No. 2 (2022) Uzbekistan: language and culture. literary criticism

In Ottoman-Turkish literature, the number of poets who wrote the epic “Leyli and Majnun” exceeds 20. Among them, the epic “Leyli and Ma- jnun” by Laurendeli Hamdi, created in 1542, occupies a special place. The epic was written not only in response to the epics of Persian authors, but in the chapter “The reason for writing the epic” Hamdi also mentions the name of the Uzbek writer Alisher Navoi. This epic of Hamdi was studied in literary criticism with the epics of Persian predecessors: Nizami, De- hlavi and Jami, but was not specifically compared with the epic of Alisher Navoi “Leyli va Majnun”. In the features of the story of both poems, the description of the characters and the development of events, similarities are found. However, there are noticeable differences in compositional con- struction, genre content and in the metrics used in the epics. The epic of Alisher Navoi consists of 38 chapters and 3623 verses, while the masnavi of Laurendeli Hamdi is much larger: it consists of 5441 verses. Hamdi not only wrote his epic in masnavi, but also included genres such as ghazal and qasida in it. Alisher Navoi, who created the first Hamsa in Turkish, com - pletely preserved all the traditions of the Hamsa.
During the study of the epic Hamdi, it became known that it has similar features with the epic of Alisher Navoi “Farhad and Shirin”.

In this article, in the late 19 th -early 20 th century Khorezm, Muhammad Rahim Khan II Feruz, the unique forms of the devanism tradition, the works of prince poets Sultani and Saadi, and the devans ordered by them, some poems in the devans, in particular, examples of ghazal, mustazod, mukhammas are presented, the text of poems in manuscripts is analyzed.Based on the sources stored in the manuscript fund of the Institute of Oriental Studies named after Abu Rayhon Beruni of the Republic of Uzbekistan will be analyzed. The study of the Devonian traditions of Khorezm, the implementation of a cross-textual comparative study and analysis of Devonian manuscripts ordered by princely poets, in particular Sultani, Saadi,Ghazi, Asads, complement the history of Uzbek literature, and an important source of study of the historical, cultural, literary environment of this period.

In this article, the origin, genesis, gradual development of irfoniy epics, principles of development in Turkish and Persian literature are researched. The epics of Fariduddin Attar, Gulshahri, Alisher Navoi, Rezai Payvandi, and Salahi were analyzed. the characteristics of vazn, measurement possibilities, poetic arts, rhyme system in the epics of these creators were studied and analyzed. The article also reveals the relationship between weight and content in irfoniy epics. Also, the article expresses the reaction to the existing views and opinions in literary studies. In order to read epic verses expressively, the events of vasl, imola, tag’yir, and taslim are clarified. In the process of writing the research, the book «From the history of Uzbek epic poetry» by B. Valikho’jaev, the article «Gulshahri and Navoi» by Arasli Noshoba, the book «Genesis and ideological-artistic features of the epic «Lison ut Tair»» by Sh. Sharipov , Sh. Hasanova’s «Bird» by Maulana Khoji Qazi Payvandi Rezai»language» epic and its comparative-textological study» monograph, Z. Mamadalieva’s «Images of Lison ut-Tair: symbol and metaphor» based on theoretical views. The convenience of Ramali musaddasi mahzuf and Ramali musaddasi maksur vazns for works in the direction of irfoniy epics has been revealed.

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.

In this article, the works of Khudoyberdi Tokhtaboev, a major figure of Uzbek children’s literature, are analyzed. In them, the expression of the adolescent psyche, as well as the child’s psyche, are discussed in detail. raised In fact, it is natural that any literary work will reflect the writer’s biography to some extent. After all, when a writer writes a work, the events he encountered during his life and the feelings he experienced are imprinted in that work. When we analyze the works of the writer Khudoyberdi Tokhtaboev, we see that they reflect the life path, character (nature) of the writer.
Also, in the article, the main problem in today’s Uzbek children’s literature - that the child’s psyche is primary in the education of the child -was highlighted on the example of artistic works. It is noted that the artistic work written for children is a reflection of the child’s psyche.

In this article, Abdulla Aripov’s literary and aesthetic views the role of folklore traditions is explored. The question of the impact of folk oral creativity on the rise of the artist’s artistic and aesthetic thinking is an- alyzed in three stages: 1) appeal to folk oral creativity in the first period of the poet’s work; 2) the place of the artistic synthesis of motives of folk oral creativity in the improvement of the poetic thinking of the creator; 3) poetic renewal of folk oral traditions in poems created at the end of life. As a result of the analysis, scientific conclusions were drawn that the creative approach to folklore traditions, their poetic renewal and improvement are the main factors that ensure the immortality of Abdulla Aripov’s poetry.

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.

This article discusses the reflection of Miraj night in poetry. In the description of the Miraj night, examples from the works of Alisher Navoi, Furqat and Abdulla Oripov are analyzed and the common and different aspects of the theme in the poems of these three authors are studied. The description of the Night of Miraj occupies a special place in the works dedicated to our Prophet Muhammad (blessings to him and his relatives), the fact that this night has risen to the level of a unique image in the literature of the Muslim East, as well as comments on the difference between the nights of Isra and Miraj. It is proved with the help of examples from artistic works that these images are expressed with high pathos in our classic poets and in A.Oripov in a calm and subdued state. The sequence of events on the night of Miraj is considered as an example of the poetic works of all three artists, and scientific conclusions are drawn based on them.