A FUNCTIONAL AND STYLISTIC ANALYSIS OF PERIPHRASES IN THE WORKS OF ALISHER NAVOI

Аннотация

This paper explores the functional and stylistic features of periphrasis in the works of Alisher Navoi, with a particular focus on its role in enriching poetic language and conveying nuanced meanings. Drawing from selected examples across Navoi's lyrical and narrative compositions, the study analyzes the semantic functions and stylistic intentions behind the use of periphrastic expressions. It is argued that periphrasis in Navoi’s texts serves not only an aesthetic function but also reflects cultural, philosophical, and emotional layers embedded in the literary tradition of the time. Through this analysis, the research highlights Navoi's masterful use of language and underscores the importance of periphrasis as a significant stylisticdevice inclassical Eastern literature. Keywords:Alisher Navoi, periphrasis, stylistics, poetic language, functional analysis, rhetoric, figurativeexpression Alisher Navoi, a towering figure of Turkic literature, enriched the Chagatai language with his poetic mastery and sophisticated stylistic devices. Among these, periphrasis—a rhetorical and stylistic figure involving indirect or roundabout expression—plays a significant role in shaping the aesthetic and semantic depth of his works. This study aims to investigate the functional and stylistic roles of periphrases in Navoi's poetry and prose, examining how such devices contribute to the expression of abstract ideas, cultural values, and poetic beauty. The research explores the types of periphrasis used, their semantic layers, and the reasons behind their use from a stylistic perspective. Special attention is given to the interplay between language, meaning, and context, demonstrating how Navoi employs periphrasis not merely as ornamentation butas apowerful communicative andstylistictool. Periphrasis, as a rhetorical and stylistic device, plays a significant role in classical literature, especially in poetic traditions that prioritize indirect expression, symbolic imagery, and aesthetic richness. In the works of Alisher Navoi, one of the most influential poets of the Eastern literary canon, periphrasis emerges as a powerful linguistic and stylistic tool. Rather than stating something plainly, Navoi often uses descriptive or symbolic expressions to convey meaning, emotion, or philosophical depth. This indirect style, deeply rooted in the traditions of Persian, Arabic, and Turkic poetics, allows for multiple layers of interpretation andgives thereader an opportunity to engage with thetextonasymbolic andspiritual level. Periphrases in Navoi’s works serve a variety of functions, which may be classified broadly into poetic, mystical, euphemistic, and cultural categories. Each of these plays a distinctive role in the construction of meaning within the poet's texts. For instance, in many of his ghazals, Navoi avoids directly naming emotions, people, or divine concepts, instead cloaking them in layers of metaphor and periphrasis. This stylistic approach not only enhances the musicality and elegance of his poetry but also aligns with the Sufi tendency to veilspiritual truths from uninitiated readers. page346 INTERNATIONAL JOURNAL OF ARTIFICIAL INTELLIGENCE ISSN:2692-5206,ImpactFactor:12,23 AmericanAcademicpublishers,volume05,issue05,2025 Journal: https://www.academicpublishers.org/journals/index.php/ijai A poetic periphrasis often occurs when Navoi refers to an ordinary object or phenomenon in a beautified and metaphorical way. For example, the beloved’s hair (zulf) is frequently described as a net, a chain, or the darkness of night—each metaphor suggesting both physical beauty and emotional entrapment. In the line “Zulfing aro giriftor bo‘lmoqqa sabr yo‘q” (I have no patience to be caught in your curls), the curls symbolize the snares of love or fate. This expression transforms a simple description of physical beauty into a metaphor for emotionalbondage, suggesting bothdesire and suffering. Similarly, religious and mystical periphrases are particularly frequent in Navoi’s didactic and Sufi-inspired works, such as Lison ut-Tayr and Hayrat ul-abror. In these texts, worldly images such as wine, tavern, or intoxication are not to be understood literally but are used metaphorically to denote divine love, spiritual ecstasy, or the soul's union with God. For example, when Navoi writes about drinking wine from the cup of the beloved, he is often referring to the experience of divine revelation or spiritual enlightenment. This use of periphrasis allows him to conform to the poetic conventions of his time while also expressing deeply personal and mystical ideas in a symbolic form. Euphemistic periphrasis in Navoi’s texts can be seen when he addresses sensitive themes such as death, illness, or longing. Instead of naming these directly, he often employs softening or elevated language. For instance, death may be referred to as “the journey to the eternal friend” or “the call of fate,” which reflects both a cultural and religious attitude toward mor