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12INNOVATION: THE JOURNAL OF SOCIAL SCIENCES AND RESEARCHES
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SOME DISCUSSIONS ABOUT THE TURKIC STYLE
Daminova Rahima Malikovna
Samarqand davlat chet tillar instituti o'qituvchisi
Abstract: The article is devoted to some discussions about the Turkic style in Turkic poetry before and after the period of Navoi.
Key words: literature, science, cultural centers, poems, poets, art, dynasty, Turkic poetry, Tajik-Persian poetry, Alisher Navoi, aruz, oral folk, proverbs, interpretation, phraseological combinations, verses
https://doi.org/10.5281/zenodo.7520345
The second half of the 14th century and the 15th century are considered as a special period in Turkic literature. The literature of this period and its features are the basis for many scientific works. A great and powerful country, built by Amir Temur, rose to the top of its prosperity in the 15th century. In the time of the Great Timur, great scientists, poets, art and culture appeared. All branches of science and art flourished. Movarounnahr and Khorasan, especially Samarkand and Herat, have become major cultural centers.
According to E. Rustamov, when Samarkand was the center of science of that period, Herat became the center of literature and art. The position of the Turkic language and literature was strengthened. Information about the cultural and literary life of this epoch is given in the works of Alisher Navoi "Mezon ul-avzon", "Majolis un-nafois", Husain Bayqaro "Risola", Bobur "Boburname", Davlatshoh Samarqandiy "Tazkirat ush-shuaro", Sodiq Kitobdoron "Tazkirai Sodiq Kitobdor".
The creators of these works worked in different cities of Maverannahr and Khorasan. Their works were mostly in Persian-Tajik. However, in the middle of the 15th century a new school of Turkic literature was established in Khuroson.
In the literary movement of Movarounnahr big attention was paid to the Turkic language. "...there were a lot of applicants for the Turkic language, but the Persian writers were not inferior to them. The literary environment was run by Ulug'bek himself, and the best poets of that time were gathered in Samarkand."1
The development and accomplishment of the Turkic poetry of Khurasan and Movarunnahr are closely connected with Arabic and Persian-Tajik poetry. The process of appearance and development of ancient Turkic poetry Alisher Navoi noted in his book "Muhokamat ul-lug'atayn" that he experienced three epochs of the coming of peoples and dynasties: "... to mulk arab xulafosi va salotinida erdi, falak ul vaqtda nazm dabirig'a arab tili birla jilva berdi, andoqki, Hasan sabitdek va Laqitdek malik ul-kalomsuxon-guzorlar va ma'niy ofarin fasohat shoirlari paydo bo'ldilar va o'z tillari bilan nazm adosining dodini berdilar. Chun
1 A. Hayitmetov. Uzbek literature of Temurids epoch. 7 p.
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mulkdin ba'zi aqolim va kishvarda sart salotini mustaqil bo'ldilar, ul munosabat bilan forsigo'y shuaro zuhur qildilar. Qasidada Xoqoniy va Anvariy va Kamol Ismoil va Zahir va Salmondek va masnaviyda ustozi fan Firdavsiy va nodiri zamon Shayx Nizomiy va joduiy hind Mir Xisravdek va g'azalda muxtarin vaqt Shayx Muslihiddin Sa'diy va yagonai asr Xoja Hofiz Sheroziydek... to mulk arab va sart salotinidin turk xonlariga irtiqol topdi, Xiloguxon zamonidin va sulton sohibqiron Temur Ko'ragon zamonidin farzandi xalafi Shohruh sulton zamonining oxirigacha turk tili bila shuaro paydo bo'ldilar. shuaro Sakkokiy va Haydar Xorazmiy va Atoyi va Muqimiy va Yaqiniy va Amiriy va Gadoiylardek. Va aorsiy mazkur bo'lg'on shuaro muqobalasida kishi paydo bo'lmadi, bir Mavlono Lutfiydan o'zga.. ,"2
These poets, about which Alisher Navoi spoke, started a new era of Turkic poetry. Alisher Navoi named 39 poets who wrote in Turkic language in his book "Majolis un-nafois".
The second half of the 14th century and the first half of the 15 th century were the time of prosperity of the poetry of the Turkic peoples. During this period, Turkic poetry developed a unique style. The desire to write in the Turkic language grew, and this style became the leader.
In literature opinions about styles which include Turkic form are worthy of attention. Y. Iskhakov in his article "Methodology in Navoi and Uzbek poetry" analyzes the works of the poets Khorasan and Movarunnahr before and after Navoi period and classifies the main styles of Turkic poetry into three categories: Turkic, classical and high or Navoi style.3
The poet A. Haytmetov says that in the Turkic poetry from the 15th century there were two main directions: "This is a Turkestan style founded by Ahmad Yassaviy, and the second is Khorasan style founded by Alisher Navoi.4
Considering the style, called the Turkic, first of all, it is important to note how the Turkic word is used in the works of Navoi. According to B. Valikhodjaev, if Navoi used the words Turk to refer to the people, and belonging to this people, he used the Turkic word for language. Speaking of the Turkic term used in the work of Navoi, Y. Iskhakov writes: "When it comes to the specific methodology of poetry, Navoi used the term "Turkic"."5
Based on the analysis of the Turkic term used in the work "Majolis un-nafois" of Navoi Y.Iskhakov expressed the main features of this technique: "A simple and direct explanation of thoughts and experiences without difficulty is the main essence of the Turkic style. In addition, the simplicity of poetic syntax, the use of light genres (proximity to the more national ramal and xazaj bahri), the proximity to folklore (that is, the preservation of the principle of alliteration-intonation), the predominance of the genre (mainly "Tuyuq"), poetics (size, theme) also has a unique Turkic identity."6
Turkestan and Khorasan texts in Turkic and Persian-Tajik poetry are closely intertwined with the simplicity and elegance of their artistic style. Alisher Navoi introduced the term "Turkic" in his scientific works related to literature in terms of the characteristic and positive phenomenon of the genre "G'azal" (in the case of lyric poets). In "Mezon ul-Avzon" indirectly
2 A. Navoi. Muhokamat ul-lug'atayn. 15 vol. works 14 vol.127-128pp.
3 Y. Iskhokov. Stylistics in Navoi and Uzbek poetry. Uzbek language and literature. 1990. 5th issue.
4 A.Hayitmetov. Popular trends in Uzbek literature. Uzbek language and literature. 1993. 2nd issue. 5p.
5 Y. Iskhokov. Stylistics in Navoi and Uzbek poetry. Uzbek language and literature. 1990. 5th issue.4p.
6 The same source. 5p.
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refers to the characteristics of the style of the genre of the song. Navoi introduced in his literary criticism and partly analyzed the poetic style that goes back to the roots since the 14th century in the works of the poets Atoi, Gadoi, Sakkoki and especially Lutfi who developed in the spirit of folklore as a playful and clearly defined poetic style.
Y. Iskhakov shows famous Uzbek poets before Navoi, as representatives of the Turkic style. Here the scientist relies on the words of Navoi "turkona aytur erdi".
The peculiarities of the Turkic style, the system of images and artistic images are not known in the works of Atoi, Gadoi, and are not even mentioned in the works of Navoi and other tazkiranavises, but it is very clearly evident in the works of Khafiz Khorezmiy. This is due to the fact that the creativity of poets is characterized by the simplicity of its language and its proximity to the folk language, its fluency, the use of artistic language tools, phrases and proverbs common to oral folklore. In the work of famous poets of the Turkic style, the theme of love is in the lead. This love is in harmony with the love of life, nature and human qualities.
Gar ishqsiz dam ursam o'shul dam manga harom, Ishq ila qon ichar bo'lsam halol erur,-that's how Hafiz Khorezmiy exclaimed in his works;
Ishq dardi zarrai gar kam bo'lur jonim chiqar, Qo ilohiy, to qiyomat bo'l,asin kam dardi yor,-love was also the main theme of the poet Gadoi in his poems.
There are also some of the outstanding works in poetry created in the Turkic style. These artistic instruments play an important role in Turkic poetry.
Imbued with folklore creativity in this style are found: there are tashbeh, istiora, curse, utterance, proverb and wise words. Eastern poetry has traditional symbols. For example, the moon, the sun, lilies, crescents, pistachios, almonds, sugar, flowers; expensive stones are widely used to describe the beauty of the image. Representatives of the Turkic style created beautiful romantic poems, using the best of these symbols to describe the beauty of the image.
One of the factors that make the Turkic style more attractive and popular is the widespread use of phrases and expressions, which over the centuries have become more popular in the language of the people. Poets, using these expressions, have achieved that their poetry became even more Turkic. "To achieve simplicity and clarity of verse and make their gazelles available to the general reader, Sakkoki, Atoi and Lutfi often use idiomatic expressions, proverbs and sayings. Some of them are found in the works of Tajik and Persian classics, but most are borrowed from the people. This is confirmed also by the authors themselves: masal borkim, masal bar, masal durkim, masaldur - "for there is a proverb", "there is a proverb", or derlar, ayturlar - "they say".7
Many popular folklore proverbs that are found in the works of Atoi are widely used among the Turkic people. The use of folk proverbs, utterances, and fairy tales in verse is a rarity in Turkic literature. In the most ancient sources such as the monument of Orkhun-Enasoy, in the literary fragments "Devonu lug'otit-turk", "Qutadg'u bilig", "Hibat ul-haqoyiq" of Mahmud Koshg'ari, folk proverbs and wise words were used artfully. Consequently, the art of
7 E.Rustamov. Uzbek poetry in the first half of the XV century. Moscow. 1963. 146p.
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using proverbs and sayings in a poem (irsoli masal) to refer to a particular idea is associated with ancient traditions.
Y. Iskhakov argues that the use of "irsoli masal" illustrates three important features: 1.The proverb or myth is expressed with the words "masaldur" or "masaladurkim" or expressed through "derlar", "ayturlar", which means well-known and popular among people. 2.The proverb or myth (without any gestures) will be accurately represented. 3.Keeping the contents of the proverb and the myth, its form will be slightly changed or expressed in a new way."8 In the next line of Atoi's poem, a proverb was used: "Yaxshilik qil, suvga sol": Chunki dilbar furqatinda aylading bag'rimni su, Ey yoman baxtim, ne bo'ldi, yaxshiliq qil sol suvg'o. (290) This proverb is repeated in another Atoi poem as follows:
Bo'ldi bag'rim suv g'amindin, yaxshiliq qil, sol sug'a, Oxir, ey gul, xirmanni, albatta, har ekkan o'ror.
The proverb "Har kim ekkanini o'rar" is found among the people in the form "What you sow is what you will reap" E. Rustamov notes that the proverb "Kishi bol tutsa barmog'in yalar" is found in different forms among the Turkic people. They are found in the Tatar people in the form of "bal totkan barmag'in yaliy", and in the Kirghiz in the form of "May karmagan barmagin jalaydi".
Folk expressions, interpretations and phraseological combinations ensure that gazells should be from the artistic aspect, clear and simple. Poets, who created in the Turkic style, based on folklore and drew attention to the main characters of heroes of their works by bringing examples from real life in order to their work was full of meaning and truthfulness.
Another feature of the Turkic style verses is that they were created in the oral traditions of the Turkic peoples. The oral folk art of Aruz is akin to the romal and xazaj and coincides with the verses of the Turkic style. This ensures the musicality and playfulness of gazelles.
Ramal Bahri was widely used in Turkic poetry, and folk songs that are considered Turkic are written precisely in this form. Alisher Navoi also noted that this bahr is an extremely musical and melodic genre. And those poets who write in the Turkic genre are famous for their Turkic nickname.
Atoi effectively used this bahr. From 260 gazells of the poet, only 109 were created on the Turkic fringe, namely the genre "musammani maqsur."
Representatives of the Turkic style not only were close in choosing vazn, but also to the radif and rhyme came close to the oral folk art.
They paid attention to the radif and the rhyme so that they too must be Turkic words. In the works of the poets Atoi, Gadoi, Sakkoki, Lutfi and Hafiz Khorezmi there are gazells of the same radif. The word "ko'ngil" appears in five gazells of Gadoi, in two of Atoi and in one gazell of Lutfiy as a radif. The word "Qani" is used in three gazells of Khafiz Khorezmiy, and the word "bo'lmasun" comes as four radifs in his poems.
8 Y.Iskhokov. Art of the word. Tashkent. Zarqalam. 21p.
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Many gazells do not have radif, and rhythm does not provide melodic poetry. In gazells of Turkic style, "the proximity of the question of rhyme to folklore (that is, the preservation of the principle of alliteration-intonation) is striking".9
Rhyme is one of the main elements of poetry. In eastern poetry, especially in Persian-Tajik, it can be seen strict adherence to the rules of rhyme. Poets pay close attention to the fact that there must be a basic form of sound, that is, ravi. But in the Turkic poetry the requirements of rhyme are not always respected. Based on the comments of Alisher Navoi's book "Majolis un-nafois", to the poem of Atoi, Y. Iskhakov writes: "Although the rhyme of this "bayt" is appropriate in harmony, but from the point of view of classical Arab-Persian rhyme, it does not meet the requirements. That is, the basis of the rhyme of the words bo'lur (ravi L) and o'lturur (R) does not coincide. It is known that in oral literature a special place played by the tonality of the rhyme (the system of alliteration). The fact that Atoi is not connected with the theory of classical rhyme indicates that he wrote his works in Turkic, it can be said that this is one of the main features of the Turkic style."10
In conclusion, so-called Turkic style in Turkic poetry was the main poetic direction in the 14th-15th centuries. The subsequent periods of creativity of poets were enriched by the meaning and artistic form of poetry.
USED LITERATURE:
1. Y.Iskhokov. Art of the word. Tashkent. Zarqalam. 121p
2. E.Rustamov. Uzbek poetry in the first half of the XV century. Moscow. 1963. 146p.
3. Y.Iskhokov. Stylistics in Navoi and Uzbek poetry. Uzbek language and literature. 1990. 5 th issue.4p
4. A.Hayitmetov. Uzbek literature of Temurids epoch. Tashkent. 7 p.
5. A.Hayitmetov. Popular trends in Uzbek literature. Uzbek language and literature. 1993. 2nd issue. 5p.
6. School of Skills: Alisher Navoi. Muhokamat ul-lug'atayn // uchildiz.uz URL: http://uchildiz.uz/mahorat-maktabi-alisher-navoiy-muhokamat-ul-lugatayn/
7. Dilnavoz Yusupova. Alisher Navoiy taxmislari // kh-davron.uz URL: http://kh-davron.uz/kutubxona/alisher-navoiy/dilnavoz-yusupova-alisher-navoiy-taxmislari.html
8. Creation of the Great Khamsa // mv-vatanparvar.uz URL: http://mv-vatanparvar.uz/uz/news?id=2644
9. Mamayunusovna, P. I. (2021). "BOBURNOMA" AS A HISTORICAL AND LITERARY SOURCE. Thematics Journal of Social Sciences, 7(5).
10. Salohiy, D. (2004). Badoe'ul-bidoya" malohati. Tashkent: Fan.
9 Y.Iskhokov. Art of the word. Tashkent. Zarqalam. 121p.
10 Y.Iskhokov. Art of the word. Tashkent. Zarqalam. 121p.
