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10LINGUOPOETICS OF LINGUISTIC-DESCRIPTIVE MEANS OF NATIVE AND BORROWED STRATA IN KAMIL KHOREZMI'S
GHAZAL "MANGO" Madiyorov Sh.K.
Madiyorov Shikhnazar Kuvondik ogli - Student, DEPARTMENT OF UZBEK LINGUISTICS, PHILOLOGY FACULTY, URGENCH STATE UNIVERSITY, URGENCH, REPUBLIC OF UZBEKISTAN
In the second half of the 19th century, Khorezmiy's literary environment flourished. Poems written by the great poet Muhammadniyaz Kamil, "a great statesman, historian, translator, artist, musician and calligrapher of his time" [3; 3] are characterized by the use of linguistic and pictorial means.
Kamil Khorezmi uses linguistic means in such a wonderful and colorful, unique way in the image of a man (here in the image of a lover). We think there are some reasons for that. First of all, the poet was born into an intelligent family - the family of a school teacher, which is an important factor in expanding his linguistic resources. Second, during the time of Muhammadniyaz Kamil, the study of Arabic and Persian in schools and madrassas in Khiva was well established.
At the same time, the language of Kamil Khorezmi's creative work, which was created at a time when the Khiva khanate's socio-economic and military relations with Iran and other countries were strengthening, could not help but be influenced by such events in society. Thus, there was an environment for the use of colorful linguistic means of the language of Kamil Khorezmi's works. In addition, the scientific and creative conditions and artistic traditions that emerged in the literary environment of Khorezm have left their mark on the language of the poet's works.
We can cite a number of linguistic facts to prove our point in the single ghazal "Mango" from Kamil's divan. In the lexicon of ghazals, first of all, it is possible to cite linguistic-descriptive means, which represent the names of human organs, used to describe the image of a person as conspicuous units.
In the first stanza of the poem, the lexemes "qad" (figure) and "qosh" (browe), which are skillfully used in the artistic style, are in harmony with the other words in the verses:
Qading naxli bog 'i nazokat mango,
Qoshing shakli tig'i shahodat mango... [3;17]
The first of the lexemes "qad" and "qosh" used in these lines is a unit of pure artistic style, and the second is a methodically neutral word. At the same time, in the semantics of the lexeme "qad" it is not difficult to feel a certain degree of archaicity from today's point of view.
It should be noted that despite the fact that the poetry of the period of Kamil Khorezmi's life was characterized by the more active use of Arabic and Persian units, in the poet's poetry a large percentage of lexemes associated with the names of human body parts- pure Turkish elements are used. This means that the poet cared about the purity of the Uzbek language in the use of linguistic and visual means.
This situation can be seen in the works of many artists who created in the literary environment of Khorezm [1; 6]. In the addition of the possessive affix to the word "qad" used in the above stanza, one of the two consonant "d", which must come side by side with the requirement of artistic style, is omitted [qadding>qading]. This phenomenon does not contradict the rules of Uzbek spelling [5; 84-91]; [6; 110].
In the second verse of the ghazal, we also observe the linguistic and poetic elements related to the image of man:
Jabining mahi anvari shomi qadr,
Yuzung mehri subhi saodat mango... [3;17]
The first words of these verses are the units that describe human organs. According to scientific sources, the lexeme "jab" mentioned in the first verse is a unit related to the
Arabic language and means "front", "forehead" [4; 114]. The lexeme "yuz" in the second verse is also a unit of this category and is a word of pure Turkic origin.
Here the poet skillfully uses linguistic-descriptive methods: he describes the forehead of the lover with the adjectives "mahi anwar", that is, "the moon shining", the face of the lover "subhi saodat" - "morning of happiness", "happiness" using the linguistic-poetic means of "morning".
In these places, we think it is necessary to take into account a factor that shows how high the artist's ability to use linguopoetic elements.
While using the linguistic-poetic element related to human organs in the image of the perfect mistress, he was first able to use it in the form of a single root word and then express it through a compound pictorial means of expressing this meaning.
At this point, of course, the similar syntactic units inherent in our classical works of art, although belonging to the Arabic and Persian languages, are the methodological tools that are actively used in the artistic style of their time. They, in turn, serve a specific artistic purpose. "Words and phrases in other languages that are included in a literary text for a specific artistic purpose serve for poetic actualization" [2; 194].
In the fifth verse of the ghazal, we see that the word "qad" is used in two places, and in contrast to the case mentioned above, when the possessive affix is added, the double consonant d is used:
Ruqu 'yi sujudim erur qaddig'a,
Muazzin dema qadd-u qomat mango... [3;17]
In this verse, we see that the linguopoetic means associated with human organs are expressed on the basis of elements specific to the Arabic languages, as well as various forms are used in their use in order to maintain melody and attractiveness. In the first stanza of the verse, it is used in the form of a simple word, while in the second stanza, a paired word form is chosen, which creates a strong emotional-expressiveness in the stanzas.
Both parts of the linguistic-poetic integrity of the second stanza "qadd-u qomat" are formed on the basis of other linguistic units [4; 17], which, as mentioned above, leads to the poetic actualization of the image of the stanzas.
In the seventh verse of this ghazal, the lexeme "yuz" is used in a homonymous form as a linguistic poetic element related to human organs, creating a complete tajnis (tajnisi tom) art: Bu yo 'ldin ayurmon yuzim, uchrasa, - Agar har qadamda yuz ofat mango... [3;17]
In summary, it is no exaggeration to say that the great artist of his time, Muhammadniyaz Kamil, was not only a word artist, but also a true artist. We must always admit that in his poems he skillfully used linguistic-poetic units, and that the creator has a special place among the classical poets in the use of words.
After all, respect for our great ancestors can only be achieved through appreciation of their work, study, analysis and research of their works.
References
1. Abulgazi Bahodirkhan. Shajaryi tarokima. Tashkent: Cholpon Publishing House, 1995.
2. Yuldashev M. Linguopoetics of literary text. Tashkent: Uzbekistan, 2019.
3. Komil. Devon. Prepared by: A.Hayitmetov, V.Muminova. Tashkent: Gulom Publishing House of Literature and Art, 1975.
4. Rahmatullaev Sh. Etymological dictionary of the Uzbek language. Volume 2.Tashkent: Universitet, 2003.
5. Ulugov N. Theory of linguistics. Tashkent: Barkamol fayz media, 2016.
6. Hojiev A. Annotated Dictionary of Linguistic Terms. Tashkent: National Encyclopedia of Uzbekistan, 2002.
