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ISSUE 4
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2022
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is again created: the face of the beloved (orazi) is bright, and the life (livelihood) of the
beloved is dark.
The fourth couplet exaggerates the state of the lyrical protagonist. He waits
patiently and goes mad. I cried so madly, missing her, - says the beloved, - is there
anyone who does not want to laugh when he sees my condition? Another artistic skill of
the poet in expressing the content of this verse is that he refers to a typical detail found
in the life of the people. Usually people unwittingly laugh at a crazy palmist on the
street. Also, the art of tazad, expressed in poetry based on cases of crying and laughter,
strengthened the art.
In the fifth couplet, the depiction of the state of mind of the lyrical protagonist
continues in an exaggerated form. To those who are amazed by his condition, the lyric
hero begs: “Do not reproach me for shedding so many tears,” he pleads. Exaggeration
aside, bleeding from the eyes instead of water also forms the art of tazod.
The sixth couplet is a little more complicated for the average reader. But anyone
who knows the unique grammatical structure of the Uzbek language and the language of
poetry of the Navoi period will easily understand it. Usually, in the penultimate couplet,
the poet expresses a philosophical conclusion, a deep generalization in the form of a
lyrical digression. But this does not break the consistency of the ghazal couplet content.
It will be logically related to the previous couplets. In such a byte, a conclusion is made
on a topic that is consistently covered. A philosophical solution to the problem is
described. A similar phenomenon can be observed in this couplet. It is known that in the
previous verses, the lyrical protagonist, that is, the lover, complained about parting. He
is in a weak and helpless state. In poetry, the poet is critical of this position of a lover.
The poet believes that there is no such thing as a "loyal disciple." A true lover should
not be content with sighing over the oppression of an unfaithful lover. A candidate who
is loyal to his love must be brave and courageous. This is the nature of true love! Love
takes courage, dedication and, if necessary, sacrifice.
In the last couplet, the poet refers to the image of "May". The lyrical protagonist
invites the soul to rejoice with the "boda" in the house of the soul in parting. As while
the house of the soul is replete with joy, sorrow cannot approach it. Here, of course,
"boda" does not mean drunkenness. It was used as a symbol of joy versus sadness, as an
element of contrast.
CONCLUSION
Both translators translate the word
“
may
”
into English as wine. Here, of course,
“
boda
”
does not mean drunkenness. It was used as a symbol of joy versus sadness, as an
element of contrast. This purpose is difficult to understand in both translations.
CENTRAL ASIAN ACADEMIC JOURNAL
OF SCIENTIFIC RESEARCH
ISSN: 2181-2489
VOLUME 2
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