Alisher Navoi and Bobur "King's byte"

Аннотация

This article examines the byte and its peculiarities, the poetic requirements to the byte and the degree of their preservation and development in the historical development of our classical poetry. There is also an observation on the methods of determining the royal byte in the composition of the gazelle. Key words - ghazal, royal byte, genre, type, tazkiranavis, lyrical masnavi, poetic thought, composition, translator, aphoristic bytes. In order to study the byte and its colorful properties in classical poetry, it is necessary to make a clear, true scientific classification of this poetic unit. Because the correct classification allows us to convincingly determine the nature and essence of any complex phenomenon. The term byte is derived 208 Scientific research results in pandemic conditions (COVID-19) from an Arabic word that literally means home. The terminological meaning of a verse, on the other hand, is a poetic unit consisting of two verses that have a relatively independent meaning, are weighted together and combined on the basis of a single rhyme. Arab poets considered the byte as a form of expressing a certain meaning with a certain alfoz (words). Therefore, the lexical meaning of the word byte is home, that is, the house of artistic thought. Indeed, a byte is a poetic house that embodies a particular idea in a poem. Under the influence of Arabic literature, first in Persian-Tajik, and later in Uzbek literature, the byte was accepted as a unit of expression of poetic thought in such a way that it could not be divided into whole and other small parts. In Uzbek literary criticism, the same view prevails about what poetic genres the verse is involved in. According to this view, our classical poetry is based on two types of poetic units. The first is genres based on the basic unit byte. Genres such as: fard, tuyuk, rubai, qita, ghazal, qasida, lyric masnavi, problema, chiston belong to this type. The second type is a genre in which the main poetic unit consists of a certain number of verses combined in terms of content, weight, and rhyme. Genres such as murabba, muhammas, musaddas, musamman, muashshar, tarjiband, kompandband, saqiynoma belong to this genre. Because in our classical poetry there are such types of bytes that they are widely used in many genres of our poetry Below we consider one such type of byte, the "king byte". The term "king byte" is used in two senses. The first is that in the broadest sense, the profound aphoristic bytes in the work of a poet are called the royal byte. For example. In Alisher Navoi's epic "Hayrat ul-abror": Man ersang demagil man, The grief of the people without my mother. Or: From the epic "Sab'ai Sayyar": Khushdurur garden is the flower of the universe, The flower of a better life for all. such bytes are royal bytes in a broad sense with the depth of philosophical meaning, the subtlety of the poetic form, and the astonishing intellectual coverage. Second, in a narrower and more specific sense, the term royal byte is used in a work of a particular poetic genre to refer to a byte that differs from other bytes in its artistic form, philosophical generalization, depth of content, and, most importantly, in the expression of the main idea. Muallim Noji, in his book "Terminology of Literature", speaks about the term "royal byte" and writes that such a byte is called "byte qasid" in the poem, and the royal byte is specific to the ghazal genre and the royal byte is also called "baytul ghazal". Muammar Yuzbashioglu explains that the most beautiful verse is called the Baitul Ghazal. Literary critic B. Akramov also explains in his article "Navoi's royal verses" that "the eloquent and 209 Scientific research results in pandemic conditions (COVID-19) intelligent scholars of Oriental poetry - Tazkiranavis poets and scholars called special poetic dualities - royal verses." It is clear from this commentary that the scholar uses the term king byte in a broad sense.Summarizing all of the above comments, the following conclusions can be drawn. First, the beautiful, deeply meaningful, and astonishing bytes in the work of this or that poet can be considered royal bytes in the broadest sense. Second, in genres such as ghazal, masnavi, and qita, the structure of which is based on the unity of bytes, it is expedient to call a byte a king's byte, which differs from other bytes in its content, beauty and high imagery. In this regard, let us consider the second byte of the 72nd ghazal, which consists of seven bytes in Alisher Navoi's "Favoyid ul-kibar" divan, which B. Akramov analyzed as a royal byte. The byte is as follows: It was good, I was in pain, I was in pain, Bahru ashkim mavjidin borin nam etting akibat. The scholar separated this byte from the ghazal and analyzed it as a king byte. In this case, no one can comment on the analysis. Because there is no other byte to compare to prove that a byte is a real “king”. But the gazelle contains six more bytes in addition to this byte. If t