POETIC WORD IN THE LEXICAL LAYER

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PUBLISHED DATE: - 31-07-2024
DOI: -

https://doi.org/10.37547/tajiir/Volume06Issue07-07

PAGE NO.: - 52-58

POETIC WORD IN THE LEXICAL LAYER

Sevara Baratova

Research Fellow, Institute of Language, Literature and Folklore of the Academy of Sciences of

Uzbekistan

INTRODUCTION

It is known that poetic speech differs from prosaic

speech in its compactness, attractiveness, richness

in metaphors, and emotional and expressive
coloring. Experts recognize that words in poetic

speech, in addition to expressing denotative
meaning, are mainly determined by connotative

meaning. “Poetry is an essentially figurative,

impressive means of expression, based on various

modes of expression, artistic allusions. The scale of
imagery and expressiveness in poetry is also a

direct consequence of the fact that poetry relies on
visual means that express thoughts in a clear,

expressive and concise form” [5,11]. If this process

is noticeable in lyric poetry, then in epic poetry it is
less noticeable When talking about weakness, this

should not be understood as a lack of emotionality
and expressiveness (standard of assessment). to

understand them, to understand the meanings of
words,

requires

special

knowledge

and

intelligence. In the past, the emergence of the
readings of Rumi, Nawai, Bedil and Fuzuli, the

recognition of the need for special knowledge to

understand the meanings of a number of artistic
arts arose from the complexity, multi-layered and

richness of the same poetic speech.

“The concept of poeti

c vocabulary is a relatively

narrow concept; they are pure poetic words, poetic
word forms that are not used in other types of

speech or are rare (with the exception of archaic,
traditional poetic words or artistic speech, which

are practically not found in other types of speech)
covers poetic abbreviations, poetic neologisms,

occasional words” [5,12]. It should be emphasized

that when forming poetic speech, an artistic

example of words of the national language is
selected. Synonymy and equivalence play a key role

in deciding the poetic word in poetry. The metrics,
rhyme, and other elements of the poem require

that it be so. In “Sabot ul

-

ajizin” by Sufi Allahyar, the

word “language” is replaced by “zaban”, the word

“kalit” (key) is replaced by “kalid”, which

is archaic

form of “kalit” today, “mana” (meaning) is replaced
by “mani”. He uses the pronoun “anga” (him)

instead of “unga”, and “ko’p” (many) instead of
“ko’p”, so that these synonyms and equivalents

show the impressiveness and attractiveness of the

RESEARCH ARTICLE

Open Access

Abstract

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word, at the same time rhyme which led to the
introduction of artistic arts, and thanks to this it

was possible create an image and increase
impressionability. Instead of the combination

“ma’no xazinasi” (treasure of meaning), the
metaphor “ganji ma’ni” is used. If the word “ganj”

had not been used instead of the word “treasure,”

the imagery would have been narrowed, the

emotionality and, in general, the evaluation criteria

would have been violated. At the same time, by

using the word “nukta” instead of the word “nuqta”

(dot), which is its paronym, there was created a
new, charming image:
The key to my life is the zaban,
If there is more than one dot, it is harmful [2.55].
It should be noted that linguists note that the

concept of “language of poetry” should be

associated with the word “poetics”, and not with
the word “poetry” (for example, such an idea was

put forward by V. P. Grigoriev) [6, 9].
It is known that harmony is the main feature of

poetry. It was not for nothing that Ibn Sina, in his

treatise “On Poetry,” pointed out that poetry

consists of words, metrics and harmony. Abdulla
Kahhor, describing the poem, notes the following:

“Poetry is wisdom from the point of view of

sustaining thought, music from the point of view of

finding the way to the heart, emitting a harmonic
sound from it. A poem is the sigh of a lover, the

tears of a sufferer, the sound of laughter, which is
an expression of happiness and sadness. Poetry is

the mirror of the heart; it reflects what is in the
heart. Poetry is an innocent child; it knows no

hypocrisy. Where there is hypocrisy, there is no

poetry. Poetry is a miracle. Knowing about its
miracles and secrets, not everyone can master

these secrets. To achieve this, you need more than
intelligence, patience and hard work [7.48]. This is

why poetry is elegant speech. Poetry is the most
complex and difficult type of artistic creativity.

Poetic speech is a complex system. Because a poetic
work consists of rhythm, weight, syllable (syllable),

stop, rhyme, sentence (stanza), poetic systems
(finger, aruz, white, prose), intonation, poetic

figures, etc. These are the formal aspects of a poem;

therefore, the form of poetry is the word. “The

harmony that should exist in a poem requires an

easy and free arrangement of the verses according
to tone and meter. Poetic fluency requires using

words freely, as in ordinary speech, without forcing
them into lines. These features characteristic of the

language of poetry create a unique vocabulary of
the language of poetry; this lexical layer is to a

certain extent stylistically limited in addition to
poetic speech, enhancing the imagery and

expressiveness of poetic speech” [5, 13].

Words included in the poetic lexicon, as we said

above, provide the eloquence, excitement and
impact of poetic speech. Linguists divide poetic

vocabulary into archaic words, traditional poetic
words expressing symbolic meaning, purely poetic

words, words of an occasional nature that arise in
the process of poetic speech, specific words within

the framework of traditional and modern poetic
speech. form of traditional poetic forms (variants),

morphological variants of words. This makes it

possible to evaluate the positive or negative
meaning of poetic words in lyrical and epic poems

from the potential impact, connotative aspect. It is
no secret that in classical lyric poetry and epic

poetry special attention is paid to the word. The
word used in poetic speech was distinguished by its

eloquence and expressiveness. That is why in most
epic works, for example, Alisher Nawai,

Muhammad Salih, Nishati, Munis, Agahi and other
writers, chapters were devoted to words or

individual poems ended in their epic works. In all

masnawies, Alisher Nawai’s “Khamsa” assessed the

word as a divine being and showed its poetic
function. Poets such as Sufi Allayar, Huwaido,

Nishati used the possibilities of the poetic word and

created beautiful works using forms that amaze the
reader, are easily absorbed into his consciousness

and have a strong impact on his psyche and mood.
This process arose as a result of t

he poets’ deep

understanding of the meaning of words and the
variety of forms.

“The importance and relevance of the issue of

isolating the poetic word as a lexical layer and its
special study lies in the fact that a) a number of

lexical means used in poetry are rarely used in

other genres; b) poetic words have the property of
increasing artistic expressiveness, solemnity,

imagery, and these features are sometimes not
noticeable in other speech; d) poetic words have

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emotional imagery, poetic elation, and when used
in other genres, the emotional imagery of the word

may be weakened or not appear, as in poetic
speech; e) poetic words have their own lexical-

semantic and stylistic features, and these aspects

are revealed only in poetic speech” [5,16]. If we

take a

closer look at the lexical layer of “Sabot ul

-

ajizin”, we will be able to witness various variations

of the poetic word. If we consider the lexical layer

of “Sabot ul

-

ajizin”, we will notice that it contains

many words and symbols used to express mystical,

Sufi and pandnomism. The reason for this should
be sought in the fact that the author of the work

was one of the sheikhs of Sufism, that he used such
words and symbols in his works in this area and

that his worldview was formed. It can be added that
in the formation of the artistic language of the

poet’s works, he was able to fully use the

capabilities of the eloquent Arabic language, the

Persian-Tajik language, the gentle and melodic,

melodic Turkic language. Let’s consider them one

by one:

1. In “Sabot

ul-

ajizin” there are many contradictory

events, personalities, habits, experiences, concepts,
such as good and evil, faith and unbelief, generosity

and

stinginess,

and

other

antonymous

(contradictory) units (pairs) that occur very often

due to the fact that this word is used, and also
because the author is in the position of a wise

person in the work. It is typical that when one
conflict couplet is used in a work in second place,

this conflict couplet is replaced or its variant
(doublet) is used. This shows that Sufi Allayar

knew the intimate possibilities of the Uzbek

language. Moreover, given that conflicting words
predominantly occur within one category, a greater

number of conflicts within one category are paired;
these pairs of antonyms form the pairs Uzbek and

Uzbek (ko’p

-oz), Arabic and Arabic (naf - zarar),

Tajik and Tajik (nodon-dono), and in some places

pairs of antonyms Uzbek and Arabic, Uzbek and
Tajik (bilmas

–

dono; kam-ziyoda) are also used.

Below are some of these pairs of antonyms and
verses in which they are used. From them it is clear

that the poet, as a scientist, was able to substantiate
his religious and educational teachings and thereby

direct the formation of poems and antonymous
poems that have a strong influence on human

spirituality: bilmas va dono (Qilur bir lahzada

bilmasni dono). 3) g’arb va sharq (west and east)

(Kelur bir lahzada g’arb ustidin sharq). 3), qul va

shoh (slave and king) (Aziz etsa qayu qulni oshal

shoh). 4) bosh and mosh (in the sense of large and

small; (Ko’runmas

bosh aning oldida bir mosh). 6)

suv va o’t (water and grass) (Agarchi o’t bila suvda
bo’lur farq). 6), ibtido va intiho (beginning and end)

(Aning yo’q ibtidosi, intihosi). 4) kichik va ulug’

(Xaloyiqdin kichikdur yo ulug’dur). 5) turish va

yurish, xayr va shar (Turushdur yo yurushdur

xayru shardin), na’f va zarar (Nar kim, tegsa anga
naf’u zarardin. 5) nafslik va nafssizlik, bud va

nobud (Nafslik yo nafssiz, budu nobud. 5) zarar va

na’f, xayr va sharr (Zarardur, naf’dur yo xayr,

shardur), falak va zamin, yuqori va zer (past)

(Falakdin yuqori, zeri zaminda), zohir va g’ayb

(Erur birdek hamisha zohiru g’ayb), 6) ko’p va oz
(Topar banda jazo ko’p qilsa yo oz, 6) kam va

ziyoda (Yaqin bilgilki, iymon bo’lmag’ay kam, Erur
birdek, ziyoda bo’lmag’ay ham, 7) erta va

kech

(Riyozat birla bo’lsa erta

-yu kech).

We consider it necessary to cite a few more

antonyms from the work:

Bo’lur bir

-

birga dushman, do’st deganlar, Iloho,

lutf qil munda va anda, Yig’ilg’onda yomonu yaxshi

banda. Iloho, lutf qil hasratli soat, Habibingdin

nasib etkil shafoat. Tirikdur doimo, andin so’ng

o’lmas, Agar jannat bilan do’zaxni avsof, Telim uzr

ayg’oli, ey Koshifi roz, Tilimni ming tilim qilsam

erur oz. Nechuk jonsan, nechuk tansan, nechuk zot?

Bahoyimsan, bashar, devonasan, sog’, Na kim

qi

lding jahonda ertayu kech, Ulug’lardin,

kichiklardin bayakbor,

Ulug’ yo’lga kirarsan

xoh, noxoh Qani shukr etganing mingdin birina? Na

bergaysan javobin, ey tan oroy, Bu hasratdin fig’on,
ey ro’siyoh, voy, “Yomonlar yaxshilardin

ayrilinglar!» Agarchi zohiru botin desa dars,

Boshing ko’b yuqori qilma, egilg’il. Ichursa zahr, ani

bilmak kerak shahd. Agar bo’lsun desang yengil
og’irlar, Erur rahmatdin ayrilg’on qabohat.

These antonyms rise to the level of poetic words of

microtext, their effectiveness rises to a high level.

In a word, the book talks about good and its
opposite, evil, and uses so many words with

opposite meanings that we will be content with
quoting some of them. However, I would like to

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emphasize one thing: none of the pairs of antonyms
took a place in the poem or verse because of

nothing, but made a great contribution to the

realization of the poet’s artistic and educational

plan.
2. Use of synonyms and similar words. The work,

which is one of our main sources, makes extensive
use of significant words related to the issue being

interpreted, as well as similar words related to the
scope of the topic. The reason for this needs to be

assessed based on the nature of the issues raised.

Since Sufi Allayar’s work deals with mystical and

moral issues, one can witness the use of synonyms
and similar words to indicate goodness and

condemn bad behavior. Just as the poet used many
impressive synonym words to express his

optimistic thoughts, he also uses many synonyms
and similar words to show the shortcomings of

people. Based on the content of the work, he gives

a unique coloring to synonyms and related words,
paying special attention to their presence in

various metaphorical variants. The abundance of
synonyms used as theonyms in the work, as we said

above,

comes from the essence of “Sabot ul

-

ajizin”.

Let’s look at some of them. They soften the spirit

and character of a person, serve to germinate and
nurture the seeds of purity and perfection; This

allows a person to know God and his identity. Sufi
Allayar wrote his book as a sermon (I am glad that

I am sick, like myself, I remembered this as a
sermon [2.15]) and synonymous theonyms

associated with the name of Allah from the content
of the verse - it is based on dhikr. Depending on the

nature of the issues raised, different options are

used. Therefore, the name Allah is used in a neutral
(moderate) sense, towards the object of prayer, as

a reminder and for other purposes. For example,
the most commonly used word is the theonym of

God

–

Khaliq [2, 16], Khudovand [2; 46, 89, 111],

Khudoyim [2,19], Khudovando [2,46], Khudoyi zul-

minal [2, 89], or in a moderate sense Parvardigor,
Parva, [2,71], Iloho [2,71 ], Mawla [2.94], Tangri [2;

15, 22, 27, 41, etc.], Hayy [2,48], Rabb [2,34,37]
Egam [2,41], Mawli [2, 17,23], Hazrat [2,44 ,64 ].

Based on their direct attributes, in many places the
beautiful names of God, used for this neutral

purpose, are used in a connotative (evaluative)
sense and purpose. Here are some of them:

a) Hayy Tawanna

–

Alive and Powerful: Iroda qilsa

ul Hayyu tavonno, Qilur bir lahzada bilmasni dono

[2,10];
b) Rabb al-Aflak

–

Creator and Owner of the

heavens: Xalos etsa birovni Rabbul-

aflok, Qolur tog’

ostida, andin chiqar sog’ [2,10];

d) Almighty Lord

–

Almighty Lord of the World:

Umid etmoq

o’shal qudratli shohdin, Yonardan

havf etib, yonmoq gunohdin [2,15];
e) Khallaq al-

‘Alam –

The Creator of the World:

Iroda aylagach, Xalloqi Olam, Har ishni “bo’l!” dedi,

bo’ldi o’shal dam [2,18];

f) Wajib Ta’ala –

Having the greatest name: Nakim

rizq

eki bo’lsa shaybu bolo, Yaratibdur ani Vojib

taolo [2,20];
g) Kashif az-Zur

–

The Lord who removes harm,

kashshaf: Ko’ngul sanduqina bir bebadal dur O’zing

rost aylagil, yo Koshif az-Zur [2,23];
h) Sultan al-

A‘dal –

Sultan of the Righteous: Bashar

payg

’ambarin Sultoni a’dal Malak payg’ambaridin

qildi afzal [2,26];
i) Dana-i Asrar

–

The Lord who knows the secrets:

Inoyat aylasa Donoyi asror, kirar go’rga muloyim ul

iki yor [2,36,67]:
j) Khallaq al-

A’lam –

The Creator of the World:

Taning har turli bo

’lg’on bo’lsa barham, Qilur

burnog’idek Xalloqi olam [2,38];

k) Qadir Nasir

–

He Who is able to pass his

judgment and helps in every situation, Who knows
your sins and merits: Nechuk qilsa erur Qodir-u

Nosir, Bu yerda bandasining aqli qosir [2, 39]:

l) ‘Alim

-i Ghayb

–

Knower of the unseen, The God

Who covers mistakes: Agar San yopmasang, ey

Olimi g’ayb, Bo’lur tongla muayyan soni yo’q ayb

[2,40];
m) The All-Merciful, Rahim,

–

karami keng

Podshosan;

bizni

yo’qdan

bor

qiluvchi

Yaratuvchisan,

Mehribonsan,

gunohlarni

kechirguvchi yakka-

yolg’iz Zotsan: Karamlik

Pods

hoho, Kirdikoro, Rahimo, mag’firatlik Biru

Boro [2, 43];
n) Wahid

–

The One: Agarchi soni yo’q isyon

qilibmiz, Umid ulki seni Vohid bilibmiz [2,43];

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o) Sattar al-

‘alam –

The Coverer of the World: Agar

lutf aylasa, Sattori Olam, Bitar bir lahzada kori du

olam [2,130]. Besides that, Donandayi roz

–

(The

Knower of the secrets), Ilah (worshipable God),

Karim (Great), Kashifi roz (The Revealer of the
secrets), Nasir (Giver of help and victory), Satir (the

Coverer of guilts), Subbuh (Pure Lord), Tangri taolo
(The Great Lord), Qadir (The Almighty), Quddus

(the Holy One), Ghaffar (The All-Forgiver), Hayy

(The All-Alive) in the same way, theonims directly
derived from the attributes of the God are also

widely used in literature [3,326-327]. Theonims
such as Ya Rabb, Khaliqo, Ilaho, Parwardigoro were

mentioned in prayers. [3, 326,327].

Terms related to the word prophet

are also used a lot in both speeches. This word

means a messenger between God and his servants
in the dictionaries. It is interpreted as a

represe

ntative who receives God’s commands and

instructions through revelation and conveys them
fully to his community [4,194]. There is also the fact

that according to the sources there have been one
hundred and twenty four thousand prophets in the

history of mankind, but there are certain
differences in their names and some of them are

called nabi (most are prophets), rasul (ambassador
as most of them are messengers) , are interpreted

by terms like mursal. The first of the prophets was
Adam Safiyullah, and the last was Muhammad

(peace and blessings of Allah be upon him). Belief
in the Prophets is one of the rules (fard) of Sharia.

Prophets who were not given the book and Sharia
but were ordered to follow the book and Sharia

given to the messenger (the messenger of Allah)

are called prophets. [4179]. This also appears in

“Sabot

-ul-

ajizin”:

Bari daryoyi rahmatda edi g’arq,

Rasul ila Nabida bo’ldi bir farq.

Barisi Tangridin tobti xitob ul,

Nabiga shart emas, ammo kitob ul.

Rasulig’a erur shart, ey ne

ku nom

Vale bo’ldi barig’a vahyu ilhom.

Nabiydur har Rasul anglag’uvchi bo’l,

Va lekin har Nabiy ermas Rasul ul. [2,26]

There are 25 names of prophets

mentioned in the Holy Quran. Some of them are

called additional names and adjectives, i.e. Ibrahim
Khalil Allah (friend), Moses Kalim Allah (spoke to

Allah), Jesus Ruh Allah (created from the soul of
Allah), Ismail Zabih Allah (agreed to be sacrificed),

Muhammad Rasul Allah (Messenger of Allah),
Muhammad Habib Allah (Beloved Friend of God)

[4,179]. According to Rashid Zahid, the synonyms

derived from the names and qualities of the
Prophet (peace and blessings of Allah be upon him)

are as follows: Muhammad (praised), Ahmad
(worthy of praise), Mustafa (chosen), Mukhtar ul-

Quraysh (selected from Quraysh), Nigini anbiya
(Seal of prophets), (A hint that Muhammad (peace

and blessings of Allah be upon him) is the last
prophet), Payambar (evangelist), Rasul sultoni

(Sultan of the Prophets), Rasul Allah (Messenger of
God), Sultani abrar (Sultan of the good people),

Ululazm (possessor of fortitude), Sham’i din

(Religion Candle), Shafoatkhah, Shahi asdaq (King

of the Honest), Shahi me’roj, Me’roj shohi,

Muhammad amin (Honest Muhammad), Habibi

Haq (Beloved of Allah), Hamrozi mahbub (Friend of

loved ones), Hadiyi din (Man guiding to a religion),
Hodiyi olam (The guider of the world). [3,327-328]

The angels are called Malak. They are

also servants of God, and angels are forbidden to
eat and drink, do bad deeds and speak obscene

words. The sources record that the angel Gabriel
(Jibril) brought a revelation from God to the

messengers, Gabriel (a.s.) was also known as Ruh
al-Amin. Azrael is the angel who takes life at the

command of God (malak ul-maut), Michael is the

angel who rules the universe by God’s judg

ment,

and Israfil is the angel who blows the trumpet on

the Day of Judgment. Angels are created from Light.
They are not gender specific; don't eat or drink.

They pray all the time.
Sometimes in oral speech, when talking about the

fact that brides are beautiful, sweet and polite, the

metaphors “angel”, “like an angel” are used, which

in this case cannot be synonyms.

The truth of the Resurrection is mentioned. In

“Sabot al

-

ajizin” it says:

Qiyomat haq erur, ey odamizod,

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Xudo Qur’on ichinda qildi ko’p

yod. [2,38]

This word expresses the religious teaching about

the end of the world and forms the teaching about

the future life in Islam. This teaching is related to

the terrible events associated with the beginning of
the Last Day in the surahs of the Holy Quran, the

death of everyone, then the resurrection of people,
standing up, interrogating one by one, measuring

merits and sins, and so on, according to which
people will be admitted to heaven or hell, the

torments of hell and the pleasures of heaven are
described in detail. [4, 292]. Words and

expressions such as “mahshar”, “hashr”, “akhirat”,
“day of interrogation” are used as an alternative to

the word “Qiyamat”.

Heaven is a place in the next world where pious

people live happily; it literary means “garden”. This
word means “paradise”, “ujma”, “dar us

-

salam”,

“dar ul

-

baqa”, “dar ul

-

muqama”, “dar ul

-

muttaqin”,

“dar ul

-

akhir”, “garden of eram”, “garden of jinan”,

“firdavs” and other equivalents are also often used.

According to the teachings of our religion, there are

eight gates of heaven, and these are the gates from
which enter the prophets, martyrs, siddiqs, sahihs,

zakat givers, believers, those who keep the
commandments and who control their lust, those

who perform Hajj and those who perform I will die,
those who strive in the path of Allah, those who

fast, those who do not interrupt their prayers,

those who please their parents. [4,80].
Hell is the place where God punishes his sinful

servants and unbelievers. There are Persian, Arabic

and Uzbek alternatives to this word, such as

“jahannam”, “jahim”, “saqar”, “tamug” and “nar”. All

this is described in detail in Huwaydo’s poem “Joy
of the Heart” [3, 2].

Since both books are written in the spirit of

exhortation, both of them make frequent use of

exhortation. Since the impulses are directed at one
person or a mass, it contains such synonyms as

“man”, “human”, “person”, “slave”, “head without a
brain”, which go directly into the metaphorical

shell. Synonyms such as “head with a brain” are

also used.
3. If

we compare “Sabot ul

-

ajizin” and “Rohati dil”,

then we would like to emphasize that there is a lot

of poetic layer in “Sabot ul

-

ajizin”. It is known that

the spelling and pronunciation of homonyms,

homophones, homographs and homoforms are the
same or different, but the role of words that sound

the same in pronunciation in creating an

emotionally expressive background in “Sabot ul

-

ajizin” is much higher. Let’s pay attention to the

words in just two chapters of the book. In the

chapter of the book “Descriptio

n of avoiding the

conversation of bad people and staying in the

conversation of good people” there are so many

suitable words that can be attributed to tajnis that
the verses and verses in it, all the words

participating in it, tajnis has every word, every
advice, every thought acquired expressiveness and

understanding. These are the verses:

1) Uzulmas solmani bo’ynunga solma, Agarchi

olmadur ruxsori, olma! 2) Bola deb solmag’il joning

balog’a, Bola birlan bo’lursan mubtalog’a. 3)

Musulmon oli bo’lsang olma

olin. Agar olsang qabul

etma vabolin. 4). Agar o’n yil uyida bo’lmasa un, Uni

chiqmas uni ayturg’a bir kun. 5) Agar o’ysa ko’zin
kulfat bila sho’y, Turib uydin chiqorg’a aylamas o’y.

6) Qaro dema, qara xush fe’lu xo’yi, Nekudur na
ko’cha ko’rsa, na ko’yi.

7) G’animat ko’r, topilsa

xulqi xush ko’r, Balodur joninga mohi suxan sho’r.
8) Oqizur oqlig’in, gar kelsa tilga, Qizil deb olmag’il,

badxo’ qiz elga. 9) Du olam nori bo’lsa nori ketsun,
Ko’zung ko’rmasga shum diydori ketsun.

These are similar words that appear in the same

chapter. It is easy to notice that in all chapters of

the book the poet devoted enough space to
homonyms:
1)

Tama’lik

siyladin

behdur

silingan,

Tilangandin erur oson tilingan. Ta’ma qilma
toparg’a zar nigorin. 2) Bu zar mehri buzar dinn

ing

hisorin. Agar qorni biror to’ymasa qarni. 3) Tama’
nonig’a lab ochguncha, o’l och, Minan o’tidin

uchqundek bo’lib qoch. 4) Agar tosh chaynasa,

eldin chiqib tosh, Kishiga egmagay himmatli qul

bosh. 5) Qidirg’on birla rizqing qidri toshmas, Ketar

qadring, qadardin hargiz oshmas.
In the last verse we quoted there are two tajnis. Sufi

Allayar says that no matter how much a person

searches, the food given by God will not increase;
its value only disappears. Because you will receive

as much as Allah has prescribed for you in fate.

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4. Speaking about the poetic word, one cannot

avoid metaphor. The weight of metaphors in

Allayar’s book is extremely large. If you place them

in a certain system, you will notice that several

forms of metaphor are used: nafs iti, qanoat

ma’dani, tama’ bo’yi, qochg’on qul, muhabbat ahli,

ka’bayi maqsud, tariqat beshasi, muhabbat jomi,
muhabbat ganji, ko’ngil ko’nglaki, mag’zi dil, duri

rahmat, o’limning soqisi, mag’firat daryosi, nasimi

ma’rifat etc.

In general, in Sufi Allayar’s book, under the

influence of poetic words and combinations, the

expressiveness and imagery inherent in the book
come to the fore, ensuring the literary and literally

artistic nature of the poems of the work. In fact,

most works of this type lack artistry. But “Sabot ul

-

ajizin” is fre

e from such appearance. The reader can

quickly and easily understand the meaning and

effect, fluency and otherworldly illumination

emanating from the poems and stanzas.

REFERENCES

1.

Qurʼoni karim (Translated and Commentary by

Shaykh

Аbdulaziz

Mansur).

Tas

hkent:

Toshkent Islom universiteti, 2004.

2.

Soʼfi Olloyor. Sabot ul

-

ojizin. Tashkent: Sanʼat

jurnali, 2007.

3.

Rashid Zohid. Ravoyihur rayhon. Soʼfi Olloyor

“Sabot ul

-

ojizin” sharhi. –

Toshkent: Sharq,

2018.

4.

Islam: Encyclopedia. Tashkent: O’zbekiston

Milliy Encyclopediyasi, 2004.

5.

Umurqulov B. Poetik nutq leksikasi. Tashkent:

Fan, 1990.

6.

Grigoryev V.P. Poetika slova. Мoskva: Nauka,

1978.

7.

Qahhor A. Аsarlar 6 tomlik. 6

-tom. Tashkent,

1971.

8.

Gʼoyibboeva

R.

Navoiy

ijodida

Idris

teonimining tarixiy

ildizlari. // “Oʼzbek tili va

adabiyoti” jurnali, 2023 yil, 4

-son. P. 72-76.