A metaphor in the poetry of Azam Uktam and Minkhojiddin Mirzo

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SamSU

A metaphor in the poetry of Azam Uktam and Minkhojiddin Mirzo

Butunbaeva Tumaris Azamjonovna Researcher

Abstract

This article analyzes the metaphors in the poems of famous poets Azam Uktam and Minkhojiddin Mirzo.

Keywords: portable value, metaphor, metonymy, lexical unit, semantic essence.

In literary discourse, the word serves to represent both the nominal meaning and the connotative meanings. The more versatile and unpredictable aspects of the word can be, the more artistic it is, and the potential for creativity.

"The name, sign, or use of words in a literal sense is called trop (portable value) to enhance the artistic value, expressiveness of a literary work” Шомаксудов ва бошк. Узбек тили стилистикаси. Т., Укитувчи, 1983 й. 236-б.. Portables usually enrich poetry, creating new words or phrases that express new content, allowing the poet to express his attitude toward the object of his image. The poet individualizes the subject of the picture by means of the passages and opens it more clearly and brightly: the reader has an image of it” Бобоев Т Адабиётшунослик асослари. Т., Узбекистан, 2002 й. 325-б..

The linguistic nature of poetic portables in modern poetic discourses, in particular metaphor, metonymy, the artistic and aesthetic and semantic nature of irony, their grammatical and stylistic features are important.

One of the most widely used methodological tools in fiction is metaphor. In particular, the role of metaphor in creating images in poetry, creating clear, convincing and vivid images. In his poems, Minkhojiddin Mirzo effectively uses metaphors to reveal artistic and aesthetic meanings.

There are two types of linguistic phenomena through metaphor:

1) naming an object,

2) renaming an item (second name)

The need to name an unknown thing can create a new seam of the word. In the second case, the existing name appears when the speaker fails to provide the same speech environment. Кобулжонова Г. Метафоранинг системавий лингвистик талкини. Филол. фан. номзоди...дисс. автореф. Т., 2000 й.

M. Yuldashev categorically divides metaphors into three groups:

1) usual metaphors

2) revival metaphors

3) synesthetic metaphors.

A. Khasanov emphasizes that the revival event should be studied not as a metaphor but as a separate independent visual instrument. E. Khudoyberdiev uses the term "living metaphor". Худойбердиев Э. “Адабиётшуносликка кириш” Т., 2003 й. 139-б. M. Kasimova welcomes the "live metaphor" from the linguistic point of view that revival is based on this "live metaphor" Косимова М. Уша жойда and M. Yuldashev classification as follows: metaphor uktam mirzo poem

1) usual metaphors,

2) live metaphors,

3) synesthetic metaphors.

We also considered the classification of M. Kasimova as a logical need for classification laws.

A. A typical metaphor.

Azam Uktam:

Цалб бор манов ерда, унда бор тугун,

Сузим хоу тушунма ва ё хоу тушун,

Сенга рост сузлагим келяпти бугун,

Фаришта эмасдир даданг уам, Тумор.

In the pragmatic sense, the word tugun "knot" can be distinguished from the following:

1) to tie,

2) can be solved,

3) the sum of the necessary and unnecessary things,

4) can be discarded

The lyricist points to the pain of the painful past that can be abandoned by the notion of a "knot in the heart" that traces a painful past that can be "thrown away" and "blows away" feelings of guilt. The phrase "not your angel is your angel" helps us to understand this more clearly.

B. In a living metaphor, "Characteristics of the person and the living being are transferred to natural phenomena, objects and concepts." It is common in the works of our poets to bring nature events into the lyrical heroic spirit. In particular, Minkhojiddin Mirzo effectively uses live metaphors in his poems to create artistic and aesthetic meanings. In his poem "The Morning of the Village", the mood of a lyric hero with a heart full of joy is illustrated by reviving scenes of nature.

Minkhojiddin Mirzo:

The Morning of the Village

Цайгадир шошилар, ануор тула сув, Мажнунтол соч ювар ором не билмай. Булбулни туш курар цизил гул - сулув, Райуонлар шеър уцир бедор, ухламай. Юлдузлар маулиё булиб аксига Кузларин цисади ангорга боциб.

Саболар соз чалар гуллар рацсига Булбуллар дилида рашк утин ёциб.

Кузларин ишцалар уйцуга туймай,

Тун буйи тулгониб чиццан ялпизлар.

Цалбидан учириб орзуларини,

Айвонда жилмайибухлайди цизлар.

Теракнинг шохида гуррак гуриллаб,

Офтобни чацирар кузлари кулиб.

Чинорнинг шохида мизгиган шамол,

Тупроц куча буйлаб кетар югуриб.

Атиргул шохидан узганим гунча,

Арицда хушлашиб кетади оциб.

Кушни циз цулида цаймоц кутариб Субуидам чицади шу гулни тациб....

To “sleep” is only human, and to “run” is to act as a human and an animal, that is, to a living being. The poet extends the semantic capacity of the verb by applying them to the wind. Bubbling live metaphors like "rush of water", "hair washing", "dream of a nightingale", "poetry recitation", "winking stars", "jealousy in the nightingale of nightingales" it promotes emotional dyeing in describing the condition by creating. Many poems by Minkhojiddin Mirzo in his poems illustrate the harmony of human and nature, and enhance the conceptual-aesthetic function of lexical units.

Minkhojiddin Mirzo:

Кашта тикар оппоц атиргул,

Тиззасида япроц - кук шойи.

Or:

Мажнунтолнинг сочларин уриб Гир-гир эсар парвона еллар.

While the lively metaphors in the lines of Minkhojiddin Mirzo provide a lyrical mood, the paintings of nature by Azam Uktam remind us of strong social and psychological relationships.

It should be noted that G.Mukhammadjanova analyzes how Azam Uktam is able to make unique images using vivid visual aids based on live metaphors. [See: G.Mukhammadjonova, "Linguopoetic research of Uzbek poetry in the late 1980s and early 1990s."].

“In Azam Uktam's works, the nature is characterized by the figurative reflection of nature, not a direct reflection of the landscape. It reflects the natural phenomena of the person and the ability to feel, to act, even to live, as in a human being”.Му^аммаджонова Г. «80-йиллар охири, 90-йиллар ²¹Ирискулов М. Тилшуносликка кириш. Т., Укитувчи, Especially in the poem "Пишикчилик" (Ripening period), live metaphors that carry pragmatic meanings have been able to bubble up the image.

Azam Uktam:

Ripening period

Тегирмон шодланиб айтар ашула - Тулишган бугдойга цучоги тулар.

Уни уйлай-уйлай жонидан туйган

Бугдойлар цовогин очмасдан келар.

Овози борича уайцирар тандир:

“Кийциринг, болалар:

Ризцингиз бутун!”

Нон юзи цизарар жилмайганидан,

Жилмаяр цизариб кетгани учун.

Бу пайтда

Бугдойзор чицармай нафас,

Тегирмонни уйлаб, сесканиб кетар.

У эса

Тумтайган бугдой уацида Энтикиб-энтикиб цушицлар айтар.

According to the principles of system-structural linguistics, the meaning of any word consists of several small meanings. In the metaphor, one of the existing semas in the word is taken as a leader and applied to another subject or person. At the same time, the common designation for those subjects remains in the concept.бошлари узбек шеъриятининг лингвопоэтик тадкики» 1992 й. филол.фан.номз... дисс.

The metaphorical emphasis on the metaphorical combinations of "joy of the mill", "full wheat", "saturated wheat", "drifting wheat", "shouting of the stove", "shaking the grain", "the whistling of the mill". For example, the wide openness of the tandoor can cause the person to shout, the wind vibrations in the wind, the physiological state of the person, and the noise of the mill's sound resembles that of the singing. Azam Uktam:

Хайбатидан лол булиб Турибман пастда шу чог.

Атай бу уолим билиб- Хумрайиб царайди тог.

Or:

Куцонда аския цилаётгандек Туюлади уатто чойхоналар уам.

Энгашиб гап ташлар пиёлаларга,

Гуёки цицирлаб чойнаклар бу дам.

Чолларнинг соцоли хушнуд силкинар Янги бир пайровга шайланар лаби.

Пиёла чайцалиб кулар цулларда,

Узоц нашъа цилар чойнакнинг гапи.

In a beautiful image based on national color, the teapot and the details of the bowl served as a vehicle to describe the cheerful mood of the old men sitting in the tea room.

Thus, the poets try to express reality in a new, unique way, without duplicating the other creator by using the language material specifically in the poetic speech.

References

1. Шомаксудов ва бошк. Узбек тили стилистикаси. Т., “Укитувчи”, 1983 й. 236-б.

2. Бобоев Т Адабиётшунослик асослари. Т., “Узбекистан”, 2002 й. 325-б.

3. Кобулжонова Г. Метафоранинг системавий лингвистик талкини. Филол. фан. номзоди...дисс. автореф. Т., 2000 й.

4. Йулдошев М. Чулпон сузининг сирлари. Т., Маънавият, 2002 й.

5. Х,асанов А. Абдулла Кантар хикоялари тилининг бадииятини таъминловчи лексик- стилистик воситалар.

6. Худойбердиев Э. “Адабиётшуносликка кириш” Т., 2003 й. 139-б.

7. Косимова М.“Бадиий нутк индивидуаллигининг лингвистик хусусиятлари (Тогай Мурод асарлари асосида)” мавзусидаги номзодлик дисс. 2007 й.

8. Худойбердиев Э. Адабиётшуносликка кириш. Т., 2003 й.

9. Мууаммаджонова Г. «80-йиллар охири, 90- йиллар бошлари узбек шеъриятининг лингвопоэтик тадкики» филол.фан.номз... дисс.

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