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Conclusions
1. Uzbek lyricism as an ever-changing species shows its potential in the stages of historical development. In literary studies, the nature of lyrical genres, evolutionary stages, processes of transformation into an artistic and aesthetic phenomenon, as well as changes in the teaching and renewal of poetic thought, are one of the important categories of poetic issues and are relevant.
2. The roots of the genres of Uzbek lyric of the independence period, literary and historical factors in its emergence date back to the most ancient times and are associated with ancient myths and rituals. Lyrical genres appeared on the basis of primitive syncretism (rhythmic movement, music, word), formed and improved on the basis of ancient Turkic literature. At the stage of historical development, Uzbek folklore, the creative influence of traditions inherent in Eastern and Western literature, and socio-political development, as a result of changes in various literary processes, were renewed and turned into an artistic and aesthetic phenomenon. The historical and genetic development of lyrical genres can be divided into the following stages: 1) the period of primitive formation and syncretism; 2) the process of formation in the first written sources; 3) the period of formation of ancient Turkic poetry; 4) the evolutionary stages in classical literature; 5) the twentieth century in Uzbek poetry, recent updates; 6) the period of independence
3. The theoretical foundations of lyrical genres were formed on the basis of literary-critical views of ancient antiquity, influenced by the philosophy, culture, literature and literary studies of the Greek peoples, and were also reflected in the views of Eastern thinkers on art, literature, poetry and poetry. While in the history of Uzbek literature, reflections on lyrical genres were expressed in separate poetic fragments, mainly in the composition of fiction, by the 15th century, important issues of Uzbek poetry were penciled. The genres of Uzbek poetry have undergone updates in the 20th century, influenced by philosophical, social, psychological factors.
4. The combination of tradition and renewal in the formative-substantive renewal of genres, ideological-artistic enrichment into the literary traditions characteristic of each period is also a literary phenomenon characteristic of the poetry of the independence period. The current poems arising on the basis of the previously existing poetic forms are completely new in form and content. It seems to us that it is advisable to apply the term genre to unity, duality, Trinity, quadrilateral, and the term poetic form to “ignabarg”, “fiqra”, “Trinity”, “rosary”, “kayirma” “five navo”. Such artistic experiences are literary phenomena associated with the poetic skill of the poet. Is the evolution of a particular creator at the stage of stylistic updates.
5. The creators of today's era give a new life to our eastern classical literary traditions. As a result of its appeal to genre, weight, image style, traditional images and symbols, creative influence from them, updates are also taking place in the evolution of poetic thought. The continuation of the tradition of binding tatabbu’, compensation to lyrical works by our creators during this period is also an important factor in the development of our lyrics. While sirozhiddin Sayyid's following to our classical literary traditions was seen in his poems of ghazal-tatabbu and Saki character, as a continuation of them, for the first time in the poetry of this period, he shook a pen in the genre of Saki.
6. The use of tone, image, means of expression characteristic of folklore in poems belonging to the Performing lyricism, that is, the meeting of folk stylization, serves to show the essence of the changes that have occurred in poetic form and content. The appearance of historical figures as heroes of execution, the expression of the image of a soldier, the choice of plants as well, which are the owners of the anthem in the performance lyric, serve to expand the possibilities of the lyrics of the independence period in the way of expression.
7. Poems that relate to meditative lyricism may be built on the basis of individual meditation, directly in observation, mindfulness, and directed towards the realization of the mystical laws of being. In meditative poetry, the lyrical " I " prioritizes, which is why such poetry is associated with the creator's personality. Poems typical of meditative lyricism are individualized “thought-eye”, focused on the perception of the hidden laws of being. On the basis of our analytical observations, we defined in Uzbek poetry of the independence period poems specific to medidative lyric: 1) poems about universal values, the moral-spiritual world of today's era; 2) poems related to travel; 3) poems written by Marcia; 4) poems representing the nationwide past; 5) poems related to the ogets, teachings of our ancestors; 6) poems about life path, essence, yesterday and today, life and death.
8. In character lyricism, the lyrical accompaniment expressed through the speech of a different person acquires ideological-artistic significance in an independent way. The poem in question is dialogic and polyphonic in nature, with a more dialogic character in the lyrics of the independence period in which historical and contemporary characters participate, and polyphonicity in the poems in which religious and literary characters participate. By independently cutting out the lyrical character's thoughts in parallel with the lyrical hero's observations, enhancing the character of dialogicity or polyphonicity, the present vision of the poem serves to expand the possibilities of expression. Lyrical characters that have become subjects in character lyric can be classified as follows: 1) mythological characters; 2) religious characters; 3) historical and contemporary characters; 4) literary characters.
9. In descriptive lyricism, descriptive detail is important as an object of emotion. In the composition of poems created in the period of independence, landscape details, the phenomenon of nature: images of rain, wind served to create a lyrical state, to give impetus to lyrical subject experiences. In the poems of this period, the lyrical heroic experiences manifested the landscape of the human inner world on the basis of the image of nature, and the human imagination was reflected in harmony with the image of nature.
10. On the basis of the lyrics of the event, the event is considered important. In such poems, on the basis of the means of the image of an event, the emotional observation, thoughts of the lyrical subject pass through the prism of the soul. While in the poems of Abdullah Oripov, the philosophical observation that arose under the influence of reality gave an impetus to the wound of lyrical supplication, in the poems of Halima Khudoyberdiyeva, it gives an impetus to the expression of feelings in the poet's heart. Matnazar Abdulhakim khazaband expresses his emotional observations through the medium of reality in his lyrics.
11. The composition of the lyrical work is a holistic aesthetic phenomenon with internal and external characteristics, and poetic components such as rhyme, Weight, band perform an important function. In the poetry of the present time, according to the structure of the classical rhyme by our creators, the types of muqayyad rhyme and absolute rhyme, phonetically differentiated rhyming, abstract rhyme types were used. Also skillfully use such types as crossed, pair, scroll, masnaviyona, ruboiyona, according to their place in the band.
12. The Band is a poetic piece that, performing a certain function, expresses a clear thought, a feeling yohud landscape, rhymed in a certain order. In the medium of the Band, thought and tonality, ideological-aesthetic and artistic impressionability come to the surface. The Band consists of the sum of lines that are completed in content, in which the poetic thought is visible as bright, rhythmically completed. In the band structure of the poem, the elements of composition: anaphoric composition, compositional solution, compositional chain, compositional spiral, compositional ring, poetic ring and its types are important, and the independence period is an important factor in the formative properties and poetics of Uzbek lyricism.
Rhythm is one of the main tools in the organization of poetic speech, providing emotions, movement of images and their harmony. Examination of the rhyme system in the rhythmic construction of the poem serves to ensure the harmony of rhythm and melody. Word and sound repetitions served to increase the tone and musicality of the poem, performing an artistic-aesthetic function in the poem. The Uzbek lyric of the independence period arose through sound repetition: alliteration, assonance, dissonance, and word repetition: anaphora, epifora, anadiplosis, simploka, among others.