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PHILOLOGICAL SCIENCES
УДК 821(091)
Gultakin Agajan gizi Aliyeva Candidate of philological sciences, associate professor of Baku Slavic University DOI: 10.24412/2520-6990-2023-7166-51-56 UNITY OF FORM AND CONTENT IN THE DEVELOPMENT OF AZERBAIJANI FREE VERSE
Гюльтекин Агаджан кызы Алиева
Кандидат филологических наук, Доцент Бакинского Славянского Университета
ЕДИНСТВО ФОРМЫ И СОДЕРЖАНИЯ В РАЗВИТИИ АЗЕРБАЙДЖАНСКОЙ СВОБОДНОЙ
ПОЭЗИИ (ВЕРЛИБР)
Abstract.
The development of free poetry is not only measured in decades, but is also important in terms of the formation, directions and paths of stylistic trends, individual styles. From this point of view, free poetry is characterized by the unity ofform and content or complementing each other. From the very beginning of his work, R. Rza continues the unity of form and content with a rising line. Innovation determines the intrinsic quality of his poetry of this period. The rhythm of renewal and new life in the life of society is manifested both in the tone of his poetry and in its content. Philosophical vision, imagery and harmony, rhythm were the basis of his poems. Increasingly, the attitude to the poetic detail and its descriptive specifics in Azerbaijani poetry led to the formation of an individual style.
With the creativity of A. Karim, A. Kurchaily, N. Khazri, N. Hazanzadeh, F. Goca, A. Salahzadeh, I. Ismai-lzadeh and others, individual styles in free poetry multiply and diversify. Details play a big role in the individual poetic style of A. Karim; the poet who gives symbolic meaning to the image and thought also appeals to rational-philosophical generalizations.
The article shows that the work of A. Karim can be considered a new stage not only in poetry, but also in the formation of free poetry. Because A. Karim's free poetry not only changed in form and content, but was also updated with its imagery, stylistic polyphony, individual characteristics, and poetic conclusions.
Аннотация.
Развитие свободной поэзии не только измеряется десятилетиями, но и имеет важное значение с точки зрения формирования, направлений и путей стилистических направлений, отдельных стилей. С этой точки зрения для свободной поэзии характерно единство формы и содержания или взаимодополняющие друг друга. С самого начала своего творчества Р.Рза продолжает восходящей линией единство формы и содержания. Новаторство определяет внутреннее качество его поэзии этого периода. Ритм обновления и новой жизни в жизни общества проявляется как в тоне его поэзии, так и в ее содержании. Философское видение, образность и гармония, ритм были основой его стихов. Все чаще отношение к поэтической детали и ее описательной специфике в азербайджанской поэзии приводило к формированию индивидуального стиля.
С творчеством А. Карима, А. Курчайлы, Н. Хазри, Н. Хазанзаде, Ф. Годжи, А. Салахзаде, И. Исмаил-заде и др. отдельные стили в свободной поэзии множатся и разнообразятся. Детали играют большую роль в индивидуальном поэтическом стиле А. Карима; поэт, придающий образу и мысли символическое значение, также апеллирует к рационально-философским обобщениям.
В статье показано, что творчество А. Карима можно считать новым этапом не только в поэзии, но и в становлении свободной поэзии. Потому что свободная поэзия у А.Карима не только менялась по форме и содержанию, но и обновлялась своей образностью, стилистической полифонией, индивидуальными особенностями, поэтическими выводами.
Keywords: philosophical view, detail, individual style, rhythm, poetic conclusion.
Ключевые слова: философский взгляд, деталь, индивидуальный стиль, ритм, поэтическая вывод.
The development of Azerbaijani free verse is not only measured by decades but also has significant importance in terms of the formation and ways of stylistic directions of individual styles. From this point of view, free verse is characterized by the unity of form and content or complementing each other. There are considerable differences in form and content between the poetry
of I. Hikmet and A. Nazim, who just entered the national literary process in the 20s, and the poems of N. Hikmet and M. Rafili, who came to free poetry just a few years later. These differences were also noticeable in terms of artistic representation and means of expression, and the level of approach to the problem. It was the initial stage of this form in the poems of S. Vurgun,
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R. Rza, M. Dilbazi, N. Rafibeyli, O. Sarivalli and others, who created many examples of free verse in the 30s. In these years, the influence of A. Blok and V. Ma-yakovsky on Azerbaijani free verse were visible. Literary critic Alizadeh Asgarli, considering this effect, writes: "As long as "White Poem" travelled around Europe and Russia, of course, Azerbaijani artists were right to be interested in it. Udkin, Uitmen, Jul Romen, and Beziminski gave them this opportunity. Thus, a characteristic of modernist poetry called futurism was added to Russian poetry, and this was manifested in poets such as N. Hikmat, V. Mayakovsky, M. Rafili, S. Rustam, S. Vurgun and R. Rza" (1, p. 205).
The development of public opinion and literature, in general, had an impact on free verse. Beginning with the second half of the 1930s, free poetry retreated to a certain extent, and its emergence from the mid-1950s was to some extent related to the general development process of literature and public opinion. After the 50s, this influence began to weaken and the individual intellectual style of poets began to form. This happened for two reasons; firstly, as time changed, the rhythm and movement of time also changed, and secondly, new representatives came to poetry. In this sense, even R. Rza, who is at the head of free verse, has considerable differences between the poetry of the 1930s and the poetry of the 1950s and 1960s. The arrival of new representatives in Azerbaijani poetry (B. Vahabzade, N. Khazri, I. Safarli, H. Arif, A. Kurchaily, etc.) has formed new directions in poetry as well as in free verse. A little later, the addition of A. Karim, F. Sadigh, A. Abdullazadeh, and F. Goca to this list caused the formation of a new unity of form and content in free verse. This change was first manifested in the works of R. Rza, who has been writing free verse for nearly thirty years. During this time, Azerbaijan's free verse, has become somewhat "liberated" and has held its own to a certain extent. During this period, in the example of R. Rza, the field of free poetry expanded, and the possibilities of expression and forms became richer. In his work, the tone of the poem has changed and updated according to the meaning and content. If in his first work, the poet focused on the melody of the free poem, in the 60s he wrote the poem according to the melody he created and thereby managed to create a new melody.
This suggested that the individual style of the poet was already formed in his work. Literary critic ArifAb-dullazade, referring to this individual, independent creative feature revealed in his work, wrote: "...this structural aspect that we encounter in R. Rza's work has a special stylistic individuality and relational independence and is also based on a certain tradition" (2, p. 182). From the beginning of his work, R. Rza continues the unity of form and content with a rising line. Innovation defines the inner quality of his poetry of this period. The rhythm of renewal and new life in the life of society manifests itself in the tone of his poetry as well as in its content. Philosophical vision, imagery and harmony, rhythm was the basis of his poems. New features are added to the poet's poetics in the poems published in the early 1960s in the books "Light falling on my win-
dow" (1962), "Feelings.. .Thougths" (1964), "Endurance" (1965). "I am soil", "The Soil", "Ask", "Narrowness" etc. This renewal and formation of individual style are more evident in poems. In the poem "I am soil", the human factor and the philosophical aspect form the leading branch of the individual style. Literary critic Shamil Salmanov, who analyzed this stage of R. Rza's creativity, writes: "The pathos and poetic philosophy of Rasul Rza was also in faith, in the power and light of such an appeal to people... Along with individuality, the voice of the time, problems and questions in R. Rza's "I" the excitements of the world are concentrated, and precisely because of this quality, the whole world found its echo in this "I". Even the poet was not separated from the world in silence and solitude; the world with all its excitement and hopes is in the poet's world of thoughts and excitements" (3, p. 19-20).
R. Rza's "Colors" series has many shades of colors. However, in our opinion, the greatest importance of the creation of this series was that it paved the way for individual creative styles. It is after this series that the color and style shades of poetry increased. Increasingly, the attitude towards poetic detail and its descriptive specificity in Azerbaijani poetry has led to the formation of an individual style. New signs of the formation of the poet's style are also revealed in the poem "There would be no roses". The repetition of words and phrases in some parts of the poem makes the text rhythmic. Researcher Sarkhan Abdullayev, who envisages this feature in the poem, writes about the new tendencies formed in the poet's style: "In terms of creating a sudden impact, an unexpected deception effect, the fact of the wide spread of "magnetized" sign words in the noun and verb zones, and their realization in the right of the verse seems to be a unique typological sign. Emphasizing object and movement adjectives, artistic designations with special attention, as an important means of emotionalization and rhythmizing, occupies an important place in the art repertoire of our modern poets" (4, p. 11).With the creativity of A. Karim, A. Kurchaily, N. Khazri, N. Hazanzadeh, F. Goca, A. Salahzadeh, I. Ismailzadeh and others, individual styles in free verse multiply and diversify. In their work, the division of lines in free verse makes glimpses, thoughts, and feelings more transparent and visible, which plays a certain role in the formation of an individual artistic style. Perhaps, at first glance, the arrangement of verses, which seems small, fulfils certain stylistic expediency with the function of visualizing and detailing the movement of thought.
Paying attention to the richness of shades of poetic style, Sh. Alishanli considers this period as a new stage and writes: "As a new stage of the idea-aesthetic evolution of lyrics in the poetic interpretation of the rich spiritual world of man (a very interesting stage in terms of literary tradition and innovation, richness of shades of poetic style), poetic styles that flourished in the 60s and 70s, a new style of feeling in the perception of reality, at the beginning of the 80s, is directed towards new types of searches" (5, 99). A. Karim comes first in the formation of poetic styles. His poems play an important role in the formation of intellectual and individual styles in poetry starting from the late 50s. Critic Yashar
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Garayev correctly defined the place of the poet in our poetry and wrote: "Ali is a representative of a direction called "individual intellectual style" in our poetry. It is the figurative, emotional, poetic intellect that conditions these works to Ali's artistic style. A romantic and rational spirit, a tendency to artistic-philosophical generalization is strong in them" (6, p. 103).
Newly emerging individual styles also enrich the landscape of Azerbaijani poetry. The philosophical tendency with B. Vahabzade, lyrical-emotional with N. Khazri, the harmony of nature with H. Arif, etc. determines the formation of new individual styles. Although B. Vahabzade's poetry is based on traditional poetry, philosophical judgment is one of the main factors that determine the individual style. The nationalism and philosophy of the culture of poetic thinking, and the contrasting description of the world and life occupy a leading position in the individual poetic style of the poet. New qualities of his style are revealed in "Native language", "Like a waterfall in the mountain", "Who is my enemy", "From the homeland to the homeland", "Poems about my mother" and other free poems. In the poem "From the homeland to the homeland", the poet not only succeeds in creating the image of the homeland with contrasting questions but also reveals his citizenship position. One of the factors that played a role in the formation of individual poetic style in free poetry was the new generations who came to poetryare also changing.F.Goja, C.Nouruz, A. Abdullazade, F. Sadiq,
A. Salahzade, I. Ismailzade, S. Sarkhanli, E. Bakhish, Y. Hasanbey, V. Jabrayilzade and others rejection of stereotyped poetic thinking also necessitated the formation of new individual poetic styles.
Artistic research, detailing and chronicling the events and processes described in their poems played an important role. The use of parallel content and double words in A. Salahzade's poems create a whole in the poem. When Bakhtiyar Vahabzade started his work in the 40s of the last century, free verse was experiencing its critical days. At that time, young people were among those who wrote free verse. The inclination towards free verse among the literary youth also determined the future development of this form. With the arrival of
B.Vahabzade, N.Khazri, A.Kurchaily, A.Karim in poetry, the social-aesthetic demands of the time were reflected in this form. B. Vahabzadeh began to express himself both in syllables and in free form. The analysis of B.Vahabzadeh's poetry in terms of language, poetic system, and weight reveals the wealth of factors of his appeal to this form. Philosophical shades, the harmony of contrasts, and thoughts about man and time reflected in his poetry are better expressed in this form. In particular, since the end of the 50s, philosophical thoughts about time, time, and human problems in the poet's work find their expression in a free form. The poet's poetic ideas about Man and Time continue not only in a few poems but throughout his entire work.
No matter what the poet writes about, Time and Man are at the center of the context of lyrical-philosophical thoughts. Literary critic Vagif Yusifli draws attention to the fact that these factors form the main line of the poet's creativity and writes: "B. Vahabzade's se-
ries "Man and time" is an expression of lyrical and philosophical thoughts that continue throughout his work. the attitude of the poet sensitive to how it affects human life can be felt. Many of the examples of the series belonging to the sixties do not go deep into philosophical generalizations, in these poems the superiority of poet Bakhtiyar is obvious" (7, p. 130).0f course, although the last opinion of the researcher seems somewhat controversial to us, the place of the human and time factor in the poet's work is correctly assessed. Cross figures are one of the most used forms in B. Vahabzade's free verse poems. It is through cross figures that the technique of contrast, which the poet tries to provide in the poetic text, is renewed and integrated. Cross figures, like other types of contrasts, bring eugenics to the poetic text and increase the meaning and weight of the artistic text. This enriches the creative possibilities of the artist. A poetic text appears stronger when cross-contrasts echo or complement the idea in the poem. In the poem "Life-death" this factor is widely used throughout the text. In the poem "Sidewalks", the poet uses the contrast-figure element to the maximum extent. In general, in the 1960s and 1980s, poets tried to achieve the unity of content and form in the style of Azerbaijani free verse poetry, and poetic searches were conducted in this direction.
Depicting objects from different perspectives and viewpoints has revealed new stylistic nuances. With their creativity, free verse has a wealth of style and is enriched with artistic pursuits. Each of these poets had their voice, way of describing the event, image, and worldview. The subsequent development of poetry also showed that free poetry was not counted in its place after the 60s and had a style of elegance. The individual poetic style of each of the poets conditioned this stylistic elegance. As a result, Azerbaijan entered a new stage with the polyphony of free poetry. As it is known, since the 60s, free poetry has experienced a new phase. At this stage, as R. Rza's creativity reaches a new peak, A. Karim reveals new stylistic shades in free poetry. After A. Karim, A. Salahzade, R. Rovshan, I. Ismayilzade, V. Samadoglu and others played an important role in the deep development of free poetry. These poets have gone through a unique development path in free verse creation.
Their poems enriched free poetic form not only in terms of structure but also in terms of poetics. However, some poets were not recognized as free poets because free verse and syllables were used in their work, or their work received little attention. In the works of B. Va-habzadeh, N. Khazri, X. Rza, M. Araz, F. Goca, F. Sadig, N. Hasanzadeh, Gabil and others, free verse developed in terms of weight, phonetic system, artistic description and means of expression, and rhythm. However, these poets played a certain role in the new development and organization of free poetry. In their poems, the rhythmic-intonational unity typical of our free poetry occupies the main place. F. Sadykh's"Motherland, motherland", "I swallow the sun", "The homeland of the fairy tale", "Turning stones", "Spring has come for us", "Fire", "An inch of grass", "A pair of light wires", "An unsent letter to the Bashkir poet Rami ", "White
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Violet", "The Camel", "Don't Blame Atilla"" and dozens of other poems describe various moments of human life in society and nature. He finds rhythmic intonation specific to each of his poems and makes his natural, physical, and psychological processes visible. The content of the poem is completed with a logical conclusion at its end. In some poems, rhythm, and intonation lead to complete weightlessness.
Critic A. Akhundov noted that F. Sadigh was one of the creative successors of free poetry and wrote weightless poems, and wrote: "After R. Rza, F. Sadigh, who created beautiful examples of free poetry in our poetry, also has isolated cases of complete weightlessness in his work. " (8, p. 48).The poetic path of F. Sadigh is clearly defined in Azerbaijani free verse. Rhythm and intonation appear in his poems as an integral aesthetic component of poetic speech. Sometimes this rhythm is observed with word repetition and close sounding. F. Sadigh attaches great importance to rhythm in his poems; rhythm and intonation play an equal role in the development of thought. In many free poems of F. Sadigh, we find different shades of speech sound organization; this sound arrangement has a certain regularity and serves to reveal the poetic idea. His poems have an original form of self-expression in art, a unique mold. The poet tried to pay maximum attention to the manner of speaking and the form of expression. In all cases, he looked at the naturalness of the words, the rhythmic aspects of the words. But sometimes they lead the poet to formalism, separated the idea from its aesthetic expressiveness.
Prominent critic A. Efendiyevevaluated the poem "The rain of love" as an "original and poetic" work and appreciated the "bright" and "natural associations", "fabulous, mysterious" expression of the idea of the eternity of love in this poem.However, he did not hesitate to sharply criticize some of his poetic texts, calling the poet's poems written under the influence of R. Rza's "Colors" series "dull and emotionally simple": "The new F. Sadigh comes to life in front of our eyes, the owner of a pose that gives an expression of artificial wisdom to his face" (9, p. 107). In terms of form, structure, rhythm, intonation, and harmony, the creativity of FikretSadykh's namesake FikretGoca is prominent in the development of Azerbaijani free verse. F. Goca is also one of our successful poets who writes poems in syllabic and free form. Considering this, Anar writes about F. Goca's attitude to verse: "Fikret, along with writing perfect poems in the traditional verses of our poetry - syllabary, even in aruz, has also maintained his loyalty to his first love of youth - free verse.I have not calculated which of FikretGoja's poems are few and which are many, and such an idea has never occurred to me. Because I know that Fikret, like a true poet, understands which topic, which theme is more appropriate to express with which emphasis, he chooses himself, and the choice is successful in most cases" (10, p. 5).
This observation of Anar reflects the whole of F. Goca's long-term creativity. It manifests itself in its stages. New, original examples of free verse appeared in the work of poets such as N. Khazri, B. Vahabzadeh, F. Goca, N. Hasanzadeh, A. Kurchaily, J. Nowruz. The
position of poetry in these years determined the development of a new style and language. At this time, rhyth-micity and intonation become one of the "language" components addressed by the poet. In the modification of N.Khazri's poems, known as a lyrical and melodic poet, rhythmicity and intonation play an important role in the modification of his poems, i.e., in his syntactic connections from various relationships.
The poet finds a separate rhythmic intonation for each of his poems, and choosing the right subject sets it free.In many of his poems, the poet adds a plot component to these relationships, which is one of the features that distinguish the poet's free poems. In general, N. Khazri's free poems are distinguished by their specific features. In this respect, it can be seen that N.Khazri's free verse poems are close to M. Mushfig's poems. The rhythm of N. Khazri's poems as the rhythm in M. Mush-fiq's poems acts as the most important language and phonetic tool for both weighted and free verse. In his poems, he expresses his thoughts about the universe, life, the world, man and his wishes and dreams, nature, and social events with measured-unmeasured substitutions and in a rhythmic-melodic way. Considering this feature of the poet's poetry, Sarkhan Abdullayev writes: "Nabi Khazri's work attracts attention, first, with the freshness of the means of expression, language, the technique of choosing words and colors, the naturalness and grace of sound-intonation forms. perceives colorful feelings with their shades, lives with the music of expression" (2, p. 157).
N. Khazri's poetry makes modern poetry multicolored with its idea-artistic scope, richness of form, depth of thought and meaning. In addition to the traditional poetic form, the free form of poetry was also widely used in his work. The lyricism in its nature also influenced the form of the poem, and the possibilities of the form were skillfully used for the self-expression of the lyrical hero. Along with the natural feelings of a person, the flow of ideas and thoughts is also leading in his poems. The poetic form found by the poet to present the thought and idea plays an effective role in revealing the inner "I" of the image. In such literary texts, freedom of expression is the best tool for expressing modern human problems, thoughts, joy, and sadness. N. Khazri's poems are mainly in syllable weight. However, in some of his poems, a new rhythm and intonation of free poetry is created (intentionally) because of breaking the division of this weight. A. Abdullazadeh is of the same opinion that: "In Nabi Khazri's poetry... the weight of the poem and the division system in the verses, sometimes complete and incomplete, and sometimes expressive verses- and words-verses are used in a special place according to the inner thought, independence of meaning and harmony. holds" (2, p. 85).In this regard, the poet's "It is blue", "For you", "Lets protect love", "Dialogue", "Earth and sky are silent", "Mauntain and the sea", "Your window"and other poems diversify the rhythm and intonation layer of free verse poetry. What makes N. Khazri's lyrics remarkable is not only its content, the uniqueness of the lyrical hero, humanism, describing the problem from a different angle, but also its unique form. The poetic intonations, rhythms, and divisions brought by him have their
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place in the development of ideas and form of the free poetry of the 60s-80s. Noting the richness of N.Khazri's poetry, academician K.Talibzade wrote: "Idea is the basis for all types of art. There was no art without an idea, and it does not exist now. However, how and in what way to present the idea is an important factor for the artist... Nabi he is a poet who can listen not only to his brain, but also to his heart and feelings together, without separating them from each other" (11, p. 5).
Indeed it is N. Khazri presents thoughts and ideas in different forms in each of his poems, and this happens in a very natural way. It is from this context that he describes the disaster of the fisherman who drowned in the Caspian Sea, the most sublime and supreme goals of man, and the color of the sea.The inner world of the lyrical hero roots itself in nature and sees harmonies between inner and nature. In the works of M. Araz, X. Rza, S. Rustamkhanli, S. Sarkhanli, new examples of free verse on traditional topics are created. If earlier free poetry was written mostly on free themes, in the 70s and 80s national spirited themes were added to it, which expanded the theme arena of free poetry. M. Araz's"Turkey's gift to Nazim", "It passed by me, it hit my brother...", "My grandfather's voice", "Mountain river", "My mothers", "Lights of Araz"and dozens of his other poems, the feelings of national patriotism gain breadth and comprehensiveness in the associative sphere. With the poem "It passed by me, it hit my brother...", M. Araz was able to show the best historical example of patriotic sentiments in this poetic form in an associative way. Turning to his great-grandfather, who was "turned to stone", "turned to earth", the poet appealed to his soul and asked him to voice his voice "from the valley of ancient history". The hero of the poet, who goes to historical settlements with his greatgrandfather, disagrees with the existing national status and draws a new map of struggle and struggle. "Passed me by" philosophy does not escape the ears of the lyrical hero. He thinks that "He who passed the blows to his brother/Confidante/It's like, look tonight/Right under my ear/He laughed at the fall of Khatai,/Then, then.../He drank a hundred glasses on his head in the morning" (12, p. 120-121).
This is how the hero evaluates the damage caused to the people and the country by the "I'm over" thinking. Critic ShirindilAlyshanli, touching on the characteristic features of the reflection of the person formed in the conditions of scientific and technical progress in poetry, writes: "The diversity in the return to the unified aesthetic source, national literary roots in the poetic understanding of life, the socio-social relations in the society comes from the purposeful logic of "reading" in expressing the deep psychological layers of human spirituality.The social problems of scientific and technical progress determine the planetary way of thinking. The poetic reflection of the attitude of the lyrical hero to various events of life because it is born from the logic of such a way of thinking, gains artistic value as a universal aesthetic wealth" (13, p. 91).
These views of the critic are the poetic evolution of free poetry that began in the 60s and continued in the 70s. objectively reflects his path. The new man lives with new thoughts and emotions on a planetary scale.
One of the main issues is the emergence and formation of new poetic styles in reflecting these emotions. A new poetic approach and understanding of the facts of life, stylistic diversity, and polyphonism are the main features of the poems written in this period. New Poetic description of human understanding and stylistic richness is the basis of Ali Karim's creativity. It seems that literary critics distinguish Ali Karim's free poetry from others and call it a new stage. Critic Javanshir Yusifli considers the poet's creativity to be a new stage not only in free poetry, but in Azerbaijani poetry in general. In his book "Ali Karim stage in Azerbaijani poetry", the critic succeeds in revealing the stage-organizing function of the poet's creativity in all its details (244).Liter-ary critic Vagif Yusifli also devoted a sub-chapter called "Ali Karim stage in Azerbaijani poetry" in his monograph "Years and ways of poetry " and agreed with the opinion of critic J. Yusifli (247).
In our opinion, this statement is completely correct and fully reflects the essence of A. Karim's poetry, as well as his free verse. Long before these researchers, the literary critic ArifAbdullazade Ali Karim did not call his work a new stage in poetry, but he came to certain conclusions by analyzing the different aspects of R. Rza's poetry in terms of subject matter, content, and problems. One of his conclusions is as follows: "Either Rasul Reza or Ali Karim presents the poetic idea not in a direct, journalistic way, but through images, similes and allusions, metaphors and associations, and in the expression of these artistic features, they are completely individualized with their independent findings. In terms of form, structural features, weight, division and rhyme system, an endless search process can be observed in the works of each of these poets" (2, p. 217).
In our opinion, A. Karim's work can be considered a new stage not only in poetry, but also in the formation of free poetry. Because free poetry with A. Karim did not change only in terms of form and content, but was also updated with its imagery, stylistic polyphony, individual characteristics, and poetic conclusions. In the work of the poet who came to poetry in the 1950s, the syllable weight and traditional poetic description occupied a major place.Y. Garayev, who appreciated A. Ka-rim's poetry at the time, wrote: "Ali is a representative of a direction called "individual intellectual style" in our poetry. It is a figurative, emotional, poetic intellect that determines the individual artistic style of these works. They contain romance and a rational spirit, artistic - the tendency to generalize philosophically is strong. The poet is not interested in the details of the moment and the minute, the fact in isolation. He always searches for the discovery and invention of the inner true essence, which only a sharp mind can penetrate, and gives a symbolic meaning to even the most ordinary, real-life plot and fact." (6, p. 103).
In A. Karim's free poems, everything is animated and visualized through artistic details and metaphors. In this way, the possibilities for the philosophical expression of the thought and the giving of the poetic realizations expand. These are the factors that distinguish Ali Karim's free poems from those of his contemporaries. Whatever he writes about, he builds the poetic
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structure on artistic details and symbols. The main poetic logic of A. Karim's free verse is to direct the mind to the solution of the main idea through details and symbols. Thus, one can clearly see the unique features of the development path of free poetry in A. Karim's work. His free poetry does not repeat his previous free poetry, but emerges as a new, original example of creativity. In his work, free poetry opens a new field for the expression of thought; creates new opportunities for reading and thinking. A new poetic system is established in A. Karim's free verse. In this poetic system, in addition to informativeness, any finding is addressed to artistic detail and through it the poetic conclusions of the thought are reported.
References:
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