The Role and Function of The Panegyric as An Artistic Form

Аннотация

This article summarizes all scientific thoughts and reflections regarding the Faxriya genre, and it determines that the verses of pride serve the function of artistic expression. Additionally, it is proven and analyzed through examples that literary devices such as metaphor, exaggeration, beauty of expression, beauty of beginning, and beauty of pen name are consistently and collectively applied in the verses of pride. Keywords: Faxriya, husni matlab, husni ibtido, husni matlab, husni taxallus. continues his thoughts on fakhriya, stating that Introduction: Since the form of fakhriya does not have “although this term does not represent a literary genre a fixed length or rhyme scheme, and it can also be in the creative works of the peoples of Central Asia, it found within genres such as ghazal, qita, masnavi, and is used as one of the means to express literary and qasida, we cannot classify it as a genre. When we refer critical views”. [6.10] to a literary work as a genre, it primarily considers “the creator's attitude towards life events, their unique In scientific books about the arts and their types, spiritual and emotional perspective, and their skill in including works related to art such as Funun ul-Balāgha depiction. Additionally, when studying the issue of and Badoye us-Sanāye, there is no mention of a literary genre, special attention must be given to language, device called fakhriya. This confirms that there is a basis imagery, and composition.” [7.17-89] Thus, in order for for introducing fakhriya as a new element within the a poetic work to be considered an independent genre, arts. it must incorporate the four elements of lyrical As is well known, poetic arts are of two types: verbal composition. In the book Theory of Literature, as part and spiritual arts. Verbal arts are based on form, while of the structural components of lyrical composition, it spiritual arts are artistic elements that are determined lists elements such as “the expression of the creator's by the content of the verse. The literary scholar H. specific goal in the poetic work, the presence of a main Umurov, while defining spiritual arts, states, “Poetic and leading idea, how the poetic form arises based on arts related to the meaning of words are referred to as the internal laws of the art form, and the interaction spiritual arts. It has numerous forms, such as iyhom, between form and content”.[1.298] In order to accept ittifoq, fakhriya, taqsir, irsoli masal, tazod, and a particular poetic work as a genre belonging to the others”.[11.168] Thus, he also includes fakhriya among lyrical type, it must also meet the requirements of such arts. Fakhriya can also be accompanied by other lyrical composition. Fakhriya, however, only appears as types of artistic devices in verses. For example, we can part of the factors that form the composition of a lyrical include the artistic device of husni matla among them. work within poetic genres. That is, poets have used In the book Badoyi’ us-Sanoyi’, Atoulloh Husayniy fakhriya as a means of expressing their specific goals. emphasizes that it is also called husni talab, baroati When we talk about fakhriya, in classical poetry, it is talab, adabi talab, and husni suol. Husayniy provides understood as a literary technique found within lyrical two definitions of this artistic method. The first one is genres, particularly one that helps to highlight the his own view, which he describes as follows: “It is a lyrical hero's goal. In this regard, B. Valikhodzhayev form of speech that is elegant in expression, meaning American Journal Of Philological Sciences 157 https://theusajournals.com/index.php/ajps American Journal Of Philological Sciences (ISSN – 2771-2273) pure, and aimed at praising and glorifying the praised that in husni matla, the creator “strives to purify one.”[4.255] That is, in this artistic technique, the poet, meaning and words, adhering to the conditions of with pure words, acknowledges and praises the one glorification and respect.”[8.296] Based on theoretical who has supported and helped them. As an example, if ideas, the artistic device in which the poet’s request or we refer to a fakhriya passage from Alisher Navoi’s plea to the ruler or beloved is reflected is called husni ghazal, the poet, while elevating his poetry to great matla. However, in fakhriya verses, husni talab almost heights, does not forget to acknowledge his patron, always appears while requesting something from the Husayn Bayqarah, who supported his work. ruler. Y. Is’hoqov also provides a solid theoretical point, stating that “in verses beginning in the spirit of fakhriya, O Navoiy, your poetry was pure and simple, the meaning and request are directly aimed at kings Yet, through the king’s reforms, it adorned and and princes.”[8.297] Thus, in fakhriya verses, the beautified him greatly. [2.8] request is directed not towards the beloved, but In the verse, Navoiy acknowledges that the perfection towards the king or th