Semantics of poetical images

Аннотация

This article examines poetic imagery. In the course of our research, we analyze certain images in the works of Abduvali Qutbiddin, discussing the inner and outer meanings underlying these images. Additionally, we present analyses based on poetic examples regarding the types of images according to the relationship between their expressive and descriptive aspects. Keywords: Literary mastery, level of aesthetic consciousness, primary and secondary images, philosophical- aesthetic image, abstract concept, Sufi ideas, metalogical image, philosophical contemplation, creative individuality, super logical image. of a purely philosophical aesthetic image”, so that the Introduction: “The literary image is a very complex reader can feel that the main pressure is on the image aesthetic category in its nature, character and of the “tree” in the poem. However, the matter does properties” [6,P.11]. Its complexity arises, first of all, at not end with simply recognizing the difference the point where two consciousnesses meet (M. between the main image and the detail images in the Bakhtin’s definition): a single work created by one work. Now the reader also needs to understand what creator is interpreted differently by different readers. kind of semantic 'load' the main image in the poem This continuous process is measured primarily by the carries. We know that in poetry there is a big difference literary skill of the creator of the work and the level of between the main image and the image that is the reader’s worldview, thinking and aesthetic expressed. In this case, words that express abstract consciousness. In this process, the literary image concepts take on a specific form and a specific object. naturally carries the greatest weight. It is the literary image that reflects the main idea of the work and Therefore, we must not forget that when a poet serves as a means of conveying to the reader what the elevates a tree to the status of a leading image in their writer wants to say. In this case, as B.Sarimsoqov said, expression, they are actually conveying an entirely the reader must be able to distinguish between the different concept, such as human life. main (leading) picture and detailed pictures (especially As evidence for our point, we will analyze Abduvali in lyrical works). For example, a writer may have chosen Qutbiddin’s poem titled “Gʻayriy daraxt” (“Alien Tree”). the image of a tree as the main image in a poem, but in For a complete understanding of the poem’s his poem, he may also include other detailed images interpretation, we deemed it appropriate to present that serve to correctly and smoothly lead the way to the verses in their entirety: the main essence of the work, for example, the image Nahr sohilida, daraxt ko‘ringay of a large garden surrounding the tree, the sky, the earth, birds, and other images. Yaprog‘i chig‘alay, Of course, in this case, it is natural and necessary for a Ildizi baliq. common link to be established in order to correctly G‘adir-budirida to‘fon ko‘ringay convey the writer’s idea, that is, it is of great Chayir shoxlariga importance for the writer to skillfully use detailed Ilingan qayiq. images to “exert ideological aesthetic pressure on the main image, give it unique clarity and integrity, in short, Shu qayiq ichida sevgi o‘tirgay raise it from the level of material aesthetics to the level Tovonida dovul, American Journal Of Philological Sciences 42 https://theusajournals.com/index.php/ajps American Journal Of Philological Sciences (ISSN – 2771-2273) Tirsagida ilon, Arabic into the Uzbek language. The “Explanatory Dictionary of the Uzbek Language” notes the Yana Nuh so‘ziday ma’vo ko‘ringay, explanation of the words “gʻayr” and “gʻayri” used in Ko‘ringay the bookish language, and since these words are close Qo‘ziday in meaning (gʻayr – a stranger, a foreigner; a stranger; Yav-vosh qoop-lon. gʻayri – 1) a stranger, a foreigner, a foreigner; 2) different, different[8,P.648]), they are sometimes used Nahr sohilida as synonyms in poetic speech. However, it should also G‘ayriy daraxtga be taken into account that since the word gʻayri Intilgan toshqinning barisi qoya, belongs to the circle of form-related lexemes, only the meaning of this word taken from the synthesis of the Daraxt po‘stlog‘ida yur-ak ko‘ringay, Arabic and Persian-Tajik languages can be used as a Ko‘ringay odamlar qoldirgan soya[1,P.74]. synonym for the word gʻayr. As can be seen, the main image in the poem is a tree. It is understood that Abduvali Qutbiddin did not like to The image of a tree exists in all types of literature, use the words gʻayr and gʻayri available in the language sometimes as a central image, sometimes as a detailed when referring to the tree and found it necessary to use element (in landscapes), from folklore to modern an original word. The use of the word “gʻayri” in the literature. Moreover, this traditional image embodies title of the poem is not only for the sake of several meanings, some of