The article interprets the lyrical “I” used by Anbar otin, Dilshodi Barno, Samar Bonu in the genres of ghazal, muhammas, mustahzod. In the comprehensive coverage of the fate of poets and the discovery of the problems of their time, the auto-psychological lyrical “I” method is included in the scope of analysis.
This article talked about the features of the essay, which is a relatively new genre in literature. Although this genre belongs to the epic type, sometimes it was thought that lyrical experiences, poetic passages were expressed in an unrestrained way and manifested some lyrical features. Such essays were noted in the work of the Uzbek poet Khurshid Davron, and his essays were subjected to analysis. In essays on the work of the poet, mainly patriotic, historical, spiritual and educational topics lead. Even in his essays, the poet artistically reflects his subjective attitude to reality or thought. His essays based on the ideological goal of the author, the experiences were expressed in prose, sometimes poetic.
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.
In the article, the system of images in A. Oripov’s works created abroad, the stage of their renewal, and theoretical classification are im - plemented. Based on the classification of images, the changes in them, their role in expressing the experience are analyzed. Poems are divided into groups according to the years, and the mood of thinking in them is determined. The poet’s ability to use images and ways of expressing lyrical experience are discussed in topics such as motherland, woman, and youth. The art of poems in 8 categories created abroad will be compared. The ways of reflecting the poet’s experiences are defined in them, and the poems are classified in terms of space and time. A comparative analysis of human, animal, geographical space, detailed images is carried out, and the poet’s artistic skill in creating these images is studied. The problem of the reflection of lyrical experience in the system of images of the poems created during the trip abroad is highlighted.
In this thesis, the famous poet, philosopher and critic Samuel Taylor Coleridge influences to the English literature by his romantic poems with his friend and also the poet William Wordsworth by publishing their well-known collection of poems “Lyrical Ballads” at that time
In the monograph, based on a handwritten and lithographic source, a scientific monographic description of the manuscripts of the poet's poems is carried out. Muthrib's poems have been analyzed comparatively and textually, and his lyrical works have been studied in the field of text history, editing and interpretation, and theoretical issues. Reliable texts of the artist's lyrical poems have been restored on the basis of primary sources. The monograph is intended for scientists, researchers and philologists who are interested in textual criticism and literary criticism, Uzbek classical and national Renaissance literature.
Poets of the Kokand literary environment wrote in various genres and themes in the late 19th and early 20th centuries. The artists of this period enriched the treasury of our classical literature with their unique lyrical works. Husaynquli Sulaymonquli oglu Muhsini (1860-1917) is one of such talented poets who lived and worked in Kokand.
In this article, Husseinquli Muhsini's poems, which are included in the edition of the collection of lyrical heritage and manuscripts, are classified according to the scope of the topic. The poet's poems were found and analyzed on romantic, religious-mystical, enlightenment, moral-philo-sophical and social themes. There are also scientific and theoretical views on the genre features of the poet's poetry. It explores how the traditions of classical poetry continued in the poet’s work and how his works reflected the changes in the social life of the period.
This book contains samples of the work of Mukimiy (1850-1903), the son of Muhammad Aminkhodzhi Mirzakhodzhi, a major representative of the Kokan literary environment of the second half of the 19th century - early 20th century, in various lyrical genres. The poet's lyrical poems included in this collection are distinguished by the fact that the deep philosophical content is interpreted in a combination of beautiful artistry and folk melody. The collection also includes humorous works of the poet and the famous Journey. We believe that this poetic bouquet will appeal to lovers of poetry.
This scholarly article delves into the nuanced methodology of teaching the poem as a literary genre within secondary education, focusing specifically on Mikhail Lermontov’s «Mtsyri» for 8th-grade students. It begins with a critical examination of the challenges inherent in teaching syncretic genres, especially the poem, which embodies both lyrical and epic elements, thereby presenting unique interpretative challenges. Through the presentation of detailed educational scenarios, the article proposes a comprehensive approach to enhancing students’ understanding and appreciation of «Mtsyri», underscoring the poem’s thematic depth and stylistic complexity. The suggested methodology encompasses a blend of providing historical-literary context, engaging students’ initial perceptions, and encouraging active co-creation strategies, such as expressive reading and artistic representation, to foster deeper literary analysis and engagement. Moreover, the article advocates for the use of heuristic and problem-based teaching methods to address the genre’s definitional ambiguities and to illuminate the poem’s stylistic nuances and thematic significance within Lermontov’s broader body of work. Through this elaborate pedagogical framework, the paper aims to not only improve literary comprehension among middle-grade students but also to cultivate a nuanced appreciation for the interplay between lyrical and epic narrative forms.
This article describes the ways of reflection of historical events in created epics and some lyrical poems at literary environment of Kokand. In this regard, there was a study of epics such as “Umarnoma”, “Voqeoti Muhammadalikhon”, “Shahnomai devona Mutrib”, “Shahnomai devona Andalib”, “Zafarnomai Xudoyorkhon”, “Jangnomai Xudoyorkhon”, “Maktubchai Khon” along with compositions of poets such as Akmal, Nodira, Muqimi, Nasimi. The ways of reflection of historical events in poems were explained by examples.
The article deals with the issue of translation of Zahiriddin Babur`s poems into Russian language by the connoisseur of the Uzbek classical literature Minevich Lev Penkovsky and the specific pecularities of translation of the poems. The special attention paid by the translator to the unity of form and content in the translation process, the original was reflected in the Russian language. It should be noted that the translator has accurately recreated mastered poetic elements, such as the redif, sound symbolism and have achieved classic rhymes of the rubaiyat. All this contributed to the interpretation of the main idea of the rubaiyat, inner feelings of the lyrical hero and historical realities. When translating rubais, L.M.Penkovskiy effectively used various artistic techniques and means, such as repetitions, rhyme, rhythm and metaphors.
The article not only analyzes advantages of the translation forms in Russian, but some lacks and mistakes while expressing original content of Babur`s poems by the translator. For example, conveying the inner experience of the lyrical hero (which is the author himself) accurately, biographical information related to Babur personally are not carried out by the translator. These and other moments are specifically and critically reviewed in the work. However, all this does not detract from the artistic skill of the poet and translator L.M.Penkovsky, who made a lot of effort to ensure that the Russian reader could enjoy all the charm of the works of the recognized master of lyric lines Zahiriddin Muhammad Babur.
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.
This article provides an overview of the concept, some definitions, and an analysis of the Uzbek paternity term using examples from a variety of sources. The verses of the Quraan, the hadiths, the examples of folklore, and the content that forms the term father in lyrical works are studied as concepts. Each concept is explained with solid examples from the sources. It is also possible to compare the concepts of the term father by comparing them with examples from different sources.
The article describes the categories of time and space in the poetry of A. Akhmatova through analysing one of her lyrical verses and demonstrates the role of these categories in presentation of the dynamics of the lyrical hero’s internal state.
The article into historical aspect explores the Korean folklore genre - phansori, as an integral component of the spiritual basis not only of Korean culture, but also of universal human culture. Are considered the origins and origin of phansori – a folk song tale that occupies a special place in Korean folk creativity that embodies traditional features of genesis. Various points of view on the issue of the formation of pansori and the history of the formation of this lyrical-epic genre of songwriting are described. The role of folk musical and dramatic traditions in the spread of phansori is justified. The creation by the performer of a phansori on the basis of material from known stories of a holistic composition is considered. The bilateral nature of interaction of literature and phansori ballads and influence of high literature on phansori are shown on the example of the plot from the legend about Chhunkhyan. The value and artistic identity of phansori are revealed. The techniques of using the improvisational genre phansori, in which the singer-performer acts as a creator-interpreter under the accompaniment of a drum, possessing an extraordinary technique of ownership of voice, gesture, pantomime, ability to reliably reproduce experiences and feelings of heroes, have been justified. Characteristic features of "khan" mental state are considered. The degree of significance of "khan" and its display in the ballads of phansori is argued. External means are considered, visually enriching perception of the plot and understanding of the story of the performer 's narrative. Features of sound formation of singing tone are analyzed. The main means of vocal and speech genre is voice and its special structure, achieved by the performer as a result of long exercises. The role of the breathing type "dungen" due to the work of abdominal muscles is shown. A special method of sound formation is described – shaking, reciting, improvisation with text, recitation, combination of tragic and comic elements. It is justified that phansori is a special genre of Korean folk creativity, a predetermined fairy tale.