LYRICAL INTERPRETATION OF “I” IN THE POETRY OF ANBAR OTIN, DILSHODI BARNO AND SAMAR BONU

Аннотация

The article interprets the lyrical “I” used by Anbar otin, Dilshodi Barno, Samar Bonu in the genres of ghazal, muhammas, mustahzod. In the comprehensive coverage of the fate of poets and the discovery of the problems of their time, the auto-psychological lyrical “I” method is included in the scope of analysis. KEYWORDS: - Lyrical protagonist, auto-psychological lyrical “I”, the work of the heart, the motives of emigration, bloodshed, fullness. according to literary sources. The author Sabir I NTRODUCTION Abdulla’s novel “Mavlono Mukimiy” tells about his life from the speech of the poet’s wife Anbar Otin, Dilshodi Barno and Samar Bonular Zahidkhoja. The following information about have a special place in the Uzbek literature of the Muqimi in the novel is noteworthy: late 19th and early 20th centuries. At the same time, their works are influenced by famous poets “... he is paralyzed, he writes poetry and reads a of the Fergana Valley, such as Jahan Otin Uvaysi lot of books. He begged me for a long time, “If you and Mohlaroyim Nodira. In particular, the fate of go to the poet Muqimi and tell him my request, if these three poets is rich in tragic and topical they come one step further, get acquainted with issues; they were expressed in the ghazals, my condition, get acquainted with my poems, I muhammas, and mustazzads of the ancient do not want to lie behind the curtain and talk to genres of classical literature. him!” I wouldn’t listen” [1, p. 269]. It is known that in the last moments of Anbar There are many days when the fate of the poet Otin’s life, his leg was injured and he lay down. Dilshodi Barno is written in the chapter on the The reason is that he speaks the "truth" at a fate of Anbar Otin, who suffered from ill health. It meeting of contemporary women, suffers is known in the history of literature that Dilshodi because of them, and is crippled for life, Barno was separated from his parents at the age CURRENT RESEARCH JOURNAL OF PHILOLOGICAL 61 SCIENCES ISSN – 2767-3758 https://masterjournals.com/index.php/crjps CURRENT RESEARCH JOURNAL OF PHILOLOGICAL SCIENCES 2(6): 61-66, May 2021 DOI: https://doi.org/10.37547/philological-crjps-02-06-13 ISSN 2767-3758 ©2021 Master Journals Accepted23thJune, 2021 & Published 28thJune, 2021 of fourteen, grew up in an orphanage, and was p. 165]. It is on the basis of this definition that brought to Kokand by Umarkhan from Uratepa, the auto--psychological method of the lyrical “I” where he was born and raised at the age of prevailed in the ghazals, muhammas, and seventeen. This was stated by the literary critic mustazzads of the poets involved in the analysis. M., who studied the poet’s creative path. About this type of lyrical “I” Professor Kadyrova: “Kokand khan Umarkhan conquered D.Kuronov: “Auto-psychological lyrics are poems Uratepa in 1816-17 and brought many captives in which the lyrical protagonist and the poet’s to Kokand. Among them was 17-year-old personality seem to coincide, or rather, the two Dilshod” [2, p. 3]. are closely related. In such poems, the poet speaks in the language of “I”, addresses more to T HE MAIN FINDINGS AND RESULTS his heart, and expresses himself [5, p. 272], his heart. At the same time, they cover the problems Samar Bonu is one of the poets of the Fergana of the time: injustice, bloodshed, betrayal of Valley who openly sang her “I” in her lyrical rights, as well as a number of atrocities in the works on social issues. The fate of the poet, who Fergana Valley. In the lyrical works of the poets, was the cousin of the poet Huvaydo in the history the tradition and commonality of the poetic of literature and suffered by his relatives because series can be seen in their skills of using words of his “work of the heart”, is also tragic. Literary such as “I”, “myself” or in the effective use of critic T. Jalolov, who conducted research on the possessive 1st person suffixes. For example, life and work of Samar Bonu: “Bonu fled to Anbar Otin’s poem in the mustahzod genre was Mingtepa, to his Majnun Sharifjon. The father, written in the spirit of hasbi hal. In it, the poet who instigated his daughter’s courage, calls herself “oppressed” and is proud to have whitewashed Bonu, deprived her of her been given the title of woman. The auto- inheritance [3, p. 282], and the whole generation psychological lyrical image of “I” is evident in the turned away from her, he said, “referring to the fact that he writes that his leg is crippled: From the 19th century onwards, women’s voices began to sound louder in Uzbek literature” [3, p. Kelgusi yorug’dunyog’a borishchun oyog’im, 282]. hozircha erur majruh, In the works of these three poets, the ghazal, the Dod aylamagim mumkin emas, bu badanimda – muhammas, and the mustahzads have a strong qaydi Kamanim bor. [6, p. 68] tradition of attaching their personal life and My foot is crippled for the time being to go to the social content to it. This, in turn, created a next bright world, tradition of poetic series