Fergana state university providing scientific degrees

Anaphora	Inner rhyme	rhyme
epiphora
Yomon	ko‘z	tosh	yorar der
Yomon	do‘st	bosh	yorar der

M. In The Season.Abdulhakim, U.Hamdam's poems were subjected to analysis, and it was demonstrated that verbal and sound repetitions performed an important artistic-aesthetic function and were instrumental in the poem being expressive-emotional, melodic and musical, thought-provoking.

The fourth chapter of the dissertation was called “interpretation, poetic arts in lyric poetry”, and its first chapter, “image and interpretation in lyricism”, covered the increasing image scale of traditional images and personifications in the Uzbek lyric of the independence period, serving a new expression of content. The skill of poets to use poetic images, emblems was analyzed through the image of lola. As you know, in our classical literature, the image of lola is expressed in images such as the color of the heart of a lover, the mistress's ruxsori, cheeks.
A.In oripov's poem “To The Children of Turkestan”, written in Masnavi form on the occasion of the one-year anniversary of our independence, the younger generation is compared to Lola, E.And in the poem “Immortal Memory” by vohidov, in the image of lola, the image of soldier boys who were killed in the war is given. Or E.Vohidov's book " Come, O Babur, to the Fatherland...", the image of Beaver's heart blood is reflected in the interpretation of the tulips. H.The work of Hudoyberdiyeva also depicts the figure of Uzbek guys who were sacrificed through the image of lola. The poet interpreted the children of el, who were exiled to Siberia and sacrificed there during the years of repression, in the image of lola. M.In the work of Joseph, the image of the image of the godmother expresses the same interpretations of the poet's turfa. His poem “sons", dedicated to the memory of the Uzbek sons who died in Afghanistan, also represents the Uzbek Youth who were killed in battle in the image of the qizg’aldoq, while the poet's poem “Qizg’aldoq” expresses the interpretation of the true friend, habib through the image of the prickly: “Qabrim uzra hilpirab tur, qizg‘aldog‘im, Muhammaddan bo‘lak do‘sti devonang yo‘q”⁴⁹. Yoki “O‘ksimagin, o, yurak” deb boshlanuvchi she’rida “Osmonda oy yolg‘izdir, Yolg‘izman men ham, axir. Mening opam yalpizdir, Singlim lola qon bag‘ir”⁵⁰ in the verses, the image of a munis woman – sister is expressed in the image of lola. In his poem “Lolagizdag”, written in memory of Shavkat Rahman, the image of “lolagizdagizdag” grew dynamically and became a leitmotif image.
In the image of the tree image, which has been used for a long time in our poetry, one can observe the specific individual interpretations of the creators of today's era. H.In khudoyberdiyeva's work, poems such as “turn into trees”, “trees perceive”, “Willow”, “the tree that does not know”, “unaware of the tree cry” show the poet's unique style of image and philosophical-emotional interpretations. Sh.As a continuation of the traditions of Uzbek folklore, Rahman also managed to create landscapes of the human psyche in the image, psychologically connecting the image of a tree and the image of a person. In the poems of the poet, such as “the Lord”, “the Bobochinor”, “views of the Maple”, “Memoirs of a grove”, “Tall Trees”, “The Castle”, we observe different interpretations of the author based on the imagery. For example, in the title of the poet's poem “The human being”, we see the updated facets of the mythological image in the connection “Man+tree” against the background of totemistic beliefs and visions that, based on ancient mythology, people are scattered from trees. M.Abdulhakim's oak tree, U.Hamdam's “my garden..."poems also express various interpretations through the image of a tree. Through the image of the seasons of the year, Usman Azim interprets the passing of a person's life in optimistic lines.
The second chapter, titled "Poetic Arts", has been researched that the factors of attaining high artistry inherent in the poetry of each period are also a literary phenomenon characteristic of the lyricism of the independence period. The art of thirst, applied in eastern classical literature, consists of four parts. That is,”(1) mushabbah (likeness); (2) mushabbahun-bih (likeness); (3) adoti tashbih (means of likeness); (4) vajhi tashbih (sign of the cause of likeness)". While freebie Vohidov discovers new facets of the meaning of the image of the traditional soul in the following verse, creating the image of a fistful patriotic person to see the freedom of the motherland, the independence of the land, we observe that four elements of the tasbih have been applied: “this is a desire to build a homeland in the The “bird” in the byte is mushabbih (what is likened), “Kush” is mushabbahun – bih (what looks like), “kabi” is adoti tashbih (means of likeness), and “free” is vajhi tashbih (sign of the cause of likeness). It seems that there are also four elements of tashbih, so it can be called “tashbihi mufassal”. In the verse, the direct analogy of a thing to a second object with the help of means (like) has given rise to “tashbihi sareh (tashbihi absolute)”.
In the case of the” Tashbihi mashrut (conditional analogy) " type, however, it is based on a certain condition that something looks like a second thing. In the verse of Erkin Vohidov, “when Love comes, it will be either young, and without love it will be a statue of paradise”, the love of a lover who is obsessed with love is likened to both bowing out of the torment of hijra and whining in the hope of his mistress vasli. Tashbihi recommendation is a kind of poetic art based on the analogy of a fold, about which Rashididdin Vatvot expressed the following opinion: “this art consists in the fact that the poet takes a sign from himself and a sign from what he describes and compares them with something else.” In Sirojiddin Sayyid's verse” beledir Qamish beliday Nola qilgum I example naqamish", the poet likens yor's waist to a reed. And Asik turns into naikamish and moans in the fire of ishq. The mistress is likened to a flute, a falling-in-love flute. In the samples of our classical literature, the flute is also one of the traditional symbolic emblems, and the later period our modern poetry continues to have its own edges of meaning in the way of poetic expression. For example, in 20th-century poetry, Uthman Nazareth represented the image of the flute through the stanzas of “you left my tongue for the flute”.
In the case of the” Tashbihi moqad " species, however, between what is likened and likened, the means of likeness (-dek,- day, as if) are likened by taqid without application. The text is used in Abdulhakim's verse: “eyebrows – ajib leaf, coquils – sunbul, blackberries-charos, cheeks-Apple” . In the verses, imitation means are used, and only by means of emphasis, the eyebrows are mengzanad on the Leaf, the coquils on the Sunbul, the black ones on the Charos, and the cheeks on the Apple. The lyrical hero enhanced the emphasis in creating a portrait of Yori, and embodied the Suvrat of a beautiful Sanam in the eyes of the reader.
One of the spiritual arts most commonly used in classical poetry is talmeh, which was used in the following verse by Abdullah Oripov: “in the Valley of Junun, the example of sarson is Sheikh San'onman, I cannot find tasbehu goho Zunnor in my hand” . The poet, referring to the story “Shaikh Sanan”, likens the state of the place of true lovers – “junun Valley”, that is, in the flesh of those who are mad on the way to ishq, to Shaikh Sanan. A rosary in his hand because he is a Muslim in love, but in love, goho seeks zunnor (a Christian and a Jewish waistband). Because to achieve a beautiful date, he needs a” zunnor". The Associated points between the thought being expressed and the famous narrative given served to increase the artistry of the Treasury, arising on the basis of a clear analogy. The Re-and truthful analysis of our national history after independence became the basis for the increase in the possibilities of expression of talmeh art. In the Uzbek lyrics of the present time, the classical literature of this poetic art, along with its followers on traditional image methods, applies to mythological images, geographical place names, sacred works, eastern mystical allusions, manifestations of our classical literature and literary heroes created by them, historical warlords, National Freedom Fighters, jadid enlighteners and their works, as well as literary heroes, representatives of This is evidenced by the breadth of expression of talmeh's art, which is now used in contemporary poetry. In particular, this situation was manifested in a special way in the poetry of the likes of Abdullah Oripov, Erkin Vohidov, Halima Khudoyberdiyeva, Shavkat Rahman, Usman Azim, Muhammad Yusuf, Iqbal Mirzo.
When the genres of our poetry today were observed, it was found by our poets that through the art of talmeh, territorial-geographical place names, artistic works and literary heroes referred to more historical and contemporary figures in relation to the images of folklore. Taking into account the volume of the dissertation, we found it necessary to use the table in the manifestation of the scale of expression of talmeh's art.
Referring to our national values and the long-standing traditions of our people, historical monuments, became the basis for the expression of specific poetic ideas for the poetry of this period. References to figures such as Solomon, Khizr, Toomaris, Shiroq, Alpomish, Gooroglu, Akhriman, Ghirkoq, Ghirot, Boychibor, “Avesto”, “Qutadg'u bilig”, “Devonu lexicotit turk”, “Khamsa”, “Khazoyin ul-maoniy”, “Boburnoma”, “Days Gone By”, “Chayan from Mehrob”, and their literary heroes became important in the development of talmeh art of this period.
From the very first days of achieving a similar perspective, the appeal to images such as Toomaris, Shiroq, Alpomish in the expression of the ideas of protecting the borders of the motherland, their wealth from the enemy, living hurriedly and free, returning to the Self began to manifest itself in the poetry of such creators as Abdullah Oripov, Halima Khudoyberdiyeva, Shavkat Rahman, Usman Azim, Iqbal Mirzo. Also, references to the names of the ancient territorial and geographical places such as Turon, Turkestan, Herat, Kabul, Dashti Kipchak and Siberia also serve as a kind of layer in the content updates of the poetry of this period. The realities of the early 20th century, when we had a close past, the traumas of the years of repression began to be described through an appeal to the Siberian territory.
In the lyrics of the independence period, the art of contrast is also one of the most used types of Fine Art, in which “it is required to face events and circumstances that are completely contradictory, opposite, opposite to each other, to meet them”. In this regard, a.Oripov, E.Vohidov, M.Abdulhakim, U.The poems of our creators, such as Hamdam, were subjected to analysis.
In the third chapter, called” pictorial tools", artistic pictorial tools such as metaphor, metonymy, synecdoche, which were used by the creators of the time in their lyrical works, were determined on the basis of analysis to be an important criterion in ensuring the art of poetry, the use of which would give rise to a figurative image.
Metaphor covers areas of knowledge such as philosophy, psychology, hermeneutics, literary studies, logic, linguistics. Because they reflect the ethnic and National mental environment of a person, his connection with nature, his worldview, social life, lifestyle. All this is due to the language blanc, that is, “without metaphor, The Lexicon will not exist” . Representative of the field of linguistics A.Khojamqulov, in his paper” on the classification of metaphor in Uzbek", gave the following classification: 1.Anthropomorphic metaphor. 2. Zoomorphic metaphor. 3. Phytomorphic metaphor. 4. Cosmomorphic metaphor. Metaphor formed on the basis of the name of celestial bodies. 5. Abiomorphic metaphor . While a person stands in the center of literature, the qualities inherent in him go directly in connection with anthropocentric metaphors. Because in our lyrics today, metaphorical thinking is the leader. For example, in the poem “The echo of Love” by Muhammad Yusuf, the lexeme “flower”, which meant the name of the plant, applied to yor on the basis of the phenomenon of displacement of meaning, forming a phytomorphic metaphor: “my flower, that love means in the eye lies, in my language without any indelible begging, the more dear we see, the closer In Iqbal Mirza's poem” Angel", the word angel was also used to refer to yor, giving rise to theomorphic metaphor. In theomorphic metaphors, the words angel and Satan are expressed in relation to man, moving from their meaning.

Sha-bo-da-lar	e-sa-di	g‘ir-g‘ir
Yap-roq-lar-ni	u-chi-rib	bir-bir

The poet's skill is that the assonas rhyme in the means of the vowel " i " is also present in the word, which fulfilled an important aesthetic function. The season also highlights Iqbal Mirza's skill in using metaphor and metonymy in his poems “The young man”, “my pain”. The use of archaisms characteristic of the lexical level of the artistic language was manifested in a unique style in the poem “Tashkent Khoma” by Iqbal Mirzo. The word” Khoma” means "pen, reed pen". But the “Homa” seen by the lyrical hero was directed from the bone. The poet places the archaisms “ilig”, “xoma” in one paragraph in conjunction with the words “hand” and “pen” to bring the synonymic series to the surface. Instilled in the poem The tones of the ancient Turkic psyche precisely on the basis of archaisms, and the names of the Tashkent scholar and historian, Hofiz Kohakiy, grandson of Ali Qushchi, alloma Qaffol ash-Shoshiy, were mentioned on the basis of talmeh art. The period in which they lived has achieved a brighter reflection of Colorite by means of archaisms. In the next paragraph of the poem, through the part (on the finger), representing the whole (hand), the synecdoche phenomenon arose. The poet's use of archaism in his poem “Hazrati at the mausoleum of Khizr” also served a vivid interpretation of the spirit of the era in the poem. Pictorial means serve to increase the impressionability of thought and feeling expressed in the poem, to give a clear and clear reflection of the poetic idea, to enhance expressiveness at phonetic, lexical, semantic levels.