Summary: The weight and weight of modern Uzbek poetry was also based on the oldest oral poetry of ours. This article discusses the emergence of new Uzbek poetry and the factors that influenced it.
Keywords: poetics, folklore, finger weight, “Devoni lug’otit Turk”, Kashgar’s, iterature, Uzbek poetry, A.Aripov
"Any literature starts with oral folk tales. The same is true for the early period of Uzbek poetry "[1, 16]. The poetic creativity of the Turkic peoples living in Central Asia, including the Uzbek people, has a long history. As the Arab arousals developed on the basis of oral folk poetry in ancient times, the weight and weight of modern Uzbek poetry was also based on the oldest oral poetry of ours. This is the evidence of the ancient lyrical fragments called Khoshgah, the folk epics, or the features of the Uzbek folk poetry and poems of Mahmud Qashqari’s “Devoni lug’otit Turk”. Available literary monuments, both written and oral, allow for thought on the origin and development history of finger weight. The fragments of Kashgar’s Devon and the Struggle of the Press are a very ancient past. These fragments and the four quizzes about Afrosiab indicate how old the finger is. The articles and literary pieces in the Deva are an important example of the history of folklore and literature as an example of ancient literary genres. Even though the literary fragments of this book are not in the whole work, Mahmud Kashqari’s instructions on these passages indicate that he is part of a piece of poetry, song and poems. They can be subdivided into some works under the spring joys, fights, singing songs, love emotions, educational tracks, paintings of nature, and more.
The Devon also contains many poetic stories written by ancient Greeks in Asia, the Aragonese in the Fergana Valley, the snowcapped by the Sayhun (Syrdarya), and other tribes of Ispiob (present-day Shymkent) and Shosh (now Tashkent). The language of these poems is lexically related to the modern Uzbek language lexicon. The lexicon of that time was based on the current Uzbek lexicon “[2,36]. This poetic monument, created in the language of our ancient ancestors, is a prime example of poetry created in fingerprints. Devon contains five, six, seven, eight, ten, ten, thirteen, and many other fingerprints. There are very few weights in the ten and thirteen categories. It can be deduced from this that in the poetry, primarily small volumes and weight categories, and massive volumes and families belong to the post-development period of poetry development. All weight classes in Devon and varieties of weight, band and rhythmic gymnastics have a great role in contemporary Uzbek poetry. “We can say that the basic features of finger weight have been formed in the ancient poetic fragments described in Devon. Folk epos has played a major role in deeply rooted in the fingerprints as poetry. ‘Alpomysh’ is an important stage in the development of finger weight. It is used in seven, eight, thirteen, fourteen, and ten. Ten units were featured in Devon, and played a leading role in the composition of the poem ‘Alpomish’.” [1,16].
“The examples of folklore in the Devonian language dictionary are of comparative importance as a comparative source. These fragments of genre and theme can be characterized by a number of peculiarities of folklore that relate to the 11th century and earlier. In the case of “Devoni lug’atit Turk”, he composed of samples of written literature, mainly the samples of oral works. In particular, the presence of some of the figurative images contributed to the development of genres such as quartet, ruby, debate, which later occupied a great place in the Turkish literary literature, and also contributed to the development of modern Uzbek poetry. The poetical fragments of Devon are based not only on the formality, but also in the content and image system as the basis of modern Uzbek literature. This can be seen in the example of the author of the poetic book of Uzbek poet A.Aripov. The Poet’s poem “Qasam Dara” is characterized by a purely Uzbek character. Each example, each thought, every image is Uzbek. It does not look like traditional images and images at first glance. While thinking about “Qasam Dara”, Hukulov wrote, “Perhaps Abdulla Aripov understands what love is, what kind of love in man’s spirit is, first of all the folk tales or the tale he has heard from his grandmother” [3,134]. The opinions of other scholars who spoke of “swearing” are basically the same. If the life of the Turkic people belonging to the Uzbek people is focused on the life of the Turkic people, then it will be possible to feel that this poem is in harmony with the ancient melodies. It is known that the images and motives related to hunting and hunting in the Turkic peoples have deep roots. Even the whole system of images is related to the same subject. The images, such as arrows, stars, sayd, and sayods do not require any special comment. Hunting and hunting motifs by Yusuf Hos Hojib in the book Qutadg’u bilig “The Devonu lug’otit-turk” footprint is striking:
Yigitlarig ishlatu,
Yig‘ach, emish irg‘atu,
Qulan, keyik avlatu,
Bazram qilib avnalim.
Content:
Let’s use guys,
Let them pick the fruit
Various wild animals
Qulon [1], hunting deer,
Let’s celebrate for a few days [4,262]
Here is an important detail for us. It’s a deer and a goat hunt. King Bakhrom of Navoi depicts the same hunt. It is well-known that the site of the Furkat image is engaged in deer hunting. It is also rich in folklore. Mythology, as well as mythological, as well as mythological, as well as duck, swallows, cranes, crows and geese, created by the mythological land, are primarily folklore genres — epic, tale, qo but in the literature, in various forms and stories, these diverse images are widely used in literary literature by artists in expressing a particular ideological-artistic purpose or expressing the character, lifestyle, and lifestyle. Studying and observing various images in the poetry of Omon Matjon, Muhammad Yusuf, Shavkat Rahmon, S. Sayid, who have a special place in contemporary Uzbek poetry, We can see that the
It is difficult to find an open-minded expression of sincerity, simplicity and natural sophistication, or an inspiration from the novelty of the people’s oral traditions. That is why verbal creativity has always been one of the main sources of writing for the development of written literature in all times and times. This idea is fully relevant to the Uzbek literature of the 1960s of the last century. And most importantly, relying on folklore experiments made it possible for honest, courageous, and courageous creators of the nation and country. This is why, for this reason, Abdullah Oripov has strongly suggested that “the folk oratory is far from literature” [5,74].
In short, the genesis of the new Uzbek poetry goes back to the oral tradition. The most ancient examples of folklore can be found in “Devoni lug’atit-turk”. By the end of the XIX century, our creators pursued their goal of bringing their works closer to the spirit of folklore, inspired by folk oratory, and compiled the works of the epoch.
References
- Ummat Tuychiyev. Fingerprint system in Uzbek Soviet poetry. 1966 . Toshkent: Fan.
- C.M. Mutallibov, philologists of the 11th century and their unique works. See M. The Word of the Darkenne Warrior, Turk, 1 tom. 1960
- I Hakulov. The artistic word shukuhi. — T:. Literature and Art, 1987
- M. Turkish Dictionary of Turkic languages, T:. 1 tom 1960
- a. Oripov.Searched works. 4 volumes. — T:. Literature and Art, 2001. Volume 4
[1] Wild animal