Expression Of Symbols And Allegorical Images In Lyric Cycles
Mamatkulov Muzaffar, Fayzullayeva Obidakhan,
doctor of philology, professor; doctor of philology, associate professor
Gulistan State University, Gulistan city, district 4. Uzbekistan.
obidaxonfayzullayeva@gmail.com
https://doi.org/10.5281/zenodo.10439249
Key words: Cycle poems, Poetic symbols, Allegorical image, Cyclicity, integrity, Author's concept, Generality, Harmony
in artistic expression.
Abstract. This article focuses on aspects such as the issue of cyclicity in Uzbek poetry, artistic and aesthetic features of
cycles, and in general, the representation of imagery in lyrical cycles through symbols and metaphors. The
issue of artistic-aesthetic characteristics of cycles is studied on the example of the poems of artists such as
Rauf Parfi, Eshqabil Shukur, Bahrom Rozimuhammad, Tursun Ali. Emphasis is placed on aspects such as
the unique aspects of the cycle poems, the features of their formation, and the manner of expression of the
lyrical hero in the poems included in the lyric cycle.
INTRODUCTION
Imagery is one of the most important features
in poetic cycles, as in all artistic ages. It is known that
imagery in poetry is realized through poetic symbols,
symbols and metaphors. There was no art, literature,
or creativity without symbols. Today, folklore is
considered and studied as an art of symbols. "An icon
is a reflection of the elements of the external world in
the inner world, heart and mind of a person. So, in the
inner world of a person, there is a characteristic of
perceiving the external world in its own way. He is
adapted to perceive the outside world through
symbols, symbols, i.e., "reworked" in his own way. A
person comes into the world with such a spiritual
ability at birth. It is not for nothing that the first people
accepted the secrets of nature and the universe through
symbols" [6, 34]. It seems that the symbol is the form
of the elements of the external world accepted by man
according to their specific characteristics. From this
point of view, symbols create the impression that a
flower is a lover, a nightingale is a lover, in the way of
something appears in the human mind.
LITERATURE ANALYSIS:
The question of the role of the terms used by
literary criticism, such as symbolic image, symbol -
image, which are small different forms of the same
content, in the art of cycle poems, is one of the
characteristic features of Uzbek poetry. A symbolic
image (N. Rahimjanov. Uzbek poetry of the period of
independence. – T.: Fan, 2007. – P.112), a symbol - an
image (B. Akramov. The whole of the world. – T.:
G'.G' Ulom Publishing House of Literature and Art,
1989. – B.21) terms are used in the creation of
philosophical generalizations in the culture of artistic
perception and expression, and the fact that they are
decorating the history of human culture due to their
wise, wise, instructive meaning it's not a secret.
Linguist scientist M. Yoldashev puts forward the idea:
"Symbol is the use of words in a certain figurative
sense for the expression of life events, concepts and
objects in artistic speech." (Yoldoshev M. Linguistic
analysis of artistic text. - T., National Library of
Uzbekistan named after Alisher Navoi, 2010. - 130 p.)
The image enters the language through metaphor, and
the metaphor in its further semantic development
becomes either a symbol or a sign falls to the level
Metaphor is one of the tools that serve to increase the
artistic-aesthetic value of the work and its impact.
MATERIALS AND METHODS
Genres and forms chosen for poetic cycles,
their specific characteristics, are studied mainly on the
example of the works of artists of the 20th century,
because the best examples of lyric cycles were created
in the literature of this period. Examples of Eastern
folklore and literature, in particular, in the works of
Jalaluddin Rumi, Farididdin Attar, Jami, Alisher
Navoi, Bedil, there are extremely conditional
figurative and symbolic images, the large-scale
content of which does not fit into the subject image. In
Uzbek literature, there are various examples of
metaphor in the works of Hamza, Gafur Ghulam,
Hamid Olimjon, Ghairatiy, and later Erkin Vahidov,
Abdulla Oripov. This is especially evident in the
analysis of lyrical cycles created by artists such as
Rauf
Parfi,
Eshqabil
Shukur,
Bahrom
Rozimuhammad,
Tursun
Ali.
Comparative-
typological, artistic analysis and cross-sectional
methods were effectively used in the article.
ANALYSIS AND RESULTS
Imagery is one of the most important features in
poetic cycles, as in all artistic ages. It is known that
imagery in poetry is realized through poetic symbols,
symbols and metaphors. There was no art, literature,
or creativity without symbols. Today, folklore is
considered and studied as an art of symbols. "A
symbolic image is a reflection of elements of the
external world in the inner world, heart and mind of a
person. So, in the inner world of a person, there is a
characteristic of perceiving the external world in its
own way. He is adapted to perceive the outside world
through symbols, symbols, i.e., "reworked" in his own
way. A person comes into the world with such a
spiritual ability at birth. It is not for nothing that the
first people accepted the secrets of nature and the
universe through symbols. It seems that the symbol is
the form of the elements of the external world accepted
by man according to their specific characteristics.
From this point of view, symbols create the impression
that a flower is a lover, a nightingale is a lover, in the
way something appears in the human mind.
"Symbol is one of the types of transfer of
symbols, a word or a combination of words that
acquires transferable meaning only conditionally and
within the framework of this text; type of imagery. A
symbol is essentially close to an allegory, except that
the symbol is used both literally and figuratively
within the context. The meaning of the symbol is
realized within the framework of the context and when
there is awareness of the condition" [7, 244]. That is,
the symbol is quite different from the metaphor and is
distinguished by its multiple meanings. It has existed
in Uzbek folk folklore and written literature since
ancient times. "Symbolic images constitute a specific
system and in some cases represent a common content
in the literature and art of many nations.
"The image plan and the content plan of an
allegorical image do not correspond to each other.
That is, what is depicted in an allegorical image does
not represent itself, but the meaning intended by the
author" [7, 26]. It is understood that allegory is an
artistic image, a type of imagery, which expresses
abstract concepts or ideas through a specific thing,
event, and event.
The connection between a word and an image
is based on similarity or harmony (for example, heart
- love). This concept is further clarified in another
theoretical information. That is, the allegory is
figurative, it is a form of symbol, the use of a symbolic
word (image) that represents a concrete image instead
of an abstract concept of an event or object, that is, in
a literary work or It is informed that it is a way of
expressing a concept that is unclear to the reader with
symbols specific to things known to many people [15,
1]. In this definition, the ideas about its figurativeness
and understanding as a form of a symbol correspond
to the essence of figurative images and images in the
field of lyrics.
Even in poetic cycles, symbols or metaphors
serve to convey a specific meaning and purpose.
Symbols in cycle poems, especially in sonnet cycles,
are more prominent.
"Philosophical-symbolic imagery is a unique
independent form of artistic thinking. He did not
appear
yesterday
or
today.
"Philosophical
generalizations in the culture of artistic perception and
expression based on symbols and symbols decorate the
history of human culture according to their wise, wise,
instructive meaning" [4, 21]. It is this decorative form
that has not escaped Uzbek sonnet cycles. The issue of
the role of terms in the art of cycle poems, such as
symbolic image [9, 112], symbol-image [4, 21], which
are used by literary criticism, are small different forms
of the same content, which is one of the characteristic
features of Uzbek sonnets. Because there are many
such images in the works of sonnet poets such as Rauf
Parfi and Fakhriyor.
Rauf Parfi's sonnet cycles contain original
forms of symbols. Symbols such as "word", "death",
"black wall" have a special place in this symbolic lyric.
What a secret, what a dream,
What kind of sleep is this, waking sleep.
Black ravens flew from my eyes
Behind the terrible black wall, or [8, 86].
Almost all poetic images in the poem are
symbols. The complex mental state reflected in it was
manifested through its various twists and turns. In the
above verses, it seems that the walls of the heart act as
a barrier for the heart, which is becoming a void
without love. The lyrical hero begs the Creator for help
to destroy this wall and return his love - his identity.
Through the oxymoron "awakened sleep", the lyrical
hero asks for a word that will bring both calmness and
excitement to his heart, and a feeling that will bring
him back to life. The word is also a symbol here, that
is, it is a key symbol of hope, desire, and divine love.
The arrival of that word prompts the awakening of
tender feelings in the lover's heart.
My words are filled with longing, and my words
are lonely.
The beauty of God alone filled my eyes.
The sky gave a sign. An unknown trace.
The wind of death broke my div.
You hugged my coffin and cried,
Why, the most beautiful woman in the world?!
At this moment, the appearance of the feelings
necessary for the lyrical hero in the heart, that is, the
achievement of the goal, creates a situation similar to
the end of life. This situation occurs after the div
(black wall) that is an obstacle to the soul is broken by
the wind of death (symbol of death). From this, it
becomes clear that the love shining in the heart of the
lyrical hero is mystical and divine, and this ending
corresponds to the idea of "analhaq". The union of the
soul with the Creator is the essence of this sect. It is
understood that Rauf Parfi's lyrical hero shows
spiritual monotheism by speaking in the name of
Allah, sometimes as a person in love, sometimes as a
lover:My night light burned, my world laughed,
I put on wings and flew to the sky.
Hello, my beloved person, my blood [8, 87]
The evolution of this mystical interpretation
is seen in the use of the element of blood - gene (blood)
in the unity of the psyche. Because according to the
concept of the soul, blood has no place. But in this
case, the use of the words "my beloved person, my
blood" in the sense of love for a person who first
strives towards a pure soul, for the creation he created,
can be evaluated as a response of God to the devotion
of a lover. In this place, blood acts as a special means
of unity. In addition to the mystical interpretation,
some unique symbols are also visible in the poems that
reflect the philosophical content related to the poet's
work. In particular, in the sonnet beginning with
"Before you were a dream...", Rauf Parfi refers to the
concept of dreams and hopes through the word dream.
Because a person strives forward and overcomes
obstacles in the wake of dreams. That's why
imagination can become the path of a person:
First you were a dream, just a dream
First you were a dream. You are my way now.
You are my boundless path, fearsome,
incomparable,
The noise of foreign worlds was silenced [8,
97].
Symbols - images are often found in the sonnets of
the current Uzbek cycle, especially in the poetry of
Fakhriyor. For example, the traditional image of a
flower - a lover is also present in poet's cycles:
There are no flowers, singing the name
There is no ash to sprinkle on your head,
There is no way to take the head [12, 121].
In this place, the function of the flower is slightly
changed, i.e. it is not the desire of a lover in the form
of a butterfly or a nightingale that becomes a butterfly,
but also that beautiful feeling of love in the heart,
which is difficult to leave. A lyrical hero is depicted as
a hijran who does not feel the pleasures of pain. In the
cycle of sonnets "Namozshomgul" in Fakhriyor's
poetry, it can be seen that the symbol of the flower
performed a special task. Here, too, the image of a
flower is a symbol of a lover, as in Rauf Parfi's
sonnets, but she is depicted as a victim of dreamy love.
Based on the condition of the flower, the lyrical hero
feels its suffering. He sees the flower (beloved) as his
sister and wants to wipe her tears and share her sorrow.
He considers her pains as his own.
My soul bathed in your flowing youth,
Your eyebrows did not sink into my bosom.
Do you have stones in your head?
My girl, what fate has defeated you?
What is not lying in the heart?
What love is equal to love? [12, 115]
The use of symbolic images in sonnet cycles
is one of the important factors that show the level of
development of the "Uzbek sonnet". Philosophical
generalizations in the culture of artistic perception and
expression based on symbols and symbols are also
expressed in the sonnet, which is considered a separate
genre. The ability to use original allusions and
oxymorons in the interpretation of symbols and
images is also important in the creation of high-level
artistic examples. In some cycles, the interpretation of
the lyrical hero as a symbol of "lover of God" or
"lover" can be attributed to the poet's state of being in
the midst of complex emotions. The fact that the image
of "flower" in Fakhriyar's sonnets is not a constant
lover, but a symbol of a lover in hijran, shows a new
interpretation of "flower". Such symbols can be found
in many sonnet cycles of the poet.
In general, poetic images are interpreted in a
unique way in sonnet cycles. Although this is not
found in the same form in the work of all sonnet
writers, it is one of the features characteristic of the
work of Rauf Parfi and Fakhriyor. The use of symbols
in the system of poetic images indicates the
predominance of the mental-psychological image of
the complex fantasy world in the creative process and
the originality of the artistic-aesthetic nature of the
sonnet, the vividness of the imagery. According to
these aspects, the Uzbek sonnet deserves recognition
as a mature example of art.
The cycle "Moments of Imagination" by the
well-known poet Abduvali Qutbiddin consists of
thirty-seven parts, separated by numbers. The poems
in the cycle are small in size and are mainly created in
free weight. The first poem in the cycle:
Quail in a cage...
Sparrows go from branch to branch...
The worm that pierces the apple... (The sky
is wide) [3, 5],
begins in the style and represents the world of
imagination of the poet. In the poet, this world is full
of vague images of abstractions, like a dream, and it
shows that the ephemerality in it is a product of a wide
fantasy world. It contains images of mysterious
destinations such as Ghayb, Kohi Qaf, Borsa kelmas,
snow bonfire, iron cow, steel shirt, spring with water
bubbles, fish without defects, plane of time, cracked
stones, primordial cage. , nightingale of the end, gilded
river, colorful happiness, etc., give these concepts a
new meaning. And most of them also serve as new
poetic images. It turns out that all the visions presented
in the poems of the cycle are observations about the
aspects necessary for the perfection of a person.
Poet Eshqabil Shukur's series of poems "A
walk to Nasoyim ul Muhabbat" began with the poem
"Munojat". It shows hope from the creator. The next
poem called "Together Address" describes the
situation of a poet who is ready to write a poem. In the
remaining poems of the cycle, images of mystics such
as "Sheikh Uwais Qarani", "Sheikh Bayazid Bistomi",
"Sheikh Zunnun Misri", "Yassavi" are created. Each
poem is woven into symbolic and metaphorical images
of the specific characteristics or qualities of these
mystics. In particular, it is said about Uwais Qarani:
Shaykh Uwais gnashed his teeth quickly,
Every tooth turns blue like a wing in the air.
Then, looking for Simurg in the seven valleys,
Thirty-two birds in flight [13, 207].
It is known from history that Uwais Qarani
broke thirty-two of his own teeth when he heard that
the blessed teeth of our Prophet were broken in the
battle of Uhud. The poet reflects this event in the poem
and compares the thirty-two teeth to the thirty-two
birds flying towards the Simurgh bird. That is, the
teeth and birds are symbols that serve as means of
bringing the sheikh to the dargah of Allah.
The poem dedicated to "Sheikh Bayazid
Bistomi" includes such poems as "Prayer", "The state
of mind", "Me'raj", "Ashiq", in which the image of the
sheikh is reflected in his prayer. Status at the time of
reading:
The voice when saying "Allahu Akbar"
The heart stirred at the bottom of every hair [13,
208],
If Bistomi's state of becoming God's with his
heart, mind, and div is reflected through his
description in the style, then the lyrical hero in the
poem "The state of soul" is the sheikh himself, who
says that he is the property of God, that he is only a
pilgrim of this property. By saying, he shows his state
of mind.
The poem "Me'raj" is about Bayazid Bistami
seeing God in a dream, i.e., he performed mi'raj, and
the images in it are unique:
It is possible to catch lightning with one's
teeth,
Biting the tongue and swallowing the world
with the eyes,
The process is kelmak, the essence is to leave,
To go beyond yourself is to reach God. [13,
208]
Feeling like a particle of Allah and being His
and being able to feel His power after forgetting one's
identity, in particular, such images as the ability to
"catch lightning with the teeth" and "swallow the
world with the eyes" to the beauty of the Creator. was
a convincing expression of the state of the approaching
breed. When a true lover forgets his identity, he unites
with Allah, and this is the essence of this poem. Since
this is the essence of the philosophy of life practiced
by the Sheikh, the poet shows it as one of the main
aspects in revealing this image.
The poem "Ashiq" is dedicated to the
expression of the dervish state of the Sheikh, and is
dedicated to the image of the fact that he will remain
as a lover of God, even if he disappears physically.
The poem "Sheikh Zunnun Misri" also
includes three small poems such as "The wisdom of
three sciences", "Surat wa siirat", "Green death", in
which the Shaykh's knowledge of repentance, risk, and
dealing It is described that he took care of it carefully,
that the face of one of his relatives shone like
moonlight during prayer, and that the path and the
coffin were green when the shaykh died, and it is
described as "green death was lying on the ground."
The next poem in the cycle is called "Sadness
of Love and Demand", in which the state of love and
the demand of love are described as "this heart that is
hanged like Mansur" rather than reaching the truth as
soon as possible. In other words, in order to reach the
truth faster, it is understood that the lover hangs his
tongue, that is, gives up his soul and div.
The lyrical hero of the poem "Yokhlov"
destroys great mystics by describing and describing
them. The definitions of "He who found Semurg in
himself", "He gave birth to thirty hurs on the night of
Qadr", "He burned flesh and bone in the heart" were
also used to make their identity clearer.
In the poem "Yassavi" at the end of the cycle,
mystical images and details are used to show the
identity of this image:
If I cry now -
Towards the qibla like Noah's ark
He begins to swim sadly
A glistening wet old prayer [13, 210].
The old prayer, wet from the tears shed by
Hazrat Yassawi while praying, is likened to Noah's
ark, saving humanity and sailing towards the Qibla.
Eshqabil Shukur's series "Walking to
Nasoyim ul Muhabbat" is a collection of poems that
reflect mystical content in modern poetry, and due to
the poet's skills and accurate descriptions and images
given to the images created, this essence is clearly and
figuratively illuminated. given
Poet Eshgabil Shukur wrote "Inscriptions on
an ancient inscription", "Exile", "War after war".
There are also several other cycles, such as "Ancient
Notebook". His cycles "Exile" and "War after the
War" are small in size. In the cycle "Exile" the plight
of our mothers who were exiled due to unjust
accusations is depicted, and in the cycle "War after the
War" the terrible traces of the war are expressed in
people's lives. will be done.
The poet added the title "Dialogues with
Mother Red and Mother Kurban" to the cycle "Exile".
In the poems of this cycle, the poet used prose as well.
It reminds us of the style of our folk tales. Since the
experiences of the two mothers mentioned in the title
served as the basis for the cycle, the poems in it were
adapted to the situation they were talking about.
The first work in the series is called
"Haydov". It depicts the expulsion of people from their
country. The next parts in the cycle were called "Bits",
"Palakhman", "Chorlov".
The poetic images of Armenian and
Palakhmon are created in the following verses of the
poem "Palakhman":
The ovens were carved. The stoves went out.
Armon cried in the cradle.
What bloody hands did you fall into?
A warrior who fell from the hand of God.
These verses symbolically express the
unfulfilled dreams of Armenian characters, their
unborn children, and the fact that the stone-throwing
weapon is in the hands of the Yogis, who serve to
punish the innocent.
In the poem "Hunger" from the cycle, specific
images are used in the words addressed to the child
who bit a piece of bread because of hunger:
A wheat husk with an ash core is the world,
The ground is a cup of patience that has not
been spilled.
Eat your tandoor cut, my child.
Eat someone's bone - coal.
The epithet "a husk of wheat with gray
kernels" used in this place is like the kernel of wheat
with ashes. is shown. The Earth, which has not yet
been overturned by such injustices, is described as a
cup of patience that is full but not overflowing, and the
cutlet that a hungry child puts in his mouth is described
as a bone of saltiness, charred by suffering.
The last poem in the cycle is called "Dreams
of Naqshigul". This poem depicts the sufferings of a
Khorezm girl in exile and captivity, homesickness. In
describing this image, the poet used adjectives such as
"flower of the earth", "fallen deer", "gloomy
happiness".
"Complexity", "War", "Return", "Cries of the
Uzbek father in the forty-third year", "Songs of the
forty-third year", "Tolganoy", "Memories" from
Eshkabil Shukur's series "The war after the war"
Poems such as "World War II" talk about the
sufferings of the Uzbek people and the complications
left from them.
The first poem in the cycle is written in the
language of a child who did not return from the war.
In the poem "War", metaphors such as "a soldier is
leaning on an armrest", "his right hand is far from the
div", and "crushed fears" are used to clearly show the
image of this destructive process.
In the poem "Return", the image of war is
defined in a different way: "war crawls, war crawls..."
refers to the painful complications it left behind, while
"lice asks for my diluted blood..." refers to people's
escape from war. the next plight, when it is said that
"dogs curse the sky", that animals also suffered such a
calamity, and when it is said that "men who died in the
war were born", the children born instead of those who
died in the war and expressed a strong hatred of war in
their hearts.
The poem "The cries of an Uzbek father in the
forty-third year" can be called the lamentation of a
father whose child did not return from the war. In order
to express the experiences of the father, who is the
lyrical hero in the poem, the poet used many image
tools.
The bloody shroud flutters,
A burning wind in my throat.
Night... The stars are twinkling,
I have ice in my bosom.
Howls like a dog in the evening
At the strange window,
The evening is full of blood in my eyes,
The streets are buzzing.
Such adjectives as "bloody shroud", "burnt
wind", "frozen stars", "evening howls like a dog",
"strange window", "bloody evening", "roaring streets"
are used in the poem. It was very important to show
the spirit of the father who was burned on the spot of
his dead child.
Azador at my door
My heart hangs like a bird,
No coffin, in your cradle
Shaking death [13, 197].
In this passage, the human heart hangs like a sick bird and the
image of a child sentenced to death while still in the
cradle causes a strong hatred of war to awaken in the
poem. In the poet's next poem, the image of "death"
appears again. In the previous poem, death lying in a
cradle instead of a baby is described this time as a
power beyond the reach of the lyrical hero:
The night is restless, the roads cry,
I stab my hand to the heart.
What can I do, I can't do it
I cannot kill death [13, 198].
The lyrical hero suffers from not being able
to return the people he killed or to kill himself. In the
last poem of the cycle "Memories", the poet revives an
abstract concept like "memory" and raises it to the
level of an image:
I am tormented by memories,
Memories of a childless woman...
The traces of orphans are a hot bosom
Memories with eyes like the wind.
I am tormented by memories [13, 202]..
.
By using metaphors such as "like a childless
woman" and "her eyes like the wind" to the concept of
"memory", the poet describes the memory of painful
moments in the form of the sufferings of a childless
woman and how painful it is like an unpleasant wind
in the eyes. The poem shows that memories of the
wartime cannot be good, it is always associated with
death and loss. It is shown that the consequences of the
war and the pain left in the hearts are irreparable.
In the cycle of poems written by Eshkabil
Shukur, abstract concepts were raised to the level of
images, and the poet was able to use new allusions and
adjectives appropriately and productively to describe
them.
Poet Bahram Rozimuhammad's poetry also
has its own cycles, one of which is called "One Color
Melodies". The poems in this cycle are numbered
only, without separate titles, and the first poem begins
as follows:
A scorched desert
wide enough to absorb the sound
the clouds are in the ranks of the camels
sand sky sand sky
oh sarbon bon bon bon [5, 115].
From the allegory of the poem "a melody is a
burnt desert like a melody", it seems natural that the
melody in the desert is appropriate for this place, that
is, the melody coming out of the throat gurgling in the
desert where waterlessness prevails. . Even when a
voice comes out of a hoarse throat, it is usual for it to
be swallowed up by the vastness of the desert. The
representation of the sky in the form of sand may be
the result of storms in the desert or the fact that there
is only sand around, the lyrical hero can see only sand
in his eyes or the result of not being able to look at the
sun due to the heat. In the next poem, the lyrical hero
thinks that "dreams prick his perception like thorns
and follow him like a shadow." The dreams of the
lyrical hero do not give him peace of mind, they
depress him and make him agree to his death. That is
why the horizon dawned by the setting sun seems like
a shroud for him.
Your dreams are like thorns
sinks into your perception
follows like a shadow
in the form of a shroud of dawn
From the room where you are staring
out into the open air. [4, 115]
Under the influence of steaming air in the
room, the lyrical hero imagines the painful lack of
water in the endless desert and the red rays of the
setting sun in the form of a shroud.
The experiences of the hero in the midst of
pessimistic thoughts are described in connection with
the environment in which he moves.
CONCLUSION
There are different situations in the depiction
of images in cycle poems, in some cycles different
images within the same content are embodied, in some
it is clear that different aspects of one image are
revealed.
In poetic cycles, from the images of historical
figures, sheikh-pirs, representatives of the common
people, abstract concepts such as dreams, dreams,
death, sorrow, love are also depicted at the image
level. In the cycles, images of experiences are also
used a lot, which seems to be a convenient tool for the
continuous expression of the author's experiences.
In Uzbek poetic cycles, symbolic images are
often used to express the experiences of the lyrical
hero or the poet's artistic goal. Allegorical images were
used for the ideological purpose envisaged in the cycle
and served to show the poets' skill of imagery.
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