Fergana state university providing scientific degrees

Aprobation of the results of the study. The research results of 20 scientific-practical conference, including 16 international conference aprobatsiyadan conducted.
The results of the survey were announced. 33 units on the theme thesis scientific works were published, and then 1 monographs, dissertations higher attestation commission of the republic of uzbekistan publication of the main results of scientific publication recommended in article 12, in particular, 7 of them and 5 of them were published in foreign journals republic.
The results of research on the structure and size. Thesis introduction, four chapters, conclusion and list of used literature consists of. The volume of work consists of 281 pages.
THE MAIN CONTENT OF THE THESIS
The introductory part of the thesis topic and the need for relevance based on study level lit; the results of the research the aim, functions, facilities and identified the subject; the important directions of the development of science and technology work of scientific novelty and practical, suitable and shown the results of the research results, the reliability of the results, the theoretical and practical importance, introduction to the practice of the results of the published work and includes information on the place of the structure of the thesis.
The first chapter of the thesis “the theoretical basis of the lyrical genre” in his first season called “Genesis of the stage and the questions” have been studied. The problem is one of the core issues of literary types and genres of literature. The development of the genre as a category directly literary history, sociology, economics, psychology also affects a number of factors such as. D. s. Lixachev historical literary genre as a category, has the following interpretation: “the only word literary genre will appear at a certain stage of the development of the art, and then their change in each period and the exchange is inevitable”¹³. The concept of genre literature with the combination of innovation technologies. The updated features in the structure of the process each literary genre any historical realized, they directly a specific literary period of the system is an important stage associated with the role and function towards a certain direction. These features distinguishes itself from previous keyingilari from a certain historical and genre. Lyrics to the stage of the formation of the genre long literary-historical process and literary-aesthetic qonuniyat unless their historical-genetic development were checked on the basis of the following stages: 1) formation and sinkretizm primitive period; 2) the process of going early in the form of written sources; 3) the period of formation of ancient turkic poetry; 4) stages in classical literature questions; 5) updates of the twentieth century in poetry Uzbekgenre; 6) the period of independence of the lyricsgenre questions.
Lyrical roots of the genre in world literature and the formation of the folklore of the people of the world go to the ceremony samples of Russian academy of taqalashi veselovskiy a. n., M. Baura English academy, Paris French scientist Gaston research verified¹⁴. The people of uzbekistan the lyrics of raw materials I first totems, shamanism, magiya, kult of productivity, ir also believe to a certain extent based on mythology that lies in the imagination folklorshunos scientists musaqulov a. O. Qayumov research people songs of rajapov composition-d. R. nosirov was looking for their zeal research. Dissertatsiyada “Good”, O'rxun-Enasoy monuments, “Irq bitigi”, “O'g'uznoma” one of the important elements in the works that are specific to the genre lyrical – takrorlar the words of our forefathers in ancient times, from the sehri (magiya) use to strengthen revealed.
During the season “Qisasi Rabg'uziy”, “Muhabbatnoma”, “Latofatnoma”, “Taashshuqnoma” the lyrical works of the genre in the formation, the properties of the xv century, the improvement of the lyrics in the genre, weight, rhyme, composition through the features start to appear after the subscriber, the lyrics of uzbekistan artistic-aesthetic thought in the development of alisher navoi in the creation of the literary genre of the evolution of the core product appearance about the scientific-theoretical mushohada m. asadov our professor, professor hayitmetov a., professor H. Djurayev enriched on the basis of scientific evidence¹⁵.
In various periods of the development of the genre of literary maximum positive phenomenon. From one of the genre fed, pass to each other. Therefore, the genre is constantly advancing. N. y. Tinyanovning about this idea is based on the literary genre of variability was noted the following: “New” genre of traditional appear as a result of conflict with the genre”¹⁶. The lyrical poetry of the twentieth century renewal in the genre of academic words with stage karimov n. commented, “the new poetry and the form of the genre which came into poeziyasi Uzbekistan, above all, due to the waves of our young literature search them, to the contrary of their results has been formed and evolved”¹⁷. Updates specific to the period of independence lyrics literature genres on the basis of our traditions, as well as various social and political development of the literary process as a result of changes arise.
In the second season of the chapter “the theoretical basis and the issues of linguisticsresearch” was in fact the problem of the classification of the genre and literary works, the signs of their genre and the genre in the literature to identify the main aspects of the complex phenomenon that is associated with the development of historical changes is based on the fact.
Literature sex(type)is adjacent to the point attempts to classify according to ancient antiquity. Plato and the creation imitation of those called “imitation” epos based on the method of drama and has different features specific to poeziya¹⁸. On the issue of plato's literature and art, scientific-theoretical vision of the Russian scientist v. f. poeziya asm learned his art, he is, but also if I think about on the basis of the review¹⁹, professor D. theoretical and literary art quronov poeziya on the issue of classification as the basis of the type comments that apply the method to simulate the look has²⁰.
The idea about the type of genre and its lyrics the ancient Greek philosopher Aristotle, the name of the German philosopher, g. e. main articles: Russian scientist v. g. belinskiy on the basis of a theoretical critique of lit. Farobi abu nasr to the east, abu ali ibn sina, Abu rayhan biruni, such as the poem of the weight of philosophers, literary types and genres of the poet's art, poetry and nature of issues related to the properties of the reviews will be verified. Professor n. Orzibekov “Turkic type and genre study in the literature, two important genesologiyasini source”as the initial “Devonu lug'otit-Turkish” in the game, and the game brought qo'sh slug‘, during, giving the interpretation of the genre of early poetry such as pus last²¹. The Kashgari, Joseph Specific Street, Nosiriddin Burkhoniddin Rabg'uziy works on the basis of XI-xiv century in the composition of the lyrics in the comments about the genre poems, mostly expressed in the case of artistic works, the particular piece argued.
Tuyuq shayx ahmad taroziy of the genre of “ul-funun was-balog'a” a type of ruboiy in the game, that is, seem to show that rhyme based mujannas tajnis, of alisher navoi “Criteria ul-avzon” tuyuq are specific to the particular genre of the poetry of the turkic peoples in the game of "signs seem to be‘"during iki baytqa muqarrardur and make efforts, tajnis aytilg'ay ul musaddasi maqsurdur ramali and weight”²²is based on that. Z. m. babur's “Mufassal” game in the genre, while the khan of Mongolian and Turkish at meetings tuyuq anglo tell you more about the energy saving, to come across ramali musaddasi mahzuf weight are observed. Tuyuq brings three new nav'ini z. m. babur: the first one is to follow every four tajnis said in rhyme, the latter three radif tajnis on the earth in place, tajnis qofiyalashadi words from earlier. Tajnis nav'da while ago from third street to follow²³.
The beginning of the twentieth century Uzbek literature Abdurauf Fitrat need to update that need to “subject” and “torliq in the form of” on the basis of assesses. The lyrics of uzbekistan in the twentieth century the genre of philosophical, social, psychological factors keep them away from studies on the effects of the update. The beginning of the twentieth century due to the weight of the system leading aruz pass the fingers of the genre of strictly qonuniyat evrilish also they brought in. As a result, weight, rhyme, turoq, rhythm, tone and lyrical expression of the main criteria poetic girth began. In this period the structure of the poem, the poem of the system and the law-the rules for updates on new theories appear. Professor U. Tuichiyev, Jamol Identities, R. Majidiy, professor O. Sharafiddinov, academic karimov n. M. Ibrohimov, J. Jumaboyeva, M. Pirnazarov, R. Orzibekov, T. Boboev scientific studies and articles published. The classification of the type of lyrics and genre in uzbekistan tizimlashti them not only in literature but also in the world literature is also a complicated process. Because viable literary genre is also changing, too, the new born, sometimes active, while the literary process will leave. The lyrics of the appearance of uzbekistan, colorful poeticasi different classification have been carried out in the nature and coverage of the genre²⁴.
“Tradition and renewal” in the process now called literary expression levels of poetic yo'sini poetry in the third season, with the new options evrilish the image who have to face these people evrilish oral creativity, our classical literature, poetry, the experience of Russian and western traditions sintezlashuvidan come to the area, a specific tone, the composition find their expression in poetic form and genre, which has structural changes the content to think about it.
The poetry that came into Russian and world literature in the twentieth century repeatedly from Uzbek asset, xok what new genres such as lyrical genre with classic small tank and take the place of synthesis of the unit matters, binary, to'rtlik three specific aspects of the genre has been demonstrated. The genesis of the poems and three yo'lchieva and comparative literature unit k. the genre-the genre that is processed by as a result of their research methodological analysis tipologik ta'kilaydi²⁵. In the present process suyun the literary great's “by qayir”, afro'z farida of “Beads”, “Fiqra”, Abdunabi at boyqo'ziev “Beshnavo”, Anvar Obidjonning “Coniferous”, “Uchchanoq like” the category was the creation of a number of poems. The unity of the poem because of artistic creation, as was referred to in case I have refrained from three terms with a new name. In this process many times in regard to the genre of literary art called by this poem does appear to look different with your country. The aspiration to independence, desire full freedom of expression, professor k. yo'ldoshev into the mold to form in the poetry of shakliy says and there is a need for expansion of opportunities of going the way “by qayir” (the great Suyun), “beads”, “fiqra” (Farida Afro'z), such as the genre was called²⁶. Poetic literature research and development is due to updates. But also we should not forget that any literary genre to the principles of his poetic. Poetic literary skill of the poet's artistic experience such phenomenon are associated with. Methodological updates stage in the evolution certain creatures. Words with solijonov y. professor commented: “it's the new form of the artist to apply, then the expression refers to assume the title of the content download. Usually, the ones who create the meaning and theme of the game called not looking at creativity. Given that the function bajarolmaydi the name of the genre in the game”²⁷. Indeed, professor a. Sabirdinov also “Coniferous” and “Uchchanoq” on how to update the form and content of poetry and poets assesses as a result of searches²⁸. Suyun qayirmalari great during the season of poems, by abdunabi boyqo'ziev “five today”s will Abdulhakim Matnazar created as the surge of searches for “national Architecture” was subject to analysis. Looking for new methodological m. abdulhakim completion of the construction in their tone: “Khiva two may be the way qoromon edge/ grown Qoromondo go'zzi qoromon./ My sweetheart go'rsanmiydi yo'linda Xiv,/my heart go'za qoromon young blood”²⁹ on your team “qoromon”³⁰ tajnis, they brought the word to rhyme with. Tuyuq national folklore genre is the genre of our classical literature that in the case without the synthesis of the artistic form.
Any literary genre, its characteristics must have spetsifik. Taking advantage of opportunities in today's process to create colorful art form literary genre is a combination of methodological the creation of a ministry. We, the terms of the genre of the unit, binary, three, and four, into the form of the poem, while the term “softwood”, “fiqra”, “uchchanoq”, “beads”, “qayir” by “five today”it is desirable to apply more than ha.
In fact, now consists of four groups of the genre lyrical poetry of uzbekistan in the small classification was given. 1-according to the characteristics of the group form: fard, tuyuq the continent, chiston; 2-composition, according to the group number and the quote: the unit, binary, three to'rtlik; 3-on the basis of foreign experience artistic group: repeatedly asset, xok what tank; 4-group qorishiq-synthesis on the basis of the poems that appear in the form: coniferous, fiqra, beads, uchchanoq, qayir by five today.
During the season our new life gives to classical literary tradition of the east, genre, weight, a method of image, and the traditional image of the image to apply the updates as a result of sirojiddin sayyid observed in evrilish thought them to be creative poetic “I'd love the motherland”, dedicated to g'azal called Sidqiy Xondayliqiy tazmin-muxammas of Usmon Azimning “Khamsa”ha tatabbu’”c, of abdulhakim Matnazar “mashrab to tatabbu’” of the poem, Halima xudoyberdieva technique “Bedilona” tatabbu'si example has been subject to analysis.
Sirojiddin sayyid of tatabbu’ in the way “Soqiyona” g'azal at the period of independence of the lyrics is one of specific update. The science of the study of the poetry of the last century because of restrictions put in tasavvuf, may, to the decline of the genre like saki soqiynoma wrong interpretation of the image to the face are a factor. The poet of “Every one of the...” has been also called g'azal soqiynoma in character. The poet in this g'azal also in may, a covenant in jom, cup, pot, on the basis of analogy as mayxona soqiynomalarga use the method of iconic images. Playful and turkic aruz rhythm of the hazaj g'azal xushohang musammani makfufi mahzuf weight ahrabi is written. Sirojiddin sayyid g'azal of-the tradition and character of the poem tatabbu'si soqiynoma with a creative approach to form and content “specific originallik” to achieve will prepare the ground. Her “it's amazing khamsa of rage” in the category “mulberry Boda called” written in g'azal weight of ramali musammani mahzuf soqiynoma created in the genre. In this regard it is important to note the features of the genre and the symptoms of weight soqiynoma shakliy masnaviy be in the form of technology in the dictionary, mutaqorib bahrida are thought about to be written. But we have to rely on the results of the studies, the alisher navoi bahri musaddasi of their soqiynomasini solim maxbus the maqta’ (or mahzuf), Ahmad Tabibiy towards’ sari'i musaddasi matviyi mavquv of bahri, bahri musaddasi was productive in the hazaj avaz weight mahzuf create soqiynomaning masnaviy except tarje'band, ruboiy, murabba’, musaddas, to'rtlik, were created in the form of g'azal, and scientifically proven³¹.
Research results of the second chapter of “thecontours and features lyrical poems spetsifik” called. Chapter “lyrics Ijroviy called” subjective expansion of the capabilities present in the first season of the lyrics in poetry poetic tashkillanishida also artistic-aesthetic illuminated the fact that the results of research showed. “The craving that had been available for centuries, our poetry poetic canyon, the change in essence entered into a new chapter of the research in a form suitable period. Studies in poetry and most important looking for this radical renewal of the directions that bring the rhythm of the poem as found-intonatsiya levels, and subjective expression poetic yo'sini tashkillanishdagi can show changes”³². Now check the lyrics of the poem from the perspective of my experiences in spetsifik properties to approach the subjects and objects of the independence period of the lyrical content-the contents allows you to sign. Lyrics Ijroviy the nature of struktur-semantic, the bodice features stilistik o. b.³³, m. a. Garkavi³⁴, in v. p. skobelev³⁵ Russian scientists as theoretical and analytical aspects verified. The essence of lyrical technique Ijroviy anglashilib so yes, such a poem the author in his own person, not in the person of the hero in different outfits through “execution” is. Two events in the subjective tashkillanishi of the game lyrics: “the inner connection of” the hero of never be manifested in the form of full muallifdan ajramasligi s. n. look Broytman is observed³⁶. See, this lyrics ijroviy “my experiences lyrical poems which expressed in the language of the other person. That is, if the other person as the poet evrilish it to her “role”makes the execution of the nest”³⁷.
The period of independence at the lyrics too shakliy also mazmuniy updates, images and artistic expression expansion of the complexity of the experiences of businesses lirikada the perception of the world serves to enrich the scope of the mushohada. That are specific to the nature of lyrical technique “entities the concept of” it's differences from other literary types, it's the dominant experiences of lyrical poems mazmuniy, “lyrics hero lyrics ijroviy experiences will remain unique entities. Ijroviy lirikada thus also that “the language is to express, however this “” now is completely different from the poet, thus the entity is now you're screwed “other” person”³⁸ will show up as. Ijroviy ijroviy of entities referred to as the hero lyrics. Ijroviy aspects that are specific to the hero by the title of the poem means: 1) the name of the hero ijroviy; 2) training; 3) social status; 4) the state's family; 5) sex; 6) the age of like.
For example, free of vohidov “Sultonmurod” called to mind the construction of tone poem composition of the people in February baxshiyona throws. Ijroviy manifest in the person and his social status hero the poet to the reader, from the comments under the title wide I have used³⁹. Usmon tone case and beautiful creation in the lyrics of baxshiyona xalqona ijroviy technique to synthesize the sample occurs. The title in the poem the poet does not support the peasant hero of the poem the reader ijroviy before the main text is meant by quotes from the comments: “I was passing next to the pishigi wheat blend in, and my eyes dropped to two peasant galagov haydayotgan. Put one, one “Tiny-either tiny”lip...the song is”⁴⁰ the song and subtle observations of the effects of the following strings usmon azimning yanchiq came into being as significant results: “we were good, we have bad, Ho'kizginam finely either. If you are tiny, we have been the straw, To'kisginam, finely-either”⁴¹.
The edge of the display as the historical hero of the person ijroviy lirikada ijroviy the lyrics content can now stay updated that is the reason. Abdulla Oripov “Zardo'sht word”, xudoyberdieva halima technique “mashrab said” that's what muhammad yusuf “xirgoyi of Mashrab”, Usmon Azimning “the last song of believing mirzo”, abdulhakim matnazar of “Jaloliddin” kolorit monolog individuals through poems like historical period, expressed in historical realities.
Free and expressed his mental landscape of the soldiers of the image of the image of vohidov's “mind”, Ikbol mirzo “old soldiers” is shown in the analysis of the poem. Also, the female character in the show Muhammad Yusuf in the country, “the political song” is also the title poem is one of the best designs. Lyrics ijroviy into another one of the specific aspects of the poet as hero ijroviy plants, animals, astronomical objects, lifeless thing-was selected items also. This image of the poet poetic serves to express ideas. For example, Usmon Azimning “Lawn” in the poem lyrics for hero ijroviy aiming to have its place in society unceasing metin strong-willed shaxslantirilgan of the person in the image.
The second season “Meditativ lyrics” is dedicated to the analysis. While the poem relate to lyrics in meditativ into “lyrics meditativ the uniqueness of the content, that is, in which the poet also committed ontologik focused social awareness, it also subjects gnesologik is to know”⁴². Lyrical subjects of their own experiences in poems such connects with the outside world. Abdulla oripov poems such as “sad angel”, “Mother” called in the example of poem analysis. The poet's “hospital” in the lyrics of poems called “” the mystery of the asset through the synthesis of many qonuniyat sensory perception, thoughts and feelings to the reader which absorbs shuur, which means the motherland⁴³. As it is known, for healing Abdulla Oripov is based treatment abroad. In memory associated with his trip meditativlik poem created on the basis of the nature will show. This poem is also one of such works. His biography of the poet in this poem is associated with the philosophical-meditativlik intersect at a point. Also, his “Geneva notebook” in the category “a cloudy day”, dedicated to the memory of Immortal Umarbekov “Yo'qlov” was the analysis of the poem. Halima technique xudoyberdieva “Prophecy” the people who go to the military service of our children in the poem “the load-200 under” fingerprint tragedy of returning to homes in the coffin lyrics “select”terribly shocked look. In the 1990s the army of the poem sho'ro get inspired suggest that the realities of the period of the policy associated with qalamga⁴⁴. In the poem reflect the cry of the nation. Ijtimoiylashuv of sorrow showed the tragedy of a nation. Standing ahead “cry” catastrophe reflected the nation. The poet of “the living of children who die in siberia”, “Osh-children of the kyrgyz” sounds like a terrible era in synthesis with the realities of poems marsiyaviy also get nationwide that represent discern on the basis of analysis are shown.
Ulugbek Hamdam lyrics meditativ creativity into the way of life in specific poems, in essence, yesterday and today, about life and death philosophical meditation will be presented with. “With myself face-to-face,” “Self,” as in the poem of lyrical subjects will self-audit. “The past and today they range from” the man in the poem lyrics about living in the range of childhood and always shall mushohada during the current period. The poet of the “Human” in his poem called “the road” associated with the konsept they are out of meditation⁴⁵. The period of independence in the poetry of “the way” and “passenger” lyrics meditativ associated with the konsept occurs in many samples. Just the lyrics on all of them also, “” is not leading. True, the lyrics are actually kind of subjects botiniy landscapes of the world, the mood, the feelings they are. Meditatsion feature in this poem will show up. While the core of the perception of individuallik poetic meditativ poem is important, “characteristic of the human social mind, mainly, the poet is reflected directly shuur artistic”⁴⁶.
Chapter Three is devoted to the study of”character and descriptive lyricism". In the analysis of a work of art, character is one of the central concepts, and literary studies naturally rely on the humanities, such as philosophy, sociology, psychology, which represent the concept of personality. V.V.Dubrovskaya character (lot. Persona person) noted that the person mentioned in the text is an anthropomorphic being . Character is a person in the world of artistic creation. Thus,” the basic aspects of each personge can be distinguished: like name, appearance, speech".
As with Epic and dramatic works, lyric works feature characters. Professor U.Hamdamov reasoned in 20th-century Uzbek poetry that aspects inherent in character lyric that differ in terms of subjective organization are due to the burden on the lyrical subject, i.e., the means of expressing the senses falling in part on the character, with the character posing as one of the lyrical subjects . In this chapter of our study, it is also necessary to dwell on the term “lyrical hero” when reflecting on the “lyrical character”. "The lyrical hero is one of the subject manifestations in the lyric, a form of expression of the author's soul experiences, thoughts... perceived in connection with the personality of the poet” . And the lyrical character, as one of the lyrical subjects, goes on the “stage” of the poem. When the lyrical subject acquires commonality, the lyrical "I", the hero of the Performing lyricism, is the private appearances of the lyrical character. Lyrical characters that have become subjects in character lyric can be classified as follows: mythological characters; religious characters; historical and contemporary characters; literary characters.
Ulughbek Hamdam's poem "When The Snow Falls ..." is also made in the form of a recitation, commemorating the lapars of Uzbek folk oral creativity. In this poem, the lyrical characters through the dialogue of a young man and a girl, the lyrical accompaniment harmonizes with the dramatic state, giving the impression that it is as if it is being performed on stage. "Boy: turn around and go down to my path of snow, put your hand in my hand... Girl: Not snow, not snow from the sky, myth is falling on my heart.” In the later paragraphs of the poem, The Lover exclaims “We shall go together to death!", and in the last paragraph, the poet goes out to the "scene “and comments on their fate:" the poet: (they put the hands in the hands, the Soul smoked down the roads...). The provision of the footnote in parentheses by the poet is reminiscent of remarca (French for footnote).
To the problem of descriptive lyricism in Russian literary studies V.Vinogradov, B.Tomashevsky, V.Zhirmunsky, G.Pospelov, T.Silman, L.Scientists such as Ginzburg approached the scientific-theoretical aspect through their works on the classification of types of lyrics and their features. In descriptive lyricism, descriptive detail is important as an object of emotion. But at this point, it is necessary to distinguish between landscape lyricism and descriptive lyricism. In descriptive lyric poetry composition, Landscape Details serve to create a lyrical state, give impetus to experiences. In Osman Azim's poem on descriptive lyrics titled “Autumn night”, lyrical heroic experiences served to show the landscape of the human inner world based on the image of nature. The human heart is reflected in harmony with the image of nature. In this poem, written in compound weight, the lyrical hero's life season is expressed through the detail of” khazonrez“, and his experiences are described as " autumn in the sky?"mayus is reflected in his feeding on daffodils stars through the gaze of the question. On the night of autumn, the sky fades like a puddle, mengzanadi to the time of human life. In the next paragraph of the poem, a monand lyrical state is created on the image of the autumn night. "For the poet (Usman Azim – G.O) autumn does not seem to be just a golden season of nature, but a yellowed love waiting for the moments of vysol, daffodils sheets of the life book, a season of freshness that is being expressed before winter.”
Another type of descriptive lyric is the eventful lyric, in which lyrical heroic experiences are expressed in harmony with reality. The event, i.e. the object, is the basis for the injury of the lyrical subject experiences. The most important aspect of eventful lyricism, which differs from meditative and executive lyricism, is the central position of the object (reality)and the transformation of the lyrical subject, phenomenon and reality into an object of lyrical relaxation, which is in constant motion in integrity. That is, forgiveness is the basis of the described reality. The event described in Matnazar Abdulhakim's storyboarding lyric poem “after class " affects the feelings of the lyrical subject and expresses his emotional observations through the medium of reality. The lyrical hero made an emotional-aesthetic observation of reality: “praise for my Nougat nazmim, my people, neither a scientist, nor a phosil, nor a word piriman. I am one of those children who cannot hand over a notebook in time,” and wants to be a pole to his people through his simple exercises. The ending paragraph of the poem is “I do an exercise, I write every day my Gorges, interrogations, exclamations. ...You leave the roadside burning, and my books of fear of the Kashgar", concludes with a conclusion.
The third chapter of the work, titled “poetics and properties of formality in lyric poetry”, explores the problem of “poetic components in lyrical composition” in its first chapter. Composition of a work of art is a construction method of an artistic text, a system of relations between its elements. Lyrical composition is a form of literary composition, with principles such as the accuracy, veracity, emotionality of content, poetic idea, and the degree of conformity of parts and images with respect to the same poetic idea, image resolution, and spatial proportionality. In Russian literary studies on the composition of the work of art, V.M.Zhirmunsky, B.M.Eichenbaum, B.V.Tomashevsky, V.V.Kozhinov, L.Y.Ginzburg, T.I.Silman, YE.G.Etkind, M.L.The scientific research of such scientists as Gasparov is noteworthy. For the first time in this regard, the Russian academician V.M.In his monograph “composition of a lyrical work”, zhirmunsky promoted a scientific-theoretical view. In the classification of methods related to the art of speech, as well as in theoretical poetics, the group of phenomena is classified into three types: Stylistics, thematic and composition . It can be seen from this that composition of fiction is also an important part of theoretical poetics. Each poetic genre is, first of all, a kind of compositional whole.
The compositional features of lyrical works are also determined by the presence of internal and external composition. Internal composition is more fully manifested in short-volume items with a content-formal integrity in the style of “thesis-antithesis-synthesis” in small lyric genres, which are strictly defined in terms of the content of the poem in our classical literature. The poet maintains a unity of form and content in expressing his poetic conclusions. Because the internal and external composition are inextricably linked with each other, they form a whole, integrity. Monologue and dialogue can also be shown as components of internal composition. These have their own ideological-artistic value in the content construction of the poem. Three aspects of the composition of the lyrical work: external (textual), thematic and rhythmic-intonational construction are considered a holistic aesthetic phenomenon.
In the composition of the lyrical work, the application of frame elements is found in all those creators who are the object of our study. For example, in Iqbal Mirza's poem of six paragraphs titled “Like”, the elements of the frame are: the title (“like”), the epigraph (“live my love with you if you are recorded. Muhammad Yusuf) as well as the date of writing the poem qaydi (2012), which performed a unique ideological-aesthetic function in the textual construction of the poetic work. The beginning point of the poem covers the title, epigraph of the work, as well as the first paragraph. The beginning serves the reader's emotional preparation in accepting the poem. The thematic composition of the poem contains a beginning, a feeling, a development of thought and a conclusion, and the first verse or paragraph of the poem serves as a beginning.
Rhyme is important in the rhythmic-intonation construction of the composition of the poetic work. Poets such as Abdullah Oripov, Erkin Vohidov, Sirozhiddin Sayyid, Matnazar Abdulhakim skillfully use the types of classical rhyme with extensive use of the weights of the aruz system. According to the structure of classical rhymes, there are two types: the muqayyad rhyme (which ends with the ravii) and the absolute rhyme (which also involves other syllables of the rhyme after the ravii). While Erkin Vohidov's” Birds of hijra “was written in the type of angry absolute rhyme,” I told a friend " was written in the weight of the angry muzorei musammani akhrabi makfufi solim, and when the composition of the rhyme was checked, it was determined that muqayyad belonged to the type of rhyme. Or it turned out that the ghazal” forgive, either rab " belongs to the type of abstract rhyme. Matnazar Abdulhakim's " from the bitter word Bezdim...."in the beginning Ghazal, a muqayyad rhyme was used according to its structure . Each byte “bol, lol, qattol, dallol, crocodile, fol, immediately” is connected through rhyming words to form a ravii based on the exclamation “l”. The “O” stretch vowel that precedes Ravi is ridf, and the use of the stretch vowel before Ravi has given rise to the murdaf rhyme. This type of rhyme, which differs according to the sound composition, depends on the letters that precede the rhyming.
Qora kiydi/ bir nafas quyosh,// 4+5
Mung‘aygancha/ Oy qaltiradi. 4+5
Zuhra yulduz/ berolmay bardosh// 4+5
Ko‘zlarida yosh yaltiradi. 4+5
It is known that thanks to euphony, the Poetic Rhythm is consistent, poetic thought is resonant, and its emotional effect is enhanced . Euphonium-forming agents include rhyme, alliteration, sound repetition, and assonance. Thus, the phenomenon of vocal alliteration produced by the repetition of O, i, a, u, vowel sounds in the poem provided the tone of the poetic work: 1) o-a-i-u; 2) u-A-o-i; 3) u-ye-a-o; 4) o‘-a-i-i. The harmony of these vowel sounds seems to represent pain, thinner, trouble, pain, cry, mung. We observe that a phenomenon of consonant alliteration has occurred from the repetition of consonant sounds z, k, d, b, r, sh in the poem. In the rhythmic construction of the poem, rhythmic means (rhythmic pause, rhyme) are important, which serve to emphasize, intensify the rhythm of the poem. Therefore, checking the rhyme system of the poem above serves to ensure the harmony of rhythm and melody. Also, A.Oripov's “Hamza nidosi”, “Flying Birds”, E.Vohidov's "my crack", H.Khudoyberdiyeva's book " who is fat..."through the analysis of the poem, written in compound weight, it is clarified that the rhythm of the poem, on the basis of rhythmic fragments and rhythmic means, raises musicality and tonality, emotionality, harmonizes with the thought and feeling of rhythm, rhyme, volume in the poem when poetic speech reaches the reader's heart.
In its third chapter,” the artistic-aesthetic function of repetition", the lyric is about poetic content and the ways in which poetic meaning is conveyed to the reader through expressive expressions are achieved through verbal and sound repetitions. The repetition of words and sounds applied in a poetic context serves to increase the emotional-artistic capacity of the lyrical work. Repetition is a term that applies to the current content of repetition in the framework of the laffian arts of our classical literature. Professor Y.Ishakov notes that " this art arises as a result of repeating a word for a specific purpose in a poetic verse or prose text. The repetition serves as an element related to style, to highlight the main idea that lies in the time of the text-muddao-and to give the image an emotional touch” . Professor D. the fact that repetition manifests itself at different levels of a poetic work.Quronov shows: (a) in artistic speech: phonetic, lexical, semantic-syntactic; (B) in a measure-based orderly repetition of rhythmic units; (v) at the level of poetic composition .
In the poem “Memory” by Abdullah Oripov, the sound repetitions characteristic of the phonetic level of artistic speech in combination with performing an artistic-aesthetic function in the poem also served to increase the tone and musicality of the poem. In the following stanzas presented in the fifth paragraph of the poem, we observe the vocal alliteration caused by the harmonization of vowel sounds:
Qay biri bedarak, / qay biri beun, = a-i-a / a-i-u
Uzoq sarhadlarda / jimgina uxlar. = u-a-a / i-u-a

Another notable aspect is that the vocal alliteration in question formed a phonological ring (a-i-a/a-i-u/u-a-a/i-u-a), with the vowel sound of “a” dynamically echoing the lyrical hero's painful, anguished lamentation at the heart of a battle-martyred Uzbek son, and expressing the “uv” wailing tones characteristic of laments in a mungli Paphos. Y.In Lotman's view:” even elements (e.g. sound) that do not imply meaning in simple language construction can perform the function of meaning in a poem".

Erkin Vohidov's book " Siz mening osmonim, mohitobimsiz..."in the following poem, which begins, the phenomenon of alliteration served to bring ideological-aesthetic affectivity to the surface: