CC BY
9
THE NOTIONS OF LOVE, LIFE AND DEATH IN THE LIVERPOOL
POETRY
Hakimova M.D. Email: Hakimova692@scientifictext.ru
Hakimova Maksadhon Dilshodbekovna - Teacher, DEPARTMENT OF INTEGRATED LANGUAGE SKILLS, UZBEK STATE WORLD LANGUAGES UNIVERSITY, TASHKENT, REPUBLIC OF UZBEKISTAN
Abstract: the work of 'The Liverpool poets' was written to be read aloud in public, and although the poets have now developed separately, their literary outlook is still characterized by their common commitment to reviving poetry as a performance. 'The Liverpool poets" approach to poetry differs from that of other poets in that they consistently give the impression of being real people getting to grips with real and pressing situations. The article stresses that 'The Liverpool poets' feel a 'real sympathy for their environment' and are more interested in life than in literature.
Keywords: Liverpool poetry, agent, sarcasm, humor, pathos, Peace era.
ПОНЯТИЯ ЛЮБВИ, ЖИЗНИ И СМЕРТИ В ЛИВЕРПУЛЬСКОЙ
ПОЭЗИИ Хакимова М.Д.
Хакимова Максадхон Дилшодбековна - преподаватель, кафедра интеграции языковых навыков, Узбекский государственный университет мировых языков, г. Ташкент, Республика Узбекистан
Аннотация: произведение «Ливерпульские поэты» было написано для публичного чтения вслух, и хотя поэты теперь развивались отдельно, их литературные взгляды все еще характеризуются их общей приверженностью возрождению поэзии как спектакля. Подход «ливерпульских поэтов» к поэзии отличается от подхода других поэтов тем, что они неизменно создают впечатление, что реальные люди сталкиваются с реальными и насущными ситуациями. В статье подчеркивается, что «ливерпульские поэты» испытывают «реальную симпатию к своему окружению» и больше интересуются жизнью, чем литературой. Ключевые слова: ливерпульская поэзия, агент, сарказм, юмор, пафос, эра Мира.
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Introduction. 'The Liverpool poets' showed up on the scholarly scene in 1967, the title being coined by Edward Lucie-Smith who called his collection of their work: 'The Liverpool Scene' [1]. The chief writers were Adrian Henri (1932-2000) Roger McGough (1937-) and Brian Patten (1946-). This can be the quality that sets them apart from the other post-modern writers. Just like the French Symbolists, Baudelaire and Rimbaud, 'The Liverpool poets' accept that the impact that a lyric produces is more critical than the lyric itself; a poem should be considered as an 'agent' (that passes on the poet's message), instead of as an 'object'. The verse of 'The Liverpool poets' is additionally characterized by the undercurrent of mockery, incongruity and impactful mind, which runs through numerous of their lyrics. They are moreover famous for their explicitness of expression, straightforwardness of fashion, and, (within the way of Robert Ice), their deft taking care of of complicated thoughts in uncomplicated language.
Patten's verse accomplishes its impact through sentiments, and typically what recognizes him from the other two 'Liverpool poets'. Concurring to Linda Cookson Patten's verse complements that of Henri and McGough, but there's an basic distinction between them in that Patten's amusingness is of an completely diverse character from the verbal acrobatic of Henri and McGough, and is subordinated nearly continuously to an fundamental earnestness
of reason [2]. Grevel Lindop, in his exposition on 'The Liverpool poets', says that amid their exhibitions they always watch their groups of onlookers for the littlest sign of discontent or boredom, and focuses out the sensitive contrasts between them [3]. He says that Henri's perusing is 'meticulously controlled, the temperaments of the sonnet are carefully varied', in contrast to 'McGough keeping totally straight confront indeed through the foremost comedian ones'. 'Patten on the other hand appears both more unconstrained and less loose. He shows up testy, indeed bumbling between sonnets, and the gathering of people is energized, not as it were by the colossal enthusiasm with which he peruses his sonnets but by the doubt that at any minute he may be getting to choose a fight with someone'. Hence their live exhibitions uncover the poets' personalities and grant knowledge into the subjective nature of their verse. Patten's attitude towards life
Patten's to begin with volume of verse, Small Johnny's Confession, was considered a perfect work of art when it was distributed in 1967. Agreeing to Martin Booth [4] the title lyric Small Johnny's Confession features a mix of 'dream, viciousness, and tenderness in it'. Small Johnny borrows a war-time trinket, a machine weapon which has a place to his father, and 'eliminates' a number of his 'small enemies'. He runs absent but the police are after him, inquiring: Have you seen him, He is seven years old, Likes Pluto, Mighty Mouse And Biffo the bear, Have you seen him, anywhere?
('Little Johnny's Confession' - Little Johnny's Confession)
The boy knows he will be caught within the conclusion, when the tracker mutts choose up the fragrance of his lollypops. Martin Booth says the 'amalgam of guiltlessness, strange circumstance, childhood day-dreaming, sentiment and tenderness' is characteristic of Patten's work [4]. This was what youthful gatherings of people needed at a time when the world was rough, ethically confounded, and turning towards the Hipster peace era. In Johnny Learns the Language Patten reflects on the inadequacy of words to specific one's sentiments and feelings. Johnny learns the language to communicate with the world, but before long realizes that unimportant words cannot bridge the communication hole, as words in themselves don't empower others to get it him. Words moreover uncover the state of mind or identity of the speaker. Besides, his father's utilize of words such as 'defeat', 'loss', and 'regret' appeared to uncover his defeatist and negative approach to life. It is unexpected in fact that these words appeared to be prophetic, as they got to be 'blueprints' of Johnny's future. Patten appears the change in Johnny's identity in Small Johnny's Alter of Identity with the knowledge of a psychoanalyst. Agreeing to faultfinder Grevel Lindop , there's a transformation in this sonnet, brought approximately by the poet's depiction of Johnny's alter of identity and the boy's acknowledgment that he had a place to 'Generation X', a era comprising of various complexes and mental clutters [3]. Martin Booth says that Patten was to the period of 1967-74 what Ginsberg and the Beats were to the past era - an artist who attempted to see and exorcize internal sentiments by saying it 'how it was' [4]. In Small Johnny's Last Letter to his Mother the boy confesses to his mother that he has cleared out the city to urge himself 'classified', to create a choice almost his future. Patten presents the topic of a boy's alienation from domestic since of the truth that he could be an adolescent reprobate. The gathering of people is cleared out shouting 'this is no great . . . this is often not what we came to see'. In Representation of a Youthful Young lady Assaulted at a Rural Party Patten presents the frustration of a youthful young lady who is assaulted at a rural party and strolls domestic 'already ten minutes pregnant'. The occurrence clears out her rationally and physically depleted since 'Those acts that called for delicacy/ were distant from delicate.
Yet already ten minutes pregnant In twenty thousand you might remember This party
This dull Saturday evening
When planets rolled out of your eyes
And splashed down in suburban gardens.
Conclusion. Patten composed almost what individuals caught on around themselves and needed to have clarified. In this sense he was truly their representative. The foremost imperative thing approximately Patten's work is that it has not ended up dated, and nor will it ended up so within the a long time to come, since it feels the beat of the show, which incorporates not as it were 'the pastness of the past but moreover its presence' (T.S. Eliot).
References / Список литературы
1. Lucie-Smith Edward. Еd. Introduction. The Liverpool Scene. New York: Doubleday, 1968.
2. Cookson Linda. Brian Patten. Plymouth: Northcote House, 1997.
3. Lindop Grevel. Poetry Rhetoric and the Mass Audience: The case of the Liverpool poets. British Poetry Since 1960. Ed. G. Lindop and M.Schmidt. London: Carcanet, 1972.
4. Booth Martin. British Poetry 1964-84: Driving Through the Barricades. London: Routledge & Kegan Paul, 1985.
