Kill a person. (306 ) Differences in a number of such bytes require care to prevent a letter from becoming a consonant. Since the science of aruz is directly related to the phonetic and orthoepic features of X, harps and sounds, the position in the

Don't blame me for dreaming if I wake you up,
KILL A PERSON.
(306-6.)
Differences in a number of such bytes require care to prevent a letter from becoming a consonant.
Since the science of aruz is directly related to the phonetic and orthoepic features of x, harps and sounds, the position in the word, the lexical-semantic and stylistic compatibility of words and word combinations, it sometimes requires attention to events that seem insignificant.
When we compare the texts of the ghazals, we find that in many places the verb "erur" is replaced by "bulur", or vice versa, "bulur" is replaced by " erur " . The lexical-semantic difference between ‘bulur’ and ‘erur’ is in the tense of these verbs. That is, "bulur" is a verb of the future tense, and "erur" is a verb of the present tense. However, in the text of the variant bytes we have encountered, such a difference, that is, a change in meaning, is not significant. The features of the phonemes [e] and (b], as well as the position of the word and the stylistic system of the sentence, seem to be neglected. bugin is formed, and in the ³ ** closed bugin a chuzik bugin is formed, and in Turkish words it always comes at the beginning of the word.
I'm dying, but I'm sorry, I'm sorry, I'm sorry, I'm sorry, I'm sorry, I'm sorry.
The third syllable of this musamman, written in Ramallah, consists of the phoneme yaljz [e]. Well, what is wrong with this is that it is natural to think that [e], like other vowels, can be pronounced in the right place in the application. However, the point here is that as a result of the juxtaposition of the two ^ in the book, the position of the alif is considerably diminished, and / dddg * ⁴ 43 ^^ /, it seems that a f (yo) is also involuntarily acquired in the pronunciation before [e]. This is a phenomenon that exists in the art of aruz, that is, “... every letter is in the word

Come, even if it is not found in the book, it will be taken into account in the tact ... ” [11,5,150-6.] If the word before the word "erur" ended with a consonant x, the letter would not be found, that is, the third syllable of the byte is pronounced instead of the missing mutaharrik letter in the vatadi complex]. In another text, the word is replaced by the word "bordur", and the vatadi in the sung ruk is a set of vatadi, the reason is light and complete, and / d <5 is vatad, the reason /, the verse has a smooth and perfect appearance.
will be:
I'm dead, but I'm in love, pokboz,
I'm sorry to hear that.
Similarly, due to the negligence of the secretary, as a result of the replacement of the word "erur" with the word "bilgil", in the following verses, imperfection and fluency are added;
Kesgali khushu xirad naxlini erur arrae,
I have a cry in the commentary of each haroshekim jun.
[Badoe' ul-bidoya, 171-6, 6 bytes]
Kesgali khushu xirad naxlini bilgil arrae,
I have a cry in the commentary of each haroshekim jun.
[Favoyid ul-kibar, 136-6. ]
It is clear from these examples that although Uzbek linguistics has a number of scientific works on the phonetics of the Navoi period, it does not have scientific research that completely solves the problems related to the phonetic features of the Navoi language, and this should attract the attention of linguists and linguists. is one of the most important issues.
There are several variants of the extremely fluent and perfect bytes in the poet's devons. These are such magnet variants that their perfection can be felt only by the poet's most accurate, poetic reader. For example, in the following verses from the book Badoe' ul-Bidoya, at first glance, the only difference in meaning and content seems to be perfection. However, it should be noted that as a result of the abbreviation of one of the two consecutive consonant letters in the byte statement, the tone in the byte is more subdued. The Khazaj of the ghazal aruz is written in the musammani salim bahri, and the difference is found in the sixth verse of the ghazal:
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The savage mind is the guardian of the house, when I die insane, My body is in the dust of the earth.
[ 88 - 6. ]
Tactics:
Sovur gi: lak, / mafo'iylun / Levin gar dun / mafo'iylun / meni maj nun / mafo'iylun / kacho nul sam / mafo'iylun /
Tanim tuf ro / mafo'iylun / giyu o xim / mafo'iylun / eli din gir / mafo'iylun / dibo day lab / mafo'iylun /
This verse is as follows in Navadir ush-shabab:
If I die, I'll be mad, I'll be mad, I'll be mad, I'll be mad, I'll be mad.
[65-6.]
Another variant of the verse is:
Sovur gi: lak / mafo'iylun / Levin gar dun / mafo'iylun / meni maj nu / mafo'iylun / nagar ul sam / mafo'iylun /.
If you look, the cause and effect in the byte columns are perfectly cropped. However, as a result of the replacement of the word "kachon" in the byte with the word "agar", there is not a single pause in the verse.
The praise of a ghazal, which is included in the Badoe' ul-Bidoya divan, has been subtly corrected. This ^{ghazal is seldom included} in the ^Navadir un -nikoya, but there is no change in this ^text . Here are the bytes:
O Navoi, if you are not faithful to your mother,
My uncle is not faithful to him.
[230-6.]
It is expedient to replace the combination of bone "anga husni" with the compound "anga ham husni", as the repetition of the possessive suffixes in the word "husni" and the conjunctive suffixes -ni in the form "ni: ni:" can lead to abnormalities of the word okangi. This is because the suffix of is a chuzik (-) in the tactic. The poet writes about this in Mezon ul-Awzon :
"Nuns" are written in the A- ^ y / word of "for", as in "his" and "meping" and "your" words, andokim byte:
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O Kungul, know that this soul is neither yours nor mine. Maybe it's his, who cares.
And this is the "kof" of this bulgon alfoz, which is written instead of "kof", but does not belong to the "kof" ur in ^{pronunciation} . And again, the words "nun" and "kof" are in the words of mother and me and in the morning and in the morning and in the morning and in the morning and in the morning. [II, 5, 153-6.] In the next version of the ghazal, the byte, which appears to be nuxli, has a smooth melody and a beautiful shape:
O Navoi, if you are not faithful to your mother,
Gam emakim anga ham husnin vafosi kalmamish.
[Navodir ush-shabab, 273-6.]
In addition, the word -in is used in the first version of the byte in two lines, and in the next byte it is omitted. Another feature of this version of the text is that the "ham" conjunction, which gives the meaning of the emphasis and proves the idea of the poet in the first verse, served for the logical development of the content in the byte.
The same differences apply to the fabric of the ghazal. Compare the previous and next positions of the byte in the text:
Manga emdi sarv ila gul muddaosi kolmamish,
no air in the cypress tree.
Manga emdi sarv ila gul muddaosi kolmamish,
no air in the cypress trees.
As we explore the diversity of Navoi's devons, we study the variants of texts on the composition of ghazals, the harmony of theme and content, the beautiful and perfect use of the arts, as well as some of the poems written in perfect weights ^. we are convinced that the analysis of the phenomenon of differences encountered in their places is of great scientific importance. This event may be a means for bringing a number of issues related to the entry of the Arabic dream into Turkish poetry into the field of literary criticism. In "Mezon ul-avzon" Navoi carried out in-depth scientific analysis, revealing many aspects of the Turkic dream, within the framework of special chapters, identified the peculiarities of the Turkish dream. If we take into account that Mezon ul-avzon was written in the order of the devons of Khazayn ul-maoniy, we can be sure that this work was a direct result of the great creative growth that took place in the poet's work during the formation of the devons. From the above-mentioned examples, it can be concluded that the poet's purpose in writing Mezon ul-Avzon is to give a new interpretation of the problems of the dream and to enrich it, and in the realization of this makead his ghazals. The generalization of the accumulated experience in the process of creation and the skills formed over many years also had a significant impact.
Navoi, who put forward new ideas in the development of Aruz, laid the foundation for the study of this science in the later period in the literature of the Turkic peoples. An effective example of this is the effective study of dream Turkism in the works of Zakhiridtsin Muhammad Babur and the discovery of new perspectives in the science of dreams. In his work "Mukhtasar fil aruz" Babur identified 21 bahri of the weight of aruz, rubai in the category of akhram and akhrab, doyra and its types, more than 500, rukn branches. ³⁵ 'With his scientific research, Babur concludes the debate on aruz in 15th-century literary criticism, and as a result of his creative observations, he expects the science of aruz to be even higher.
Mukhtasar 's creative generalization of the views on the theory of aruz that existed in Persian-Tajik literature and in Mezon ul-avzon, and as a result the expansion of the scope of the theory of aruz, has become the most reliable theoretical guide and source in recent times ^.
Further scientific study of the theory of Aruz is connected with the activities of such scientists as Abdulrauf Fitrat, Izzat Sultan, Sodik Mirzaev, Alibek Rustamov, Ummat Tuychiev, A.Khojiakhmedov and A.Abdurahmanov. ³⁶ '
Comparative study of the machinations of works in the field of literature, changes in them in different contexts.
causes Today, the issue of further development and popularization of the science of aruz is one of the most important issues in the literature of our time. The weights of Navoi's works and many of the problems associated with them, including the magnesium difference in the ^poet 's gazelle in terms of weight, can lead to a certain positive shift in this area. Tajik scientist R. Musulmonkulov writes in his book "Persidsko-tajikskaya klassicheskaya poetika X-XUvv" ­: 94]
The question of the emergence and development of the Turkish dream is one of the most open problems in our science. In his work "Majlis un-nafois" Navoi speaks politely about the shortcomings and deficiencies in the works of Persian and Turkic poets. However, in the field of later literature, no significant research has been carried out on the achievements and shortcomings of poets of different periods in the field of dream laws, the attitude of the mind to the works of the mind, the reform of the creative products.
Although a number of scientific studies have been done on the weight of Navoi's lyric, epic, and prose works, they do not provide sufficient evidence to prove Navoi's mastery of the science of aruz and his contribution to Turkish aruz. This requires a serious and comprehensive study of the features of the Navoi creative process. The results of our comparative study of the texts of Navoi's works in the field of weights are an important innovation in research in the field of finding more perfect, authentic texts of the poet's ghazals, the creation of scientific and critical texts.
Although Aruz has a very long history in Turkish folklore, it was Shahe Navoi who theoretically struck and popularized it in terms of the requirements of literary criticism. In ensuring the practical development of Aruz, the poet's creative work during the creation of the "Khazayn ul-Maoniy" devons was a unique step, among many other factors.
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Alisher Navoi's achievements in the field of poetry and the significance of this event in the study of literature are determined. , the comparative study of the weight differences of all works in the Persian-Tajik and Turkic literature, and thirdly, the attitude of the poets of Persian-Tajik origin to their works on the subject of x, am aruz should be studied in a special monograph. After all, this in turn allows for the discovery ^of important elements that are the basis for the artistic maturity of Navoi's work.
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