CC BY
3ISSN 2223-4047
BecmnuK Maeucmpamypu. 2022. № 11-5 (134)
H.A. Aslanova
INDIVIDUAL EXPRESSION OF THE OBJECT OF THE TRADITIONAL IMAGE IN THE LYRICS BY GADOY
In this article is written about the use of artistic arts in the work of Gadoi, one of the figures of the XIV century. The educational importance of spiritual arts and the analysis of the creator's unique style and artistic skills in using words are described..
Key words: spiritual arts, tashbihs, lal, sunbul, cholpon, dur, cypress,
anbar.
The science of poetry and its expression is one of the widely researched fields. Fine arts are reflected in the poetry of creators in elegant lines. The theoretical manual of classical literature first appeared in the Arabs and Persians, and later in the 14th century, the work "Funun ul-Balog;a" ("Sciences of Maturity") by Ahmad Tarazi came to the field of science in the Turks. "In the past, when literary scholars wrote books on literary theory, they often focused on the question of types of poetry, weight, or art, or explained the characteristics of a poetic genre. Shaykh Ahmad intends to create an ideal guide in this area, covering and analyzing all the theoretical issues in his "treatise" so that those who read it get as much information and benefit from the theory as possible. [6. 71-6]. The third part of this work is devoted to ilmi bade, that is, the art of poetry. Theoretical information about art in the work is based on examples of artists of that time. "Funun ul-balog'a" is the first comprehensive guide to theoretical issues of literature in the Uzbek language. Such theories are fully expounded in "Mezon ul-Avzon" by Alisher Navoi and "Mukhtasar" by Babur. In works, gazelles illuminate and prove the theory of science and art. Based on the principles and requirements set forth in the above works, the poetry of many artists is being studied. At present, it is important to explain and justify on the basis of educational technologies expressed in the innovative ideas of each field.
In particular, examples of the art of the word are written in a unique way in the poetry of Gadoi. Among the works of the poet there are more romantic gazelles. The experiences of the lyrical hero, the qualities of the image object, the union of these two poles are expressed. It can be said that Sufism adopts the motif of these romantic ghazals. For this reason, the gazites are divided into verses that glorify divine and metaphorical love in their meaning. It is typical for the poetry of the 15 th century: the form and content of the ghazal are mixed together, and the commonality of the ghazal, dedicated to both Allah and the beauty of the earth, occupies an important place in the work of Gadoy. This is a factor that determines the creative skill of the poet. In addition, "love in the work of Gadoy is distinguished by the fact that love is interpreted not only for a beautiful lover, but also for all nature and man, for the country, for society and its people, for each other. "[1. 56-6]. In such ghazals, Gadoy created poetic art with extremely subtle magic of the word, by which one can understand how subtle the creator of Gadoy is. Lyrical mastery is manifested through the "I" of the poet. Therefore, the poetic style of Gadoya has a traditional and at the same time individual orientation in relation to the era.
In the work of Gadoi, the art of comparison in relation to the subject of the image is in the leading place. They also have their own metaphors and comparisons, polished in a peculiar way by means of the art of the word. According to classical tradition, in Gadoi: Lip-la'l (types of stone), hair-sunbul, tooth-dur (types of stone), eye-cho'lpon (types of star name ), height - to the cypress, face-moon, flower, zulf-anbar, eyebrow - like a crescent moon.
In the poetry of Gadoi one can see the incomparable expression of a number of examples of artistic art. For example, in the interpretation of the image of a lover, he gives good descriptions, especially the description of the art of tashbih. Tashbihi may have different meanings.
Ey sochlari sunbul, yuzi gul, bo'yi sanovbar,
Shirin dudog'ing qullaridur shaxd ila shakkar. [2. 48-6]. This ghazal's meaning:
(Her hair is golden, her face is like a flower, her figure is straight, her lips are sweet. Because sugar and honey are his slaves, the reason for the sweetness of the mouth).
In this verse, it is customary to liken hair to the sun, faces to flowers, and tall stature to beauty. However, it is an unconventional image to refer to the sweetness of the mistress, having honey and sugar slaves on her lips. We see that examples of allegorical art express the special subtlety of the meaning of hair. These tashbihs give a definition and description of the land associated with the smell of the muattar:
© H.A. Aslanova, 2022.
Har gah yurusang noz ila, jonimga tegarlar,
Ul qomati ra'no ila ul zulfi muanbar [2. 52-б]. This ghazal's meaning: (She walks gracefully, her figure is beautiful, her hair is fragrant, and she reaches me).
The ghazal praises the beauty of face. The artist best expresses the external portrait of a lover. From the content of the stanza, one can understand the description of the position of the lyrical hero and the form of addressing the date.
G'olibo sen sunbulingdan tarading, ey jon bu kun,
Kim nasimi subhdamdin anbari tar sochilur.[2. 55-б]. This ghazal's meaning:
(O Malak, early in the morning you comb your hair, and the pleasant smell that comes from it spreads everywhere).
In his love gazelles, Gadoy vividly and richly describes the beauty of the earth. In this verse we see that he used the art of rhetoric. Laffu-nashr - in this art, the poet lists the individual elements of the poem in a counting tone, and in the next stanza describes them with allusions or actions. "Collecting and spreading is the art of expressing meaning, refers to the successive mention of the names of several things or concepts in the first verse of the verse, and in the second verse to the description of judgments about each of them, their qualities"[6. 33-б]. Mundin ortuqkim, qaro zulfina iqror ayladi,
Ey musulmonlar, Hudoy uchunki, takfirim nedur? [2. 59-б]. This ghazal's meaning: (Your black hair made me fall in love with you. O Muslims, I fell in love for the sake of Allah, my thoughts dispersed, what should I do now?)
In the byte, hair is expressed as black hair. Falling in love is like suffering and a dark night. Because in order to rise to the status of love, the lover must go through difficulties. The position of the lover is described in the ghazal.
There is a byte in Gadoya's autobiography describing the length of the hair that serves as a fact: Ул каро зулфунг санинг умри дарозимдур манинг,
Неча килгайсен киши умрини мундок поймол. [2. 91-б]. This ghazal's meaning: (Your long black hair is as long as my life. Pay attention to me).
It is known that the dates of Gadoya's birth and death are not clear. From this verse, we can understand that Gadoy lived a long life thanks to a hair ornament.In our classical literature, the fragrance of hair is associated with the name of black hair, musk, which is a reference to the fact that musk is black and that it emits a fragrant smell. In addition, we witness the extensive use of typical similes describing the beauty of the land. At this point, it should be said that Gadoi portrays the external portrait of his loved one in a very clear and traditional way.
In addition, Gadoy describes the beauty of his beloved with such exaggerated praise that he even doubts that the beloved is a person, condemning those who call her a person: Ушул парий на нарий малойил сифатли хур булур, Ки, гар башар деса ани киши кусур булур. [2. 67-б]. This ghazal's meaning:
(It is a mistake to call her "human" after seeing the qualities of her lover. She is an example of an angel). The animating feature of the lover expresses the fact that the lover is constantly in love with him, yearns for him and wants to be with him. The same concept is understood in the Gadoy's quatrains: (Агар) килсам шаккан ирнингдин савол, Мен Гадога лутфи бирла келма дер. Чун борур булсам ёвукрок кошига, Шум ракиби бехакикат келма дер. [2. 161-б].
If the lover's lips offer him a kiss, he falls in love and is rejected by his " bad enemy", perhaps represented by the art of the secret. In the ghazals there is " bad enemy" describing the position of the lover, and we can testify that Gadoy has beautifully written an example of the art of redemption. The poet uses allusions that are unique and at the same time serve as the basis for the artists of the 15 th century: Бу турлук шевалик куз бирла зулфу орази зебо,
Кайси жайрон, кайси сунбул, кайси гулзор андокдур. [2. 47-б]. This ghazal's meaning: (This is the embodiment of beauty: eyes, hair and face. It is comparable to eyes, hair, face and flowers).
In addition, Gadoy uses metaphors about eyes in a unique way, so he also expresses tears in an original
way:
Нух туфонидин ошди кузларимнинг сели ох; То не ёрга еткусидур окибат бу можаро. [2. 27-б].
(The tears of the Gadoy are more exaggerated than Noah's flood. The end of not reaching the beloved leads to a sad state.)
Gadoya's creative products will also be presented in the reader's language with the beauty of art. In addition, thanks to the mastery of the use of words, the author reveals his inner experiences. Thus, the creative heritage of Gadoya is a combination of science and art.
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ASLANOVA HAFIZA ABDURAKHIMOVNA - Teacher, PhD, Samarkand State Institute of Foreign Languages.
