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Siz mening osmonim, mohitobimsiz, = mo-im-mo-ob-im
Mohitobim emas, оftobimsiz, = mo-ob-im-ob-im
Ishonchim, quvonchim, yupanchim, yana = on-im-on-im-im
Sog‘inchim, o‘kinchim, iztirobimsiz⁴⁷ = in-im-in-im-ob-im
Phonological parallelism in the band provided a connection between musical harmony and the content of the poem, demonstrating the poet's artistic skill. Observing this poem of three points, the consonant sounds “S”, “z”, “m”, “n”, “b” and the vowel sounds “o”, “I” were repeated during the verses, increasing the tone and thought sensitivity of the poem. This served to enrich the semantic core of the poem. When we determine the amount of consonant sounds in the verses based on the table below, the semantic core of the poem based on the alliterative phenomenon becomes clear.
The order of the stanzas totals

Vowels	The order of the stanzas												Total
	1	2	3	4	5	6	7	8	9	10	11	12
S	3	2	-	2	2	1	1	2	1	1	1	1		17
Z	2	1	-	2	2	2	-	3	2	-	1	2		17
M	5	4	3	3	3	2	6	3	1	4	-	-		34
N	2	-	4	2	1	1	1	-	2	1	1	2		17
B	1	2	-	1	2	3	-	2	1	-	2	1		15

It appears that the consonants” s“,” z“, and” n “have 17 syllables, the vowel” m “has 34, and the vowel” b " has 15. The vibrating resonant "z “and its non-resonant pair represent the same number of repetitions of the sound” s “as well as the anaphoric repetition of the word” you" in the first stanzas in the bands expresses the attitude of the lyrical subject towards the Yori. Hence, the semantic core of the poem was formed by the poetic content “you are my being” in the result of 34 boron repetitions of the consonant sound “m”. In order to further clarify this, we refer to the seventh line, in which the amount of consonant sound “m” in the verses is most often encountered: “my love, my life, my life again is a continuation”. It seems that the gentle melody inherent in the consonant sound” m “helped the lyrical”I " to express their tender feelings for Yori, their sincere love in subtle expressions. Based on the table above, observing the repetition of the consonant sound “m” in the poem through a diagram further clarifies our idea.
A.Oripov's poetry uses anadiplosis based on verbal repetition, while H.One characteristic feature of khudoyberdiyeva's work is that the poetess simultaneously with the use of alliteration also occurs in parallel with the anaphora, infra, Epiphora, which are based on word repetitions.
Ko‘ngli tiniq ko‘rganimda ko‘nglim tindi,
Ko‘ngli siniq ko‘rganimda ko‘nglim sindi...⁴⁸
In the excerpt, alliteration occurred from the repetition of the exclamation “k” and “n”, and the words “heart”, repeated at the beginning of the verses, formed anaphora, and “when I see it, my heart” formed an infra. In addition, the parity of the quantity of words and the number of syllables in them in the cited example, an orderly repetition based on measure, gave rise to the rhythm and musicality of the poem. The composition of the verses consists of five words, each word measure repeated in an orderly manner:
2 / 2 / 3 / 2 / 2
2 / 2 / 3 / 2 / 2
Halima Khudoyberdiyeva's poetry also observed the occurrence of simploka from the simultaneous use of anaphora and Epiphora. A similar pattern was observed in the translation of Osman Azim's “poem dedicated to Ilya Ehrenburg”by the French poet Paul Éliuar. M.In Joseph's work, the artistic-aesthetic function of verbal and sound repetitions in the expression of the poet's poetic thought is manifested in a unique style. The poet's poem"Yomon ko’z tosh yorar..."in the opening poem, the verbal repetitions are anaphora and Epiphora, in which the function of the “y” - sound repetition in generating musicality is manifested: