time based on the original source. On the example of the work of such intellectuals as Saidahmad Vasli, Ziyovuddin Kari, Abdulgafarkhoja, Khalmukhammed, Torakuli, Mubashshir Khan, the issue of promoting education and reforming schools is analyzed, and scientific and theoretical conclusions are made.
Creativity and inspiration, poetry and poetry, interpretation and image, plot and fable all come together at a single point - composition. The poet uses words, repeats, intensifies the image and tone, assigns a meaningful meaning to them, arranges them, organizes them, and all this unites in a single aesthetic center. So, can a composition be a masterpiece? What about modern poetry? No, each work has its own compositional quality and limit of philosophical scope. Just as there is a certain order in every phenomenon in the universe, there is also a certain compositional principle in modern poetry.
Poetic translation” is occasionally used instead of “poetry translation” to refer to a text, or producing a text, that functions as a poem in the target language, or which uses poetic language. This roughly equates to “re-creative” translation as explained below, though it shades into “adaptation”/etc. To avoid confusion with the much broader concept of poetry translation, I do not use the term “poetic translation”.
Qat’iy qolipga solingan bu jarangdor qo‘shiqlar mavjud kamchilik, qusurlaridan qat’i nazar, albatta, ko‘ngillarda aks sado beradi. So‘ngso‘z o‘rnidagi mazkur maqolada sonet tarixi, ushbu janrga xos xususiyatlar to‘g‘risida muxtasar mulohoza yuritilib, sonetnavis shoirlarning ayni janrga mansublangan she’rlariga xolisona munosabat bildirilgan.
In the late 19th and early 20th centuries, Khorezm's Muhammad Rahimkhan Feruz created a unique literary atmosphere around his palace. Poets and writers who are Tabibi, Mutrib, Bayani, Avaz Otar, and Chokar worked during this period. The works of the poets are in Persian-Tajik and Turkish languages and have their own traditions. The interest in science significantly grew in Khiva. According to the khan's decree, qualified secretaries set up devons, mukhammases, bayozs, tazkirs, and complexes. At present, such works are kept in the manuscript fund of the Institute of Oriental Studies of the Academy of Sciences of the Republic of Uzbekistan and in the Ichankala Museum in Khiva. The collection "Majmuai mukhammasoti ash-shuaroi Feruzshahiy" is a large source of lyrical works of Khorezm literary environment. The complex was built in the second half of the XIX century and was built by Tabibi by royal decree. It contains samples of poems by contemporary artists. This source, which provides valuable information about the literary environment of its time, is now stored in the main fund of the Institute of Oriental Studies named after Abu Rayhon Beruni of the Academy of Sciences of Uzbekistan under inventory number 1134. The complex differs from other collections in that it consists of poems of the mukhammas genre. Muhammad Hasan Devon Haji Tabib o‗g‗li Mutrib Khonaharab is one of the poets whose works are included in the creative heritage of the poets. The article analyzes the mukhammases of Mutrib Khonaharab, which are connected with the ghazals of the master poets Ogahi and Feruz. The artistic features of Mutrib‘s mukhammases, which are not found in manuscripts, have been studied. It is based on primary sources that the poet‘s ghazal retains aspects such as weight and content, and introduces innovations, focusing on the gradual development of the content. The mukhammas and musaddas included in the collection were studied from the point of view of textual and source studies, comparing them with the poems copied to the manuscript.
The meanings of “bi”, “xing” and “symbol” remain difficult to distinguish for a long time, so the problem of distinction between “bi”, “xing” and “symbol” has become the focus of many scholars’ debates. This article lists some scholars’ opinions of defining and distinguishing “bi”, “xing” and “symbol”, with an attempt to find the problems in those opinions.
This article discusses the Central Asian Turkic versions of the epic "Ashyk Najep", their study and the implementation of the epic. At the same time, the issues of literary translation of the epic into other Russian and Turkish languages are studied. Differences in versions are identified.
The article is about the creativity of poets who lived in Golkonda in the 17th century during the reign of the Kutubshah dynasty, such as Mulla Gavasi and about his book Sharkhi Margub al-Kulub and Shahadat al-hakika, Mulla Vajahi, about his masnavi "Irshadnama”.
This article analyzes the use of the artistic image related to the landscape, which is one of the topical issues in literary studies, in modern poetry, and its artistic and aesthetic functions. It analyzes the artistic images related to the landscape widely used in our classical literature, and it is explained that new meaning and meaning are given to these images in the works of modern poets.
This allowed the author of the article to gain a deeper understanding of the worldly and social nature of modern poetry. The article examines the role of images related to the landscape in Uzbek poetry of the beginning of the 20th century on the example of the poems of Cholpon, Abdulla Avloni, Hamza Hakimzada Niyazi. «sun», «moon», «star», «cloud», «leaf», «flower», «road», «morning», «wind», «purple», «winter», which are often found in the works of Jadid poets. the external and internal aspects of many images such as «koklam» were observed and certain generalizations were made. Keywords Image, modern poetry, tradition, originality, poem, verse, artistry, inner content.
Actually, the name of the author who wrote this poem is not recorded. No information about his personal life is known. He is only known as Baiquni. This is a natural state. Because the scholars did not reveal their names because they were impartial in their service to the cause of knowledge.