The Role of The Ghazal In the Work “Rohati Dil” Alieva Sevinch

Аннотация

This article is dedicated to the commentary on the ghazals with the radifs “Bolam,” “O‘tdilar bu dunyodin dilxohlar...,” and “Kishi” from the work “Rohati dil” by Khojanazar Huwaydo. The article analyzes the texts of the ghazals and reveals the artistic imagery means. Keywords: Ghazal, artistic imagery, poetic art, meter, rhyme letter, rhyme, contrast, repetition, simile, proportion, exclamation, tasbe’, talmeh. narration. These ghazals are recited by the characters Introduction: The work “Rohati dil,” one of the pearls in the process of the events. There are 6 ghazals in total of Uzbek classical literature, stands out from other in the work: one consists of 3 couplets, one of 4, two of works with its thematic scope, historicity, and vitality, 5, one of 7, and one of 16 couplets. In this article, we in which the author’s artistic mastery is manifested at a focus on the analysis of the ghazals with the radifs high level. The work contains the logical continuation “Bolam,” “O‘tdilar bu dunyodin dilxohlar...,” and of the story “Ibrohim bin Adham rahmatulloh alayhi” — “Kishi.” under the title “Dar bayoni Zulhayo imraatu sulton Ibrohim bin Adham Rahimahu-l-lohi” (In the narrative In the story “Dar bayoni Zulhayo imraatu sulton of Zulhayo, the wife of Sultan Ibrohim ibn Adham). It is Ibrohim bin Adham Rahimahu-l-lohi,” it is narrated that known that ancient legends and tales about Ibrohim bin Sultan Ibrohim bin Adham was the ruler of the city of Adham have attracted the attention of many creators Balkh, and later renounced the world; then his wife of different eras among Eastern peoples. Zulhayo gave birth to a son, named him Muhammad, and when the boy grew up, he wanted to find his It is appropriate to note that these stories were created father. After this process, the poet gradually inserts on the basis of traveling plots, and depending on each ghazals in place. This served to perfect the work and poet or writer’s creative intention, artistic-mystical enhance its artistry. First, the ghazal with the radif thinking, and life-creative experience, they were “Bo‘lmoq” is quoted; then we see that the mother, manifested in various forms. In the work “Rohati dil” by distressed by the departure of her son, recites the Khojanazar Huwaydo, many poetic genres are used. ghazal “Qilg‘on firoq” for her son. Not finding his father, When the poet includes ghazals or poems of other the prince, overwhelmed with grief, expresses his heart genres into the text, he takes into account the with the ghazal “Etgan o‘lum,” and the joy of the prince, completeness of the composition. At the same time, it who eventually meets his father, does not last long — can be said that whatever genre the poet introduces by God's will, Azrael takes his soul, and the mother, into the work, he tries to choose in accordance with the who hears that Sultan Ibrohim ibn Adham has buried story and the spirit of the character. This indicates the his son with his own hands, weeps and recites the high level of Huwaydo's skill. Among them, there are ghazal “Bolam.” These are conveyed in touching lines, quite a few poems that conform to the real ghazal rich in artistic coloring. genre. For instance, in the story “Dar bayoni Zulhayo imraatu sulton Ibrohim bin Adham Rahimahu-l-lohi” (In In the ghazal, the emotions of a mother who misses her the narrative of Zulhayo, the wife of Sultan Ibrohim ibn distant child, whose heart burns in anxiety, who waits Adham), ghazal genre is referred to in the course of day and night with longing, and who, upon suddenly American Journal Of Philological Sciences 241 https://theusajournals.com/index.php/ajps American Journal Of Philological Sciences (ISSN – 2771-2273) hearing of her son’s death, expresses her heart’s storm Almost every couplet of the ghazal features examples in agony, are conveyed: of poetic devices. In the first couplet, likening the son to the moon in the constellation of Cancer, in the eighth Emdi izlab topmag‘aymen qaydasen jonim bolam, couplet, comparing the teardrops falling to the ground Ko‘rgali kelding yuzumni mohi tobonim bolam (108– with tulip gardens, and in the tenth couplet, likening 109). the child to the treasure of the heart and the light of The ghazal with the radif “Bolam” is written in the the eye—all exemplify the poetic device of tashbih meter ramali musammani mahzuf (foot: foilotun, (simile). In the second couplet, the expressions "Desert foilotun, foilotun, foilun; scansion: – V – – / – V – – / – of Doomsday" (Qiyomat dashti) and in the fifteenth V – – / – V –) and consists of 16 couplets. The rhyming couplet, "House of Sorrows" (Bayt ul-axzon) represent words are “jonim,” “tobonim,” “afg‘onim,” the use of isti‘ora (metaphor). Additionally, the word “gulistonim,” “darmonim,” “konim,” “afg‘onim,” “Mahshar” in the same second couplet illustrates the “qonim,” “jonim,” “mehmonim,” “xonavoyronim,” use of talmeh (allusion). In the third couplet, the words “sultonim,” “so‘zonim,” “bayt ul-axzonim,” "a