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15HISTORY OF ORIENTAL ODE Khasanova Mashkhura Jumanovna Teacher, Samarkand State University, Doctor of Philosophy in Philology
Abstract: The articles of the section discuss the origin of the genre of qasida, Arabic qasida (ode), the composition of genres, types and formation of qasida in Persian-Tajik literature.
Keywords: Samarkand, Temurid, second capital, Herat, Ulugh Beg Koragon, 30 poems, 3 hymns, husni matla, 22 bytes, Timuridprince Alovuddavla, Ahmad Lur, following byte, ode, memduh, Azerbaijan event, 30 years, Kasim Babur, the persons named Khalil, Sayid bin Sultan Khalil
Аннотация: В статьях раздела рассматриваются происхождение жанра касыды, арабской касиды (оды), жанровый состав, виды и формирование касыды в персидско-таджикской литературе.
Ключевые слова: Самарканд, Темурид, вторая столица, Герат, Улугбек Корагон, 30 стихотворений, 3 гимна, хусни матла, 22 байта, тимуридский князь Аловуддавла, Ахмад Лур, следующий байт, ода, мемдух, Азербайджанское событие, 30 лет, Касим Бабур лица по имени Халил, Саид бин Султан Халил
I. INTRODUCTION:
Ode is one of the most common and original genres of Eastern, in particular, Arabic poetry, it has a long and rich history. The genre of ode, like other genres in the literature of other peoples, such as epos, poem, epic, is considered a very large literary genre of Bedouin Arabs.
Ode is derived from the Arabic word "^3", which means intention, aspiration [1, 821-822]. It is, in its lexical sense, a "filled great core" [2, 136]. As a literary term, it refers to a genre in which the lyrical type is not less than fifteen bytes, the first byte verses are rhyming with the second lines of the other bytes (such as aa ba and ga). It is not only a type of poetry that expresses the author's personal excitement and inner experiences, but also a work of art that broadly interprets great meanings, political and philosophical ideas through various artistic means [3, 22].
Academician I.Yu. Krachkovsky states that the poem appeared in Arabic poetry about 150 years before Muhammad (saas) [4, 251]; while in some sources the origin of the genre of poetry in pre-Islamic Arabic poetry was expressed by the poet al-Asha (570-629). ) is emphasized by the name [5].
I.M. Filshtinsky states that the founder of the genre of poetry is Imruulqays [6, 30-33]. Sources on medieval poetics, dictionary books, say that poetic works are
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mainly divided into three types, one of which is a poem. According to the order of rhyme, fard, rubai, ghazal, qita, etc., there are indications that they appeared on the ground of ode, that they are appearances of ode [7, 269-297]. In addition, comedy, lamentation, and descriptive poems also emerged from it as a result of the perfection of the ode genre. Because at the time the poem appeared, it was not intended to praise only one person in the genre. Poems were written both on the occasion of the death of a person and on the occasion of a comedy.
II. RESEARCH METHODS AND SOURCES The current research is based on the comparative - historical classification methods. The main object of the study is the scientific materials.
III. RESEARCH RESULTS AND DISCUSSION Oriental odes are of two types in composition. Qasidai tom (full ode), qasidai mujarrada (incomplete ode). The so-called Qasidai tom "nasib" (or tashbib) is a lyrical introduction, an expression from parts such as "gurezgah " (crossing, escape), "praise" and "prayer" to a praised event or person and "demand" representing need in the transition to "praise". There may not be some of these parts in Qasidai mujarrada.
"Nasib " is often about love, and from this part of the ode the ghazal gradually separated [3, 16-23].
The "Gurezgoh" part of the ode genre, which appeared later, means to pass, to escape, and in the hymns of the hymn it serves to connect the introductory part to the main part. For example, the poet calls for justice, emphasizing that the beauty of a friend in a portion of a poem describes his oppression, to whom the verse is dedicated to go to the main part (if he is a king), that any oppression in his reign can be condemned. Here, the hymn of the person dedicated to the poem should be attached to the character. That is why the identity of the poet, his talent and level will be known in Gurezgoh. Because the trail must connect the two sides, which are almost different from each other, in such a way that this trail is not known at all, even if they are known to be a common organism. This part was first reflected in the poems of Kaab ibn Zuhayr [6, 60].
Then comes the third, main hymn of the ode. Tarazii says in the "praise" that there is any praise with any rhyme, remembers the honesty, courage, generosity of the mamduh (the person being praised) one by one, and emphasizes that it is up to the poet to do any of these more than four qualities [8, 75-78] .
The poem usually ends with a "prayer" to the event or person being praised and the "demand" parts that represent the subject. Sometimes there may not be a "demand". The scales say, "When a mamduhdin asks for something, he demands it."
If he wishes for a good marriage, they will recite the Quran" [154, 79] so, after the praise, the poet's purpose is stated. Usually, the poet's nickname is reflected in this part of the prayer.
With the emergence of Islamic culture and literature, the meaning and content of the ode genre expanded further. That is, from that time onwards, praises to Allah and verses to Muhammad (saas) began to appear. The topics of the nasib section have also expanded. According to him, the verses refer to spring (spring image), iydiya (holiday image), sitoiya (winter image), ramazaniya (Ramadan image), sayfiya (summer image), rakhshiya (horse image), bath (bath image); according to its radifs, water verse, suxan verse, flower verse, sunbul verse; According to their themes, monotheism (verses denoting the existence and oneness of Allah), munajat (verses written in supplication to Allah), na't (verses dedicated to the attributes of Muhammad (saas)), hymns (poems dedicated to someone), marsiya (the relation of one's death) poems written with (satire), comedy (poems written with humor to someone), orifona or mystical poems.
Kaab ibn Zuhayr, following the traditions of the ancient Arab poets, tried to "glue" the compositional unevenness of the ancient verse with the help of logical transitions. We talked about this above. He did not recognize Muhammad (saas) before and even fought with him and became wounded and sick. Then, on the advice of his brother, he went to the Prophet, confessing him, and presented his most famous poem dedicated to him, beginning with "Suaod has left me". This pleased Muhammad (saas) and he presented the poet with his burqa. The poet then recovered from his illness, and his poem became known throughout the Muslim world as Qasidai Burda. [9, 176]
In the IX-XI centuries Persian-Tajik written literature was formed and developed. At the beginning of the tenth century, the centralized state structure by the Samanids accelerated this process. The Samanid dynasty's efforts to consolidate its power also played an important role in the transformation of Persian hymns into a political genre. In other words, the praise and high spirits of the hymn were the same for the Samanid government. Therefore, by the X-XII centuries, ode became the main genre in Persian-Tajik literature, and the ranks of ode writers expanded. The classical structure of this genre, the system of rhyme, has also been preserved [10, 36].
The first poet to write a poem in Persian literature was Abbas Marwazi, who, after the praise of the caliph Maamun when he came to Marv (809), said in a poem dedicated to him: "I was the first to recite such a poem" [10, 37].
In the XIII-XIV centuries, new changes took place in the form and content of the poem: the form became more complex and the content expanded. During this period, the masnu (ar. Created; decorated) form of the ode appeared. One of its greatest founders was Salmoni Sovaji (1300-1368). Qasidai masnu is a ode in which many arts are used, where the creator had to demonstrate all his craft, to master all the skills in the field of the art of expression, to know how to complicate, to use all of them. A characteristic feature of poems that express such complex word games is that they are hymns in terms of content. These features can be seen in the poems of Salmoni Sovaji [11, 22].
But this masnuu form of the ode genre later became "art for art's sake", consisting only of form. Artificial expressions, dry word games, incomprehensible images only served certain groups.
The tradition of ode developed at the expense of perpetuating the names of the kings of the time. In the words of Nizami Aruzi Samarkandi, "the king has no choice but to have a potential poet who will immortalize his name and leave his remembrance among the devans and books! For, when the king receives the decree of an inescapable death, nothing will be left of his army, treasure, and valuables, only his name will be immortalized through the poems of the poets.
Sharif Mujalladi Gurgoni says:
Bu dunyoda Sosoniy, Somoniylar to'plagan, Shuncha mulku ne'matdan nima qoldi bu zamon?! Va lekin Rudakiyning qasidayu madhlari...
Briefly, ode is one of the most common and unique genres of Eastern poetry, which has a long and rich history. In particular, it is characterized by the fact that it is the basis for the emergence and formation of several literary genres, in particular, individual, rubai, and ghazal, continental.
The ode genre emerged within the Bedouin Arabs and covered a wide range of topics. After the emergence of Islamic culture, this genre took on a completely new look. Especially during this period, the classical form of ode (parts of nasib, gurezgoh, praise, demand and supplication) was established, praise be to Allah, praise be to Muhammad (saas); the activity of the Sufi movement, which emerged as a protest against the policies of the Arab Caliphate during the Umayyad and Abbasid dynasties, led to the formation of philosophical poems;
Ode appeared in full in first Persian and then Turkish literature through the weight of aruz and the Arabic language. In the IX-XI centuries, Persian-Tajik written literature entered its period of development, the centralized state structure by the
Samanids led to the emergence and development of Persian hymns, and the first Persian poem was written by Abbas Marvazi.
1. Thus, before the introduction of Islamic culture, the genre served as a tool for the Bedouin Arab tribes, while Islam and its culture played an important role in improving the literacy of the genre. That is, the classical form of the genre (introduction, wandering, praise, requirement and supplication parts) was founded at that time. The activity of the Arab Caliphate as a protest to the policy of Umayyads and Abbasid dynasties has given rise to the formation of philosophical principles. The ode by means of aruz rhyme and Arabic were first used in Persian, then in Turkish literature [17, 951].
1. Baranov X.K. Arabsko-russkiy slovar. - M.: 1958, str. 821-822.
2. G'iyos ul-lug'ot. 2-jild. D.: Adib, 1988.
3. Abdullaev I. X asrda Buxoroda yozilgan qasidalar haqida // O'zbek tili va adabiyoti, 1962, №6, 16-23 betlar.
4. Krachkovskiy I.Yu. Izbranntie sochineniya, t. - II. - M.: Akademii nauk SSSR, 1956.
5. http: www.wikipedia. org/wiki/qasida
6. Filshtinskiy M. Arabskaya klassicheskaya literatura. -M.: Nauka, 1965.
7. Orzibekov R. O'zbek lirik she'riyati janrlari. - T.:, Fan, 2006, 273-bet.
8. Sheikh Ahmad ibn Khudoydad Tarazi. Funun ul-baloga // Uzbek language and literature, 2002, №1-6, 2003, №1-3.
9. Hannah al Faxuri. History of Arabic literature. G.I., ed. inost. lit. -M .: 1959.
10. Shomuhamedov Sh. A short course on the history of Persian-Tajik literature. Study guide. -T. 1987.
11. Ahmedov B. Davlatshoh Samarkandiy, T .: Science, 1967.
12. Ancient Turkish dictionary. Leningrad, 1969, p. 532.
13. Mahmud Kashgari "Divan lugat at-turk". 3 Volumes, Volume 1, UzSA Printing house, 1960, p. 123.
14. Mashkhura Khasanova. Gadoids qasida and its devotion. International Journal of Word Art. 2018, vol. 3, issue 3, pp. 64-67
15. In the book: The nightingale radiance, Qutb Khorazmi, Tashkent, The printing house "Literature and Art" after G. Gulyam, 1986, pp. 335-339
16. Saifi Saroyi, Poems, Gulistan, The printing house of literary literature after G. Gulyam, T. 1968 p. 19
CONCLUSION.
REFERENCES:
17. Khasanova Mashkhura Jumanovna. The role of praises in the development of turkic odes. Journal of Critical Reviews. ISSN-2394-5125 Vol 7, Issue 7, 2020
18. M. Khasanova. Gadoids qasida and its devotion. International Journal of Word Art. 2018, vol. 3, issue 3, pp. 64-67
