THE USA JOURNALS
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PUBLISHED DATE: - 22-07-2024
DOI: -
https://doi.org/10.37547/tajssei/Volume06Issue07-14
PAGE NO.: - 132-136
INVERSION IN A LITERARY TEXT (IN THE
CASE OF BOTU POETRY)
Tokhtabayeva Muyassarkhan
Researcher of the Uzbekistan State Institute of Art and Culture, Uzbekistan
INTRODUCTION
In the linguapoetic analysis of artistic text, the
question of syntactic figures and their
classification is one of the current problems. All
studies on this topic relate to syntactic figures in
one form or another. Syntactic figures are a very
important means of ensuring the figurativeness of
speech and creating effective forms of expression.
Such
means
of
expressing
emotional
expressiveness
and
intonation
integrity,
increasing the effectiveness of speech, are studied
under the name of “poetic figures”. Their task is not
limited to making the speech impressive or
attractive. Poetic figures allow the reader to
understand the poem quickly and easily. Poetic
figures are tools that have become somewhat
standardized in poetic speech and have become
characteristic in terms of form, style and content.
They come in the form of separate pictorial
combinations aimed at enhancing expressiveness
and
imagery,
unlike
displacements.
T.
Abdupattoyev, who studied this issue in his
dissertation, puts forward the following opinion in
his dissert
ation “Poetic Syntax of the Uzbek
Language”: “Linguistic analysis of poetic speech
requires the researcher to approach it with a sense
of every meaningful subtlety and interpretation of
meaning. In poetics, any speech unit becomes a
poetic figure,” writes
Russian linguist Y.V. Kazarin.
The figurativeness of artistic speech is not
measured only by the ability to choose the
necessary words, but also depends on the purpose,
meaning and intonation of the same word in
syntactic constructions.
The language of Bo
tu’s poetry is in accordance with
the requirements of modernizing the Uzbek
literary language and showing the possibilities of
the artistic language put forward by modern
intellectuals at the beginning of the 20th century.
Inversion is one of the main syntactic figures of
poetic importance in the literary text. This
phenomenon is manifested by a violation of the
usual order of sentence fragments, a deviation
from grammatical norms in the arrangement of
sentence structure. There are several definitions of
inversion in linguistics, and in this regard, O.S.
Akhmanova’s definition covers the features of this
phenomenon to some extent: “Inversion is a
violation of the arrangement of the parts that make
up a sentence, which is used by the author to
attract the re
ader’s attention is the rearrangement
of varnishes. Inversion is a psychological and
stylistic method used to influence the reader”.
RESEARCH ARTICLE
Open Access
Abstract
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A. Mamajonov and U. Mahmudov also draw
attention to the unusual ordering of the
components of the inversion: “The purpose
of such
changes is to highlight the main idea.”
Linguist M. Abdupattoyev writes that inversion as
a syntactic figure performs the following tasks in a
poetic text: “It emphasizes the meaning of the
inverted fragment; exaggerates the thought;
increases expressiveness; enhances imagery; gives
stylistic color; creates imagery; emotional-
affectiveness is increased.”
Botu was able to effectively use the possibilities of
syntactic methods to create expressive color in his
poems. By means of it, he provided variety in the
language of the artistic work, increased the
artistry, impressiveness, and the full reach of his
purpose to the reader. In this regard, the
phenomenon of inversion is of particular
importance:
Chunki men
Olganman
Bu g‘ururimni
Bu sururimni
Shonli vulqondan
Tengsiz isyondan
Eski dunyo qaqshagan ondan.
Because I am
I got it
This is my pride
I'm sorry
From the glorious volcano
From an unparalleled rebellion
The old world is tired of him
In this passage, the part of the sentence has moved
forward from the secondary clauses and placed a
strong emphasis on the clauses that come after
them. At the same time, this provided a strong
expression of the poetic text in terms of intonation.
It should be emphasized that the inversion in
Botu's poetry did not arise due to high artistic
requirements and the need for artistic expression,
but because of the need to accurately reflect the
thought and intensity corresponding to the
thinking of that time. In this passage, the internal
rebellion against captivity is written on the basis of
rising and falling intonation in the form of
gradation. If it was given on the basis of the correct
syntactical order like “Men olganman bu
g‘ururimni bu sururimni shonli vu
lqondan tengsiz
isyondan eski dunyo qaqshagan ondan”, “I got this
pride from the glorious volcano from the
incomparable rebellion from the old world, we
would not have seen the intensity, rebellion,
emphasis in the spirit of Botu.” And, in general,
there would be no need to write a poem.
There is a four-
line poem by the poet to “Navoi”.
The poem begins with the line “Have you seen a
poet like you often?” The inversion of this line itself
expresses how high Navoi’s genius is and the poet’s
attitude towards him. The part of the sentence is
expressed by a rhetorical question, and the
meaning of indivisibility is strongly expressed
through the participle form of the verb. If the poem
was arranged in the style of “Sendek shoirni asring
ko‘rganmidi”, “Have you oft
en seen a poet like
you?”, the poet’s surprise and emphasis would not
be so clearly expressed. Botu “...did he see?”
through his rhetorical question, he was able to
clearly describe the incomparability and
magnificence of Navoi’s genius.
In Botu’s poetry,
the main form of inversion is
determined by bringing the part forward. This
gives the poem musicality and movement. For
example,
Yetar endi! Yorug‘likdan mahrum etib bizlarni
Shuncha chog‘lar nur yo‘lini to‘sibgina turdingiz
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(“Yetar endi!”)
Enough is enough! Depriving us of light
You've been blocking the path of light for so long
(“Enough!”)
Or:
Yirtilingiz, ey yaramas, qalin, qora pardalar,
Hech yozuqsiz yulduzlarning nurli yuzi ochilsin!
Tear away, you naughty, thick, black curtains,
May the radiant face of the unblemished stars be
revealed
Or:
Dardlilar dard anglatolmas dardsiza soʻzlov bilan,
Koʻrsatib boʻlmas quyoshni koʻzsiza maqtov bilan
(“So‘rma”).
Painless people cannot express pain with words
without pain,
In praise of the invisible sun (“Don’t Ask”).
In the following passage, the forwardness of the kel
imperative gives the poem a special musicality:
Kel emdi birga yuraylik,
Kel emdi birga kulaylik!
Borliqning chokini soʻkma,
Ogʻuli koʻz yoshi toʻkma,
Kel emdi yashnab oʻsaylik,
Kel emdi birga kulaylik!
Let’s walk together
Let’s laugh together!
Don’t tear the thread of existence,
Don’t shed a tear, son.
Let’s live and grow
Let’s laugh together!
Also, in another poem, it is observed that the usual
order of the interrogative pronoun has changed, in
which the idea to be expressed by bringing it
forward is strongly emphasized:
In general, Botu’s poetry often uses interrogative
syntactic units. This is the poet's unique poetic
style. It expresses the attitude of the poet to reality,
to various events in society, to political
developments. The poet not only questions the
society, but also questions the members of the
society and calls them to live consciously. He wants
to say that the essence of everything can be
understood by asking. In this regard, this sound
poem also has its own meaning.
Qaydan keladur
Bu titroq ovoz?!
Kimning qoʻlida
Dard kuylaydi soz?! (“Bu ovoz”)
Where does it come from?
Is that a trembling voice?!
In whose hands
Pain sings a song?! (“That Voice”)
Or we read such lines in the poem “ Words of
Hope”:
Yurakda umidlar, amallar
To‘zimsiz qirg‘oqni bosarkan,
Nega men chaqmoqni yugurmay?!
Eskigan, chirigan tamallar
Yo‘qlikka egri yo‘l yasarkan,
Nega men undan yuz o‘girmay?!
Shafaq arazlab Sharqqami ko‘chdi
?!
Yo G‘arb ko‘kining rangmimi o‘chdi
Yo g‘arb to‘kkan qon otdimi ko‘kka?!
Erkka undovchi qizil alanga?!
Hopes and actions in the heart
As we press the relentless shore,
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Why can't I run lightning?!
Worn, rotten foundations
We make a crooked road to nothingness,
Why don't I turn away from him?!
Has the dawn moved to the East?!
Or the color of the Western blue has faded
Or did the blood spilled by the West spill into the
blue?!
A red flame that calls out to a man?!
In this poem, it is observed that the usual order of
interrogative
loading
has
changed.
A
morphological inversion has occurred as a result of
adding the load to the cross section. The use of
interrogative charge in this way is a poetic style
characteristic of the common Turkish poetry and is
used specifically to show the emphasized part. In
modern Turkish language and poetry, this
situation is somewhat normalized and can be
added to any stressed part of the sentence. For the
modern Uzbek literary language, this situation is
not considered the norm and creates a
morphological inversion.
Along with the traditional types of inversion,
morphological inversion type is observed in Botu's
poetry. When the part is inverted, it gives the poem
its own mobility and strong intonation emphasis.
Interrogative pronouns are inverted, and the
question related to the content of the poem is
emphasized. Also, on the basis of emphasis, it
increases
imagery,
expressiveness,
expressiveness, and this aspect is characteristic of
poetic texts.
Also, in his poem “Anti
-Sl
avery”, the phenomenon
of antonymy appears through the word good and
evil:
Erklar tegmaydi!
Sizga yaxshilik, yomonlik,
Har yеrda omonlik
Erlaringizdan!..
Freedom does not touch!
Good to you, bad to you,
Peace everywhere
From your husbands. Bright examples of inversion
can be found in the work of the poet. The saying
“Sometimes you don't get good and safe from your
husbands” is formed on the basis of inversion. The
word erk, which is the most important human
need, is mentioned in the same line as the verb
tegmayi. Then the words good, bad, and safety are
mentioned. In this case, the word evil was used by
husbands in contrast to good and safety. That is,
“What is good and safe for you is bad for them” is
expressed in laconic lines.
The complement and the subject of the sentence
are given at the end of the verse to indicate that the
last decision belongs to them. We can observe a
complex appearance of inversion in this poetic
passage. In accurately reflecting the poetic
thinking of the poet, such complex forms of
expression are also important.
CONCLUSION
In short, inversion is one of the most characteristic
features of a poetic text, and it is considered a tool
that ensures the melodiousness of a poetic text
through the tone of emphasis, and enhances
emotional and affectiveness. Along with the
traditional types of inversion, morphological
inversion type is observed in Botu's poetry. When
the part is inverted, it gives the poem its own
mobility and strong intonation emphasis.
Interrogative pronouns are inverted, and the
question related to the content of the poem is
emphasized. Also, on the basis of emphasis, it
increases
imagery,
expressiveness,
expressiveness, and this aspect is characteristic of
poetic texts.
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THE USA JOURNALS
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