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TYPE
Original Research
PAGE NO.
19-24
DOI
OPEN ACCESS
SUBMITED
20 January 2025
ACCEPTED
18 February 2025
PUBLISHED
17 March 2025
VOLUME
Vol.05 Issue03 2025
COPYRIGHT
© 2025 Original content from this work may be used under the terms
of the creative commons attributes 4.0 License.
Lyrical subject and object
in poetry
S. Matyakupov
Doctor of Philological Sciences, Associate Professor, Nukus State
Pedagogical Institute, Uzbekistan
Abstract:
The article examines the relationship between
subject and object in poetry and its theoretical
foundations, as well as its research in literary studies.
Dialogic thinking in lyrics and its socio-philosophical
foundations, the harmony of image and imagination are
scientifically and theoretically analyzed on the example
of Uzbek poetry.
Keywords:
Literary studies, lyrical subject, lyrical object,
image, poetic speech, theoretical basis.
Introduction:
In the theory of world literature, rich
experience has been accumulated in understanding the
integrity of concept, worldview and communication,
determining the form of speech that connects
philosophy, psyche and thinking, determining the
purpose and task of communication, revealing the main
directions of artistic communication, and illuminating
the aesthetic essence of the narrative technique.
Consequently, the substantiation of dialogue and its
artistic function in lyrics, the assessment of the problem
based on theoretical laws, and the clarification of the
essence of artistic thinking create a certain scientific
need. In world literature, it is known that monologue-
based expression, formed in thinking, belongs to the
style of dialogue and live conversation. Indeed, in this
very process, descriptive narration takes precedence,
and a competition of another essence (personal
experience and general mood, lyrical expression and
rhetorical attitude) is observed in the subject of the
poet, who acts as a link between the language of the
poem and the spirit of creativity and the general
essence of the text. In this process, the analytical ability
of creators to use dialogue, literary position, and
understanding the essence of expression is of great
importance.
METHOD
It is known that the grammatical construction of speech
in lyrical speech differs fundamentally from the
grammatical construction in dramatic and epic speech.
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In epic and dramatic speech, the grammatical structure
of the sentence, although in a relative sense,
corresponds more to live speech or the grammatical
rules of the language. It requires the subject, predicate,
and secondary parts to be in their proper places. There
may be instances where such rules are violated, but
the author pursues a specific goal by such a "violation"
of grammatical rules.
The question of grammatical construction in lyrical
speech, as V. Vinogradov correctly noted, is indeed
extremely complex. Such complexity not only increases
the complexity of poetic speech, but also complicates
the communication processes associated with it. It
should be noted that grammatical disorders are
characteristic of the specifics of poetic speech in a
narrow sense. Such "disturbances," along with
increasing the melodiousness, which is one of the main
features of poetic speech, also serve to increase the
power of aesthetic impact. From this point of view, the
communicative effect of poetic speech differs sharply
from that of prose or dramatic works. It stirs emotions,
makes you think, makes you cry. It should be especially
noted that poetic novels, dramatic epics, poetic
dramas, epics, and poems, which belong to the epic
type by genre, but are written in a poetic way, are also
built on poetic expression, therefore they are forced to
use the forms of speech of grammatical rules belonging
to lyrics.
V. Vinogradov emphasizes that in poetic speech, each
generation, each individual poet, discovers something
new only by violating the rules of the previous style. He
cites Y.Tinyanov's idea that the emergence of this state
was not due to changes in form, weight, or rhythm, but
rather from changes in imagination and thinking, that
Pushkin's style was built upon Lomonosov's style,
Lermontov's style upon Nekrasov's style, and
Akhmatova's style upon Lermontov's style, renewing it
in every aspect [2:33-34]. V. Vinogradov also puts
forward a significant idea about the importance of
artistic detail in the formation and development of the
"author's image": "The author (referring to N.
Uspensky's 'Diary of the Unknown', S.M.) Unlike
Turgenev and Grigorovich, he doesn't say a word about
his own mood arising from what he sees and hears. N.
Uspensky frees himself from a broad depiction of the
narrator's heavy thoughts in a single sentence. The
hero goes out of the village and looks around: "A tree
stood on the mountain, wet from the rain, as if bathed
in tears..." From the depiction of one detail taken from
a damp existence, a whole, perfect image emerges"
[2:35]. Although such an artistic device was
demonstrated by V. Vinogradov on the example of a
prose work, it is clear that it is also characteristic of a
poetic work.
RESULTS AND DISCUSSIONS
In a number of scientific studies created in world literary
studies on the problem of the lyrical subject and object
and its specific features, rich experience has been
accumulated and certain results have been achieved on
the internal and external factors of poetic formation,
the principles of development and poetics of poetic
genres. Poetic speech at the beginning of the 20th
century was based on the general stages of
development of the literary process, the lyrical subject
and object, as well as the method of its dialogical
depiction, and its improvement were determined.
Nevertheless, in world literary studies, the problem of
poetics of poetry in the context of the literary process
creates a scientific and theoretical need. The poetry of
the 20th-21st centuries, the experience of scientific and
theoretical thinking, the traditions of literary and
aesthetic schools, creative concepts existing in the
poetics of national lyrics, the style of expression, the
calendar of artistic speech, the system of narrative
techniques, prepares a solid foundation for determining
the advanced formal and stylistic difference.
The problem of dialogue in poetry has been studied to a
certain extent in the literary studies of Russian and
other peoples and is scientifically generalized in
dissertations and articles. In Uzbek literary studies, no
major scientific research has been conducted on the
features of dialogue and its interpretation in poetry. In
an article published by literary scholar B. Sarimsakov on
the forms of communication in A. Navoi's lyrics, the
nature of the genre and the factors of communication
emergence are scientifically analyzed [9:8-12]. Also, in
the articles of Professor H. Boltaboev "Dialogism in
Literary Studies of the 20th Century and the Literary and
Aesthetic Teachings of Mikhail Bakhtin" [1:8-14], A.
Kozikhodzhaev "The Serovoz World of Ghazal" [10:4],
the historical evolution of dialogue, in particular, its
place in poetry, is scientifically and theoretically
substantiated. In addition, researcher Z.Rakhmonova in
her book "The Problem of Creative Individuality in
Literary Studies" (Prof. On the example of the scientific
heritage
of
B.Sarimsakov)
"
literary
scholar
B.Sarimsakov, studying the scientific heritage of
B.Sarimsakov, emphasizes: "The phenomenon of
dialogue has been widely studied in world and Uzbek
literary studies. The novelty of the form of "ghazal-
muloqot," noted by B. Sarimsakov, is that before him,
dialogues were studied only within the framework of
prose and dramatic works. The ghazals were also
studied on the basis of ideological-semantic, purely
formal or functional classifications, and attention was
not paid to the features of speech expression. B.
Sarimsakov's novelty in the study of ghazals lies in the
fact that he first focused on the aspects of speech
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expression of this genre. Although the form of external
dialogue prevails in such a ghazal-communication, the
scholar's research later paved the way for the
discovery of other forms of dialogue in the ghazal
genre" [8:35].
If we consider a poetic passage as a relatively
independent artistic text in general, then in its
independent state it constitutes artistic speech or
poetic speech. When we analyze it in the system of
metaphors, dialogue appears as an important
component of artistic speech. In this case, as A.A.
Potebnya rightly noted, the explanation of the whole,
artistic interpretation, and poetic dialogization arise
through the part. V. Zhirmunsky analyzes this issue,
which
A.
Potebnya
explained
linguistically,
philosophically, and psychologically, from a purely
linguopoetic point of view. For example, the scholar's
observations on poetic composition are noteworthy
for their linguistic interpretation of the dialogical
processes occurring in the lyrical text, the analytical
justification of the intensive processes of linguopoetic
dialogization within the framework of artistic speech.
"The construction of poetic composition is determined
not only by the formation of systemic components of
rhythm or stress, but also by their mutual linguistic
relationship, their closeness with syntactic groups. In
this case, semantic transfer occurs through sentences,
sentence parts, phrases in sentences, words in
sentences, word parts, letters, and sounds" [4:151-
152]. In general, only when a poetic word or poetic
speech forms a certain compositional system does it
create the dialogic processes noted by A. Potebnya as
a whole poetic text. Its power of influence, its dialogic
function inside and outside the text, is connected
precisely with the fact that it forms a compositional
whole. In this case, the means of creating a dialogue,
constantly moving from a sentence to letters and
sounds, from letters and sounds to a sentence, ensure
the perfect outcome of the relationship between "I"
and "the other."
Rauf Parfi's
Tong otmoqda, tong o‘qlar otar,
Tong otmoqda, Quyosh
–
zambarak.
Yaralangan Yer shari yotar,
Boshlarida yashil chambarak... [6:75].
If we analyze the famous lines from the point of view
of poetic speech and its process of creating dialogue,
the following picture emerges:
1) the key phrase in this passage is "Dawn is breaking."
This sentence appears in two places in the poetic
composition. The initial meaning of the sentence is
simply a message. It announces the end of night and
the beginning of day.
2) only after entering into a syntactic, rhythmic,
stressful, alliterative, homonymous, morphological, and
phonetic relationship with the sentence "Tong o'qlar
otar" in the second line, the first line replaces its simple
communicative, that is, declarative, feature with the
feature of linguopoetic or poetic speech. The phrase
"Tong o'qlar otar" evokes an artistic association in the
reader, leading him to the conclusion that the sun is
rising. Indeed, the sun's rays falling on the sleeping
Earth, breaking through the bosom of dawn, resemble
burning arrows, guns, or cannon fire.
3) the second sentence in the poem "Tong otmoqda"
does not mean that the sun is now rising. It indicates
that dawn is breaking, and through homonymous
twinkling, dawn is shooting at the earth with arrows of
light. In this sentence, "otmoq" syntactically transitions
directly to "o'q uzmoq," resulting in "inoskazaniye"
(metaphorization), as noted by A.A. Potebnya. The part
taken from shooting is exposed to sunlight, creating a
metaphor.
4) the sentence "Sun - cannon" in the next line further
clarifies the poetic meaning. Now the light source is
directly converted into a firearm. But such clarification,
forming a synthesis with a poetic text, a whole poetic
speech, leads the reader not to a clear logical
understanding, but to distraction, the need to reflect on
the poem again. How can the sun be a cannon, how can
it shoot like a cannon, how can it shoot at the Earth?!
Such poetic "deviation" intensifies the metaphorical
meaning in the receptive process as a result of
dialogization.
5) the issue becomes clear when the last two lines of the
poem are added to the composition, forming a synthesis
in the poetic composition. The purpose of the poem is
clarified by the synthesis of the syntactic antithesis
formed between the passing dawn - sahar, subhi sodiq
and his shooting in the lines "Yaralangan Yer shari yotar
/ Boshlarida yashil chambarak." The reader understands
that the poet is not depicting any battle scenes or
battlefields here, but describing the process of a clear
dawn. The metaphor of the Earth, wounded not by a
bloodstained gauze on its head, but by a "green hoop,"
leads him to this conclusion. As a result of the dialogical
combination between two contradictions - dawn and a
shot - a high example of poetic speech emerges from a
poetic point of view.
Based on V.M. Zhirmunsky's
theoretical conclusion that "The imagination inherent in
poetry is always general" [5:20], it becomes clear why R.
Parfi's poem, analyzed above, acquired commonality in
the receptive process. The true essence of the
theoretical requirement put forward in Aristotle's
"Poetics" about the necessity of using words, phrases,
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metaphors that are common or familiar to the reader
in artistic speech is revealed here. The more
consistently the poet adheres to this requirement, the
more common the association in the process of artistic
perception or perception, regardless of the variety of
interpretations that follow it. The rising of dawn, the
sunrise, the Earth stretching out under the sun's rays,
covered in greenery, is a familiar sight to all people. As
R. Parfi's poem evokes this impression in the reader,
the ideas are generalized. In an article published in
1906, A. Blok writes: "Any poem is a sheet draped over
several sharp words. These words shine like stars in the
sky of poetry. Poetry exists only because of these
words" [2:40]. In this analyzed poem by R.Parfi, the
words analyzed separately are "sharp words" that
perform the same task as A.Block. At first glance, logic
seems superfluous for poetry. Where logic prevails, a
notion arises that poetic imagination is suppressed.
But poetry also has its own logic. This logic differs from
life or mathematical logic.
On the example of the analysis of R. Parfi's poem, it
became clear that the poetic observation conveyed
against the backdrop of evil, on the example of a war
scene, led the reader to a poetic conclusion about
goodness, a peaceful dawn on the globe. If we look
deeper into the forms of internal and external dialogue
of artistic speech, the relationship between the living
subject and object, that is, the organization of a
receptive relationship between the author's "I" and the
reader's, the listener's "I" - "I" and "the other" -
emerges. Such views are recognized, albeit in a
somewhat different form, in the research of V.
Zhirmunsky: the scientist emphasizes that "In the art of
words, fragments combine to form imagery" [5:21].
According to this recognition of the scholar, the
tradition of linguistic study of poetry is the result of a
re-examination of the experience of Aristotle and
Plotinus in this regard. Initially, this aspect was
reflected in the work of the German philosopher and
philologist I.G. Herdert "The Newest German Poetry."
V. Humboldt further systematized and continued this
tradition. The founder of Russian theoretical poetics,
A.A. Potebnya, turned this into a specific branch of
philology. A. Potebnya divided verbal activity into two
types: A) language of poetry; B) language of prose.
Here, Potebnya understands the essence of the matter
by generalizing and generalizing. Prose language refers
to conversational language in general. He notes that
the main goal here is to give an understanding. By the
language of poetry, one understands artistic speech.
Emphasizing imagery as the goal of poetic language, he
focuses on the aesthetic impact of this type. According
to the scholar, in the fact of language, which is a means
for the second type, the practical purpose of language
is excluded. It now transforms into poetic speech as an
active generator of dialogic relations [7:121].
According to V. Zhirmunsky, "The language of rhetoric is
close to the language of poetry. Practical and scientific
language is far from the language of poetry. Practical
and scientific language are amorphosed, that is, they
express the same meaning. It is characterized by vital,
scientific logic" [5:24]. Of course, it should be noted that
although V. Zhirmunsky's ideas related to rhetoric are a
tradition borrowed from Aristotle, his conclusion on the
issue of logic differs from Aristotle's artistic logic. It
refers not to artistic or general logic, as in Aristotle, but
directly to scientific or practical logic. According to V.
Zhirmunsky, "The systematic study of poetic techniques
characteristic of poetic speech consistently leads the
theory of poetry to its true purpose" [5:28]. Sounds,
being the smallest and main unit of poetic devices,
create not only alliteration or rhythmic-syntactic
harmony, but also an extremely complex form of artistic
dialogue. From this point of view, the scientist classifies
the poetics of sound into three main groups:
A) ensuring rhythm and rhythm through the equality of
alternating vowels and consonants;
B) qualitative arrangement of sounds;
C) Sound intonation [5:65].
Therefore, without proceeding from the issue of sound
(phonetics), which is the smallest structural unit of the
means of forming poetic speech, it is impossible to
achieve the organization of the composition of the
poem and the consistent expression of the content. We
have already seen the rhythmic-syntactic harmony of
sounds in the example of Pushkin's poem. In the poem,
the syntactic continuity created by the alliteration of the
"u" sound manifested itself as a means of creating an
open dialogue. Vivid examples of the same
phenomenon can be found in Uzbek poetry. Alisher
Navoi's famous:
Ko‘zing ne balo qaro bo‘libtur –
Kim, jong‘a qaro balo bo‘libtur...
In the matla, we encounter an individual and extremely
complex form of sound poetics. The matla is double-
rhymed, and the "balo qaro" in the first line forms a
perfect rhyme with the "qaro balo" in the second line.
"Bolubtur" served as the radif of the matla. This is the
external structure of the byte. Such perfection of the
external structure gives the bayt excessive perfection
and melodiousness. The word "eye" here serves as the
syntactic center in the verse. However, this word is not
very active in terms of its rhythmic relationship with
other words. Words that form phonetic parallelism with
it are no longer found in the byte. But in the syntactic
system of the byte, the role of this word is very
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important. The main rhythmic-syntactic component
that creates the phenomenon of enjambement in the
verse is also the word "eye." In the first line, this word
appears explicitly, directly mentioning the word "eye."
In the second verse, although this word is not clearly
and graphically expressed, the description of "black
misfortune," which brings calamity to the soul, belongs
to the eye. The suffix "kim" in classical language, from
a grammatical point of view, means "ki" in the modern
style. However, in this verse it means "that is." "Kim"
as a connecting suffix in the second line performed the
function of the word "eye." As a result, from the
beginning of the first stanza of the second line, the
phenomenon of enjambement occurs. The sound "o"
ensured the formation of the phonetic system in the
couplet, the emergence of rhythmic-syntactic
harmony. This sound, reflected in the pairs "Balo" -
"qaro," "qaro" - "balo," as a result of its systematic
repetition within two lines, expressed the lyrical state
of the darkness of the beloved's eyes, the fact that this
darkness ignited the fire of love in the lover's soul, and
consequently subjected him to calamities. At the same
time, both pairs express the content of addressing the
beloved. Although the verse begins with the word
"ko'zing," the possessive suffix (ing) in the word
indicates that before it there are words describing the
beloved, such as "yor," "dildor," "dilorom," "go'zal,"
"parizod." This type of address, reflected in the
couplet, shows that it acquired a dialogical essence in
the first component of the first line.
In modern Uzbek poetry, the poem of the People's
Poet of Uzbekistan Erkin Vakhidov, beginning with
"Qaro qoshing...," is considered a unique example of
the harmony of sounds in a lyrical work as an organic
continuation of the traditions of Navoi and Babur.
Qaro qoshing, qalam qoshing,
Qiyiq qayrilma qoshing, qiz.
Qilur qatlimga qasd qayrab,
Qilich qotil qaroshing qiz.
Qafasda qalb qushin qiynab,
Qanot qoqmoqqa qo‘ymaysan.
Qarab qo‘ygil qiyo
Qalbimni qizdirsin quyoshing qiz [3:36].
This form of poetic speech is rare not only in Uzbek
poetry but also in the poetry of the peoples of the
world. In Russian poetry, it is observed that symbolists,
futurists, and avant-gardeists conducted certain
experiments in this regard. Some examples of poems
of this type are also found in the poetry of Y.
Yevtushenko, belonging to the generation of E.
Vakhidov and A. Aripov. Building an entire poem into a
system of words beginning with a single letter certainly
requires great skill from the poet. The fact that this
poem by E.Vakhidov does not have an experimental
biography is clearly evident from the natural flow of the
poem's tone and content. In the poem, a single sound -
"q" - organizes and controls the phonetic dominance in
the entire compositional system. This poem, like Navoi's
poems, is built as an appeal to the beloved. A melody
that becomes more complex and higher from line to line
is also formed with the participation of the consonant
"q."
CONCLUSION
In general, artistic speech has many internal
components according to its content. Poetic speech,
which is another independent form, is unique in that it
manifests a number of individual features. Defining
artistic communication in lyrics relies on the
combination of the creator's intention and the ability to
think. The degree of the author's use of monologue and
dialogue allows him to focus his imagination on a certain
point, deepen the analysis of the picture of the state of
mind, and form an imitation of the poetic process. The
priority of situational drama in poetry requires a
combination of speech types, and the constant
exchange of image and expression turns the narrative
technique into an auxiliary aesthetic tool. In fact, in the
text, attitude, discussion, analysis, and interpretation
enter into a creative relationship. In live speech, artistic
speech, in particular, poetic speech, three factors are
observed that require a response or indicate the artistic
completeness of speech: 1. It possesses objective-
mental completeness. 2. Speech intention or freedom of
speech of the speaker. 3. Typical compositional-genre
form of completeness.
The third factor in this classification directly relates to
the processes of poetic speech. At the same time, this is
a genre form of speech. This form arises not through the
assimilation of a set of grammatical rules, as a person
learns their native language in a natural state, but in a
natural state, within speech processes. Thus, speech
genres, including lyrical genres, are a product of this
process. Each sentence, sentence, line is activated only
by turning into an active component in the speech
process. In this case, the formation of a certain attitude
in the form of opinion, affirmation, negation, or other
form towards speech constitutes the dialogization of
poetic speech.
In the process of poetic speech, it is advisable to
consider lyrical speech and the dialogue within it as a
system of metaphors. In this case, the principle of
understanding the whole through the part and the part
through the whole is of great importance. The system of
metaphors creates the poetic form, and the poetic
connection between rhythmic-syntactic units within the
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poetic form, in turn, creates poetic dialogization.
Sound, being the smallest unit of poetic text, is not only
a rhythmic-syntactic harmony that creates alliteration
in poetic speech, but also a component of complex
systemic artistic speech that creates an extremely
complex form of artistic dialogue. Unless the smallest
structural unit of the means of forming poetic speech
is derived from the question of sound (phonetics), it is
impossible to achieve the organization of the
composition of the poem and a consistent
interpretation of the content.
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