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VOLUME 4 / ISSUE 7 / UIF:8.2 / MODERNSCIENCE.UZ
166
LITERARY INTERPRETATION OF POETRY AND POETIC SENTIMENTS IN
MODERN UZBEK LITERATURE
Saidova Rayhon Bekmurodovna
Doctor of Philosophy in Philology, docent.
https://doi.org/10.5281/zenodo.15814094
Annotation.
This scientific article is devoted to the study of artistic and aesthetic views
and artistic interpretations of poetry in modern Uzbek literature. It tells about young poets who
have their own voices by famous representatives of Uzbek poetry Rauf Parfi, Asqar Mahkam,
Shavkat Rahman and Mirzo Kenjabek. In particular, the views of poets such as Benazir
Muhammad, Guzalbegim, Jontemir, Shahriyor Shavkat, Najmiddin Ermatov, Sukhrob Ziya are
revealed. At the same time, opinions on the topic are compared with those of other scholars and
scholars.
Keywords:
modern literature, Uzbek poetry, poetry theory, poetry and poetry, poetry
technique, poet's symbol, creative process, theme and form.
Modern Uzbek literature in the pre-independence period experienced two transitional
periods, and there was also a decline in creative methods during these periods. If we classify the
first period as new literature that was started and enriched by such artists as Fitrat and Shepherd
at the beginning of the last century with new weights, the second period can be evaluated as the
literature that the generations of the 80s renewed, reached the point of free poetic weight and the
introduction of new genres. It should be noted that the young creatives of the post-independence
era also achieved renewal in two stages. The first period was the period from independence to
2010, when the poet was attracted by the unique style, form and proportion of the works of such
artists as Fahriyor, Shodmon Suleyman, Zarif Sultani, Guzalbegim, Gulnoz Muminova, Behzod
Fazliddin, Guzel Roziyeva. An example of the writers of the second period is the creativity of
young people who pay special attention to essence, who can express their closed emotions, who
synchronized the poetry of all periods and whose modernist style is primary, sentimentalist
mentality prevails, but who have a better understanding of the environment. Examples are
Jontemir, Tillaniso, Shahriyor Shavkat, Sukhrob Ziya, Najmiddin Ermatov, Zulkhumor
Orifjanova, Nargiza Odinayeva and others. It is within the framework of the topic that we
analyzed the next two stages in the renewal of Uzbek poetry, that is, the last two stages after
independence.
The fact is that in the work of these poets, the views of poetry and poetry are somewhat
different. Poets of this period were aware of the importance of creativity in this period, when the
people's enthusiasm for poetry began to wane.
As it is said in the poem "The Soul of the Word" by Askar Mahkam
Bugun so’zlar Ayyubdek xasta
Yo barchadan u ham to’ydimi…
Menga barglar shivirlar asta:
“Endi birov she’r o’qiydimi”
Nahot so’zdan qolmadi nishon,
garchi ular bozorda lak-
lak…
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VOLUME 4 / ISSUE 7 / UIF:8.2 / MODERNSCIENCE.UZ
167
Menga gullar shivirlar giryon:
“Bugun she’ring kimga ham kerak !..”
Abdulla Oripov in his poem, written at the end of his life, compared the value of the
creators who contributed to the development of mankind with the glory of the player, and simply
explained the injustice of the time, the wonder of the world:
Kim bo’libman axir men, mehrga zor
-ku bashar,
Chulg’ab olmish olamni zo’ravonlik va aqcha.
Oddiy bir to’pteparga qiyoslab ko’ring agar,
Homer va Tolstoyning narxi bo’larkan qancha?
Therefore, the attitude to poetry, the attitude of the people of creativity, who are obsessed
with words, vibrate the pen at the same time, who consider literature as a means of
entertainment, form the basis of our study.
For example, Zarif Sultani (Benazir Muhammad) was a famous poet who enriched Uzbek
poetry with classical tones. He was a poet as he wrote in his poems. For him, the poet is an
earthy quality, literature is a means to the heart, not the end. Writing a commentary on one of the
ghazals of Hafiz Poem, the poet says: "(For me, poetry, in general, literature is not an end, but a
means).
I'm also far from the idea of commenting on these royal bytes. (In fact, dozens of
comments have been written on this gazelle to date). My sole purpose is nothing more than to
'infect' the readers, so to speak, the sufferings of the 'great heart', which has been bewildered by
the conspiracies of the time seven centuries away, through the prism of the present day. one]
PRIVACY
bir hazin titranding
iymonmi yer qadar bukildi
(qushqo’nmas shoxinda qush ko’rdim)
bir hazin
oy g’arib yig’landing
ko’kmidir kitobi o’qildi
(qismating kosasin bo’sh ko’rdim)
oy g’arib
vo ajib gullanding
borlig’mi toata to’kildi
(vah tuprog’ bo’lmakni xush ko’rdim)
vo ajib
titradim
yig’ladim
gulladim
(yelkamning chuquri tush ko’rdi)
The poet's "blossoming" poetry, though poetry was as graceful as itself. He draws the
personality of the poet in the poem above. The bird that landed on the king is a symbol of the
poet's inspiration. The emptiness of the cup of poetry is a representation of poets' extraordinary
destiny.
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The poet used to pass through the prism of the soul.
Zaxmdor bitiklar
–
jismimga kafan
dardlardan sarg’argan qog’ozlar qabrim
.
The poet who wrote the above two verses does not beg for a ruth or a coin from poetry.
The famous poet Khurshid Davron writes about him:
"
I said Benazir is from Sariasia.
Sariasia does not mean "the head of Asia" as some understand, but "the head of the mill"
or "the front of the mill." I imagined Benazir working in a word mill. That vision is still in front
of my eyes now."[1]
For the creative beauty, who depicts both forms and emotions in a bubble, literature is an
expression of a whole life. Writing in the style of modernism, this poet entered the Uzbek
literature with his exhortations like no other. In his poetry we witness new reflections and new
expressions.
For example, poetry and poetry he describes as follows:
Men ogʼzimdan gullab quydim
Oʼriklardan bir lahza oldin.
Nafis gulda hasad uygʼotdim,
Yuragimga muhrini otdim.
Koʼzlarimdan suv ichgan gullar
Ifor tarar solih dillarga.
Kunim, umrim oʼtar suv quyib
Ogʼzimda ochilgan gullarga.[2]
Poetry is beauty to this poet. She dedicates her whole life to growing this flower. Who
else could describe writing poetry as "blossoming out of my mouth"?! It is undoubtedly a
product of the new poetic consciousness. The poet's "I am mung"
We inadvertently read the verses of Rauf Parfi, which have not yet sunk into anyone's
eyes.
"But I'm sorry.
Nodiv has drunk yet" comes to mind. This is where we can realize that poetry has a
new fountain in everyone.
In the generation of poets who came after 2010, poetry and poetry turn to different
interpretations. The revolt of poets of this period follows Rauf Parfi and Shavkat Rahman. The
true poets of this period do not expect anything, but open their chests for the freedom of the soul.
To them, poverty is chicora. At this point, I inadvertently quote Alisher Navoi :
The eldin must be brave enough to keep the tama, - the philosophical continent of which
is the verse comes to mind. If we pay attention to the words of the teacher Ibrahim Haqkul in his
commentary on this verse, the point of the Prophet Navoi becomes clear: "To be content is first
of all to attain spiritual and spiritual freedom. And the freedom of the soul is such an inviolable
existence that pride is not injured, and small and fleeting concerns cannot cause trouble or
distress." [9]
One such poet is a darveshnature like Jontemir and one is a villain like Najmiddin
Ermatov and Shahriyor Shavkatlar. They write poetry by passing their pains through their
bodies. One of Bukowski's poems rings as if drawing a portrait of the same young artists:
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Badiiy asarda
Og‘riq va iztirobning
Hissasi borligi
Haqqast rost
Ixtiyorim qo‘limda bo‘lsa
Korarmidim o‘zimga ravo
Bu mash’um og‘riqni
Bu azoblarni
Biroq ular meni
Topib oladilar qayerda bo‘lmay
Qalam haqi esa
Yo‘qlab kelar hammadan keyin…
(
Gulnoz Mo‘minova tarjimasi
)
From the poetry of Jontemir one can derive such Sufi impressions as triumph over the
soul, objectivity in the contrivance of the world. And his predilection for the anxieties of the
atmosphere is a testament to his rebellious spirit. Writing about herself:
“Tushlarida ko‘tarib dovush
Hofiz bilan she’r aytishgan mast”,
The transfer of the love bestowed by God into poetry cannot be more. The poet was
drunk with love of poetry. When he says, "A hollow that chews my tongue," Parthia describes
this hungry moment. In the chapter on realism, the poet finds the courage to say:
“Yurtdan olis baxt haqda yozish –
Tahoratsiz namoz o‘qimoq”.
So in his work, poetry is the courage that needs to be shown. He always seeks to portray
himself. Whatever rebellion and love there is in it, it conveys to the reader. Khurshid Davron
expresses this opinion about Jontemir's poems: "Not all poems are uniform, but everyone tries to
write himself in his poem. In his poem, he writes words that only and only he can say, expressing
only specific emotions." [3]
As Jon writes about the truth, he confuses it with a stray bird:
Adashgan qush
—
men yetmagan dor,
Adashgan qush
—
rad etilgan qalb.[3]
Literary critic Kazakboy Yuldosh Abdulla Oripov's thoughts in his article "National
Spirit Essences", dedicated to the interpretation of creativity, are very consonant with the state of
mind of the poet Jontemir.
“El
-yurtning qalbida pinhon oh-u zor,
She’r bo’lib o’zidan bergaydir xabar.
Ana, Mashrab uchun qurilgan u dor
Buzilmay turibdi shu kunga qadar.
The poet, who does not see himself as dehumanized, from himself, expresses that the
great mission of poetry is to help the weak. The poem achieved extraordinary expressiveness by
using the art of talmeh and recalling a part of Mashrab that can still be reversed today." [11]
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The words of the poet who realizes that the truth will be on the poet's neck will only be
true. Those who did not walk in his way were turned away, and the truth remained like rejected
hearts. Therefore, the poet and his destiny remain unchanged in all periods. Jontemir's rebellion
is fueled by this fact. In his soul there is a tremor like the wind, a headlessness. The poem "Who
taught me to write poetry?" is written in the poems of the poet stepping into his first creation.
Ku
yib, yonib, quvonib, qo’msab,
She’r yozishni o’rgatdi shamol.[3]
Those two lines had defined the meaning of his entire life's journey. His poetic thinking
grew with him. Turkish poet Sharif Temirtaş thinks in his book of essays "Rebellion in
Literature": "The consciousness of poetry develops, grows and disintegrates with the
consciousness of life.
This consciousness gradually becomes a source of life, a river flowing through the
cascade" (The perception of poetry develops, grows and spreads together with the perception of
life. That perception gradually becomes a source of life, a river of the whispering reader). [4]
In the current literary process, "Who do we call a poet today? There are creative young
people who can answer the question posed by Rauf Parfi and say that they are poets. One of
them is Najmiddin Ermatov. Though this poet has yet condemned thirty years of age, it can be
seen that he recognized the white-on-black. His poem "The Wandering Adventure of the Blue
Wolf" is proof of our mind. In the poems of the talented poet there is a real rebelliousness, and
the anguish of the poet's heart is shown.
Najmiddin Ermatov has a high position among the human qualities of Shahriyor Shavkat
and Sukhrob Ziya, and this feeling is reflected in the poet's poems. In his analysis of Najmiddin
Ermatov's poem "Blood and Ink", Najmiddin considers the verse about the poem and the truth in
two verses of Navoi to be the main element of Najmiddin's work.
"Nukta" is an artistic word that embodies both profanity and adulthood when it is a word,
and it is able to melt a stone. There is only one condition: it is necessary to take taffeta from the
grass of truth.
“Bo‘lsa
haqiqat guharidin yiroq,
Rishta
so‘zin
so‘zlamagan
yaxshiroq”.
That is, if the gems of truth are unsearchable, then it is impossible to put the word into
words. That is what the great thinker demanded of the word, SHE'R. Otherwise, the value of a
pen whose abode is higher than the emergency will be smashed to the ground. Times can
pass. But that criterion won't change. This is the reason why the famous poet of our time, Osman
Azim, said: "If the poets lie, they will die". [14]
Najmiddin Ermatov is well aware of the fate of the artist, who is valued today. He writes
openly, fearlessly, about the state of today:
Bizga berilgan zamon
Suzmakka sayoz keldi.
Erk deb urug‘ qadadik,
Tinmasdan ayoz keldi.
Til qantariq keldi va
Tori uzuk soz keldi.
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Chandelier language and tori ring vocabulary are symbolic of poets who do not speak.
Another poem about the tragedy of poetry said: "A thousand shouts of the poets torn the
strangle, and the humiliation goes." He counts the life of a poet who, being brave, could not utter
a word:
Shoir yig‘lab she’r aytsa,
Kulib borayotirmiz.
Biror mard na’ra tortsa,
Quvib solayotirmiz.
Ne zotlar o‘tdi tur deb,
Tizza bukib yotirmiz.
Bunday qavm qullikka,
Mudom duchordir, jo‘ra.[5]
Shavkat Rahman also said in his famous poem, "If we can get out of bed for a little while,
maybe." Najmiddin Ermatov describes this situation as "we are kneeling". Shahriyor Shavkat
occupies a special place among the young poets of today, who were nourished by the centuries-
old literary sources of our people. The poet was born in 1998 in Qahkadarya. It is not surprising
that the poet was also infected with the spirit of Amir Temur.
“Yo ota, deb ko`tar, ey, Yodgor,
sendan boshqa ko`tarolmaydi
O`n to`rt botmon O`zbekistonni”,
-
From the lines we can also feel the poet's sincere patriotic feeling. Jump to search Those
who are slaves of the world cannot understand the state of true poets.
Tishlarim tilloga botmadi yumshoq,
Hay, dedim , nasibam
–
yovg`onni ko`rsat.[6]
A true poet is ashamed of his feelings that he cannot speak, of poems that he does not
speak. Although the poet sometimes does not have enough time to say. Shahriyor Shavkat
expresses his psyche in four lines as follows:
Nechuk suv ichinda turaman chanqab,
Nechuk o`t bag`rinda muzlayman axir?
Nechuk och umidga umrimni tirab,
Beta’ma shaxsimdan topaman tahqir.[6]
Chin poets question themselves all the time. There's always something missing from it.
For his spirit is so free that he cannot be satisfied with the freedom of these times. It is as
if the poem prolongs the life of the poet:
Qaymoqday quyilsin Xayyomona she’r,
Va mangu tuyulsin shu lahza umrim.
The life of a poet who lived by the love and justice of God will be immortalized by his
poems, of course.
In the following poem, the poet creates a symbol of the evil poet through the image of
Bars:
Vallomat cho`qqilar kekirdagiga,
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Panjasin botirib, o`kirmoqchi Bars![6]
The poet is misled by the "vallomats" who want to make him a slave, a gun. This
contradiction grows in Shahriyar's poems. He places the image of the man in the verses with a
pencil. Today's poets have their say in every injustice. They may have inherited such a struggle
from Rauf Parfi and one from Shavkat Rahman. They are the generation that has taken on the
burden of telling the bitter truths. Shahriyor imagines false poetry as follows:
Ey, kibor minbarning sodiq notig`i,
Ko`rinmasmi qorningiz osti?
Yurakka botmasmi unvonlar tig`i
Toshdaymasmi gohida yostiq?
Yo`qsillar haqida so`ylar daqiqa
Sizga suv tashiydi yetim o`spirin
Odamlar kutmoqda achchiq haqiqat,
Nimagadir
Nutqingiz shirin?..[6]
Not everyone likes the bitter truths of the poet.
Today's artists are poets of both themselves and their truth and style. Observing the
movement of the word like a sword in the young poets above, another young poet, Suhrob
Ziyoda, walks patiently with the word priest. The reader who reads it seems to begin to feel
Asker Mahkam, Mirzo Kenjbek again. It is clear that Sukhrob Ziyo received poetry lessons from
Mirzo Kenjabek. His poetry is watered with mystical tones and the love of God. The poet is alive
with the Chin word, the sanctity of the word is reflected in the poem "The Poet" by Sukhrob
Ziyo:
Shoirning umriga tayangan xalqdir,
Xalqining qayg‘usi shoirga kafan.[7]
In the poet's poems, the depravity is so depicted that his head is also from the grief of the
people. The line "Death bows to the poet" seals the poet to eternity. The poet is the foundation of
an entire nation, in his destiny there are lines of the right word. Its fate can be seen from these
lines. Sukhrob Ziyo is a poet and acknowledges the unity of the nation as follows:
Shoir bir kishilik millat, har safar,
Millat shoiridan boshlab suyilgay.[7]
His views are irrational. Its rebel is a priest. In a circle in which most poets of the modern
literary process rebelled, Suhrob Ziyo puts all the battle on divine love. The poet's eternity is
manifested in the verses "But death is not the end." There's also a subdued in his ironies:
Aytganlari aytgan
bo‘lgan
zamonda.
Alarning
ko‘nglini
andak
og‘ritib
So‘zlasang,
yomon-da.[7]
In the following poem, the poet speaks of the silent turmoil in the heart of the poet, who
is watered with love:
Xayoliga osmon
ko‘milib
ketgan,
Ishq
ko‘nglini
ezib,
Anor sharbatiday taxir
so‘z
olayotgan odam kerakmi senga?[7]
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Tashbeh "The man who takes a word from pomegranate juice" is a novelty compared to
the poet's image. Sukhrob Ziyo shows his talent in such individual exaltations.
In literature from the beginning of the 20th century, there are examples of poetic and
poetic sentiments of varying degrees of pathos. The attitude to poetry is different in the poets of
each era. Uzavtosanoat to be transformed In every poet we have witnessed the sinking of hopes,
as well as the free spirit calling him to speak, because all sincere poets have been able to speak in
any era. Literature requires along with talent a great deal of science. Poetic and creative issues
resonate with Fitrat's ideas of formal renewal, and Shepherd's attention to the subject can be seen
from the comment "The same, the same, the same" in his article. In the poetry of the 60s, we
witness the different literary views of the poets Abdulla Oripov, Erkin Vohidov, Shavkat
Rahmon, Rauf Parfi and soon after them
–
Askar Mahkam and others. Young poets of the
present time, on the other hand, focus on the character of poetry through their own words. In the
poetry of today's young artists, the main mark of the poet is his devotion to truth and truth. The
rebellion in Rauf Parfi's poetry seems to have inspired them. Jump to navigation We will witness
the manifestation of the nation's nationality in the creativity of young people. There are no
instances of decorating the verses with an excessively delicate sense. The evil spirit also moves
into the poems. In addition, following the example of the older generation of poets, young poets
take seriously the issue of the poet's moral criterion, and take being a hypocrite, a mad poet as a
traitor to the word. They always demand the truth. Mirzo Kenjabek says in his article "Literature
means literature": "... There is no doubt that the original talents who sing purity, goodness, truth
and justice will receive spiritual help from the Creator"[8] The talent given to them by the
Creator is truly justified.
REFERENCES
1.
Benazir Muhammad. Hofiz bashorati yoxud shoir qaysi davrga xitob qilgan edi?
2.
Go‘zal Begim. Sukunat jaranglari. –
T.: “Yozuvchi”, 1998. –
B.3
3.
Jontemir. She’rlar.
4.
Şerif Temurtaş. Edebiyatta isyan. –
Ankara. “Somut Hültür”
. 2023.
–
S.12
5.
Najmiddin Ermatov. Ikki she’r.
6.
Shahriyor Shavkat. Ruhim qushlari.
–
T.: “Adabiyot”,2020. –
B.4
7.
Suhrob Ziyo. Ko‘ngil yelkani. –
T.:”Zilol buloq”, 2021. –
B.76
8.
Mirzo Kenjabek. Yoshlarga dil so‘zlarim. (yosh ijodkorlarga samimiy tavsiyalar). –
T.:
“Adabiyot”, 2021. –
B.8
9.
Ibrohim Haqqul, Ergash Ochilov. Ishq va hayrat olami.-
T.: “O’zbekiston” 2016.
- B. 127
10.
Qozoqboy Yo’ldosh. https:
//malumot.ru//noziklashuv -jarayoni/
11.
Qozoqboy Yo’ldosh. Milliy ruh suvratlari. “Abdulla Oripov ijodining ilmiy
-
ma’rifiy
ahamiyati” mavzuidagi respublika ilmiy
-nazariy konferensiyasi materiallari. - T.: 2020.
B.13
12.
Asqar Mahkam. Ruhoniyat va so‘z.
13.
Abdulla Oripov. Tanlangan asarlar (1-jild).
–
T.: “G`afur G`ulom” nashriyoti. 2000.
14.
Nurboy Jabborov saboqlari telegram o‘zani.
