CC BY
24
Section 12. Philology and linguistics
Tleuniyazova Gulmira Bayniyazovna, younger scientific employee, Karakalpak Research institute for Humanities Sciences, Academy of Sciences of Uzbekistan, Nukus E-mail: tleuniyazova@inbox.ru
The importance of name in compositions of the lyrical works
Abstract: The article deals with some problems of poetics, i. e. term (names) of verse. Any kind of bearing of poetry serves to reflect one's emotional status out of mental state of the creator. Theoretical conclusions were made on a basis of analysis of lyric works created by karakalpak poets in 1980-2010.
Keywords: poetics entitlement, lyrical composition, free verses.
Contempory Karakalpak literary criticism achieved consider- they chose a name consisting of a sentence, a word or word order
able success during the independent years of our country. In this direction the works devoted to studying theoretical problems of Karakalpak poetry are of great impotance. In any works of art its compositional structure forms one of the main components of the text composition of literary works is of great importance in determination of its genre and stylistic peculiarities. Literary critics (scholars) take the artistic wholeness for scientific identification of research subject. There fore, the composition of any literary works appeals for ensure its artistic wholeness. The choice of this or that compositional structure by the artist for its work makes possible to say about the peculiarities of the work or level of his poetical talents (gifts).
Naturally lyric works are different from other genres with their peculiar structures. In compositional structure oflyric works mainly their semiotic centres as naming of the work, key words and expressions, lyrical degression, stylistic figures and soon are stroked the eye. Consequently to study poetics, composition of lyrical works opens the great possibilities to define the true perception and deep understanding their conceptions, contents, author's method and style as well. Any kind of bearing of poetry serves to reflect one's emotional status out of mental state of the creator. The composition of lyrical pieces of work include all elements of art: feelings or opinions described, each word, each sound, punctuation marks, sentence and their order — one complete content is in organic link with the entitlement of that piece ofwork, in general. The entitlement of work is in a row of other elements of art that enrich and deliver the content of the work of poetry, and it deals with providing the completeness of meaning and composition. Because, "... entitlement of composition is the name of the composition, i. e. entitlement of composition is the manifestation of its content, which discloses the meaning of it" [1; 192].
In world literature entitlement of work is known to be explained in three types of direction: creative, referent, receptive. When creative initiative has a leading position in entitlement, author's technique of art, that is, his viewpoint (justifying or condemning, his evaluation) on events and incidents are reflected in the entitlement ofwork. When referent direction has a leading position in entitlement, the name of work is integrated and proportioned with the name of the hero, or with the name of an event or a certain circumstance, or with the name of a place or time. And, looking at a number of works by some of our writers and poets we witness that
that has metaphor-symbolic description, imagery in naming their work. Entitlement of this kind arises a big interest in readers who have high competence. Here, we don't know right away what is implied in work by reading the name of work. So, reader has difficulty understanding the name of work, reader studies at the same level with the author. This requires from both reader and author to be intellectually well-educated and have high ethical competence.
In world literature we have scientists such as M. Tyupa, P. A. Florensky, L. S. Viygotsky, S. M. Schardzbant, U. Eko and so on, whose opinions are known regarding the differentiation of hidden content, imagery in the name of works and its importance.
Uzbek litterateur, A. Rasulov evaluates entitlement of work as initial semiotic or semiotic key together with genre and conception [5; 52-53]. In other words, entitlement of work is a source of the first reflection and perception of the work, i. e. it is a sign showing the way to semiotic centre, actual content of the work. Entitlement of work of art being minor and short, as well as avoiding repetition means text of art is composed very well and basis of art is firm. If a creator (poet) develops his work more and more maturing it in his thoughts and opinions the expected entitlement is formed at once.
One of the distinguishing features of work of art in receptive entitlement is that hidden imagery, multi-opinion and polyphony. So, receptive entitlement is directly linked with content ofwork. In Karakalpak lyrics one of the adroit poets in entitling a verse is I. Yusupov. He wrote verses that can be an example for receptive entitlement, such as "Sakhra Bulbili", "Arasatli Guz", "Taska kotergen gul", etc. "My Nukus, located along the Amu, You are the only golden flower of desert, In my fatherland Turkistan, You are one of the famous cities" [7; 23].
Reading the name of the verse "Sakhra Bulbili" of the poet it is difficult to perceive what the verse is written about through entitlement. Because, when we say "Sakhra Bulbili", for example, we might understand a land located in the desert, or a girl living in the desert, or a flower growing in the desert, etc. And, as reading the verse it becomes clear that it is about the capital of the land Nukus city, where Karakalpaks, who are regarded as a nation in the desert, live.
Some titles might not be mentioned in the lyrics of a verse. But, thinking the meaning of the verse over the meaning of the entitlement and the meaning of work itself go with each other. For example:
The importance of name in compositions of the lyrical works
"... giving the last piece of bread to his friend, Person goes down, his heart getting lower. It is worth writing on his gravestone: «Man is harder than a stone, subtler than a flower»" [6; 98].
The entitlement of the verse "Taska kotergen gul", work by I. Yu-supov, is not repeated in lyrics of the verse, but the verse's general meaning is assonant with the meaning of entitlement. In this case meaning reflected in the verse lyrics is subjected to the meaning of entitlement, i. e. meaning of entitlement has a leading position in the general semiotic basis of work.
As for the entitlement of the verse of the poet "Arasatli guz", it impresses reader being both touching and being the fact that intended opinion is hidden (that is, multi- meaning of the entitlement). We know that autumn is sometimes rainy, sometimes warm and sunny, sometimes cloudy. Weather being changeable one's inner world also gets worried, feels in trouble. And, the poet, I. Yusupov devotes his work "Arasatli guz" to war, which is completely different thing. "Black clouds roam in the autumn sky, Synopticians know where it will fall. Ongoing war in Avganistan isn't getting dry, No one knows where the end of these things all" [7; 35].
The verse containing three conclusions in total gives a description of the current of that time, policy of the period, people's vul-pinism, the current aspect of the people in entitlement "Arasatli Guz", i. e. it says about war neglecting human being, its damage and catastrophe brought about, and person's feelings worried about the development of the world are assimilated with weather. The line in the verse "Black clouds roam in the autumn sky" is a bridge connecting the meaning of its entitlement and the meaning in the verse itself, which completes and organizes their meaning.
However, receptive entitlement shouldn't be separated from the meaning of work. Because, entitlement is a small aspect of that work, or an accumulated shape of the work, which can also be called as its key. "... no matter if an entitlement of work consists of one word or word order, it accumulates the meaning and content of the whole work" [1; 193]. In order to fully understand the meaning of lyrics in receptive entitlement it is necessary to stop at its subject, compositional structure, world of image, methods to make more of an art, author's intention, in short, each minor part of elements of art. Then, reader is satisfied with entitlements and their meaning.
In a karakalpak lyric poetry much there are verses the names hold own that. We see sometimes, that in majority case not traditional, free verses are written without title. Because in composition free verses a key point hatches in semiotic center and holds own the names.
Rhyme is one of the basic categories in Karakalpak poetry. Because, dimension, occupancy, rhyme set-up of poem structure is directly dependent on the number of syllable of poem lines, together with rhyme orders. This principle is strictly followed in most of the lyrical genres of Karakalpak poetry. These types of strict ritual principles of dactyls are not followed in vers libre genre (free verse) that came into our literature in the 1980 as a result of the investigations of our poets in the field of art.
In Karakalpak literature free verses might be with rhyme or without rhyme. Although rhyme is not complete, it can be replaced by sound repetition, matching words where syllable numbers are not the same. And, compositional integrity of verses that do not follow common rhyme regulations and how the peculiarity that is characteristic to lyrical verses is performed is considered below.
Litterateur K. Urazimbetov writes in his pieces ofwork: "to use words that do not have sound repetitions and sound assonances for
rhyme" is "to try to economize words to be used in literature study, or it is what is explained by emphasizing more on the meanings of words and opinions and the loss of rhyme in free verses comes from this source" [4; 116-117].
This peculiarity means that poets are away from monotony in poetry, thus understanding the diversity of creativity, and we don't see the same picture of repetition in their pieces of work.
In some of the cases visualization is supplied by abstraction and symbolism in delivering an opinion. In the composition of these sorts ofverses idiosyncratic description method, symbol, image are distinguished with a big size of metaphoric comparison. In Turkan valley looking at the Great Bear, I think of my fatherland: Present remains of the Great Turks here Cutting down the Ox river land, Peeling the skin alive, Onto the Red sand and Black sand Pouring the blood of Ox river land The sand had never had with blood to thrive... [2; 44].
In free verses emphasis is mostly put on logical implication, that is, not on the meanings reflected in lines or in couplet, bit on the meaning of a word. In other words, in ritual verses of dactyl, while emphasis is put on rhyme in reflecting the meaning, in free verses each word serves as a component of general meaning and it has, on its own, got a point of symbolic meaning.
In the lyrics of B. Genjemuratov, S. Ibragimov, there are differences of writing verses sometimes in small letters, sometimes in capital letters, sometimes with punctuation marks, sometimes with no punctuation marks. This means, firstly, challenging a pupil to be even more attentive by various games thus strongly touching their emotional sentiments, and secondly, thoughts and opinions coming from the time when poet is inspired are delivered as they are.
I'll open all the doors
for you, spring.
Trunk of djieda tree,
gets swollen as a king
Moisture isn't going though free [3; 3].
We see a full point after each sentence construction in these lines ofverse by S. Ibragimov, who used some peculiar landscape description. And some lines don't start in capital letters like in ritual verses, and they there is no comma at the end of the sentence. Here, the poet deeply understood the importance of punctuation marks in keeping the full opinion, thus using a very good technique in delivering the state of lyrical hero. This composition can be explained like the stone properly set in mosaic art. Because, while a full composition (meaning) is formed by different shapes of each stone that are not set equally, in free verses word does the same function.
Conclusions:
1. The name of poetics content is easily associates with the meaning reflected in work. The name of poetics is short and it has imagery.
2. The title of poetics can be a core providing the semiotic basis of that work.
3. In karakalpak lyric poetry much there are verses the names hold own that. In composition free verses a key point hatches in semiotic center and holds own the names. Verses with no rhyme are mostly written in verlibre genre.
4. It doesn't follow the criteria of ritual verses in full: stability in the number of rhyme and syllable is not kept. Words are of basic compositional functions in verses.
5. Since words in verses have metaphor-symbolic meanings as they the results of lots of efforts of research poets did in and abstract pressure, they are rich in emotion and aes- the field of creativity.
thetics. There is dominance of the fact that reflection of We define the author's position through studying the name of
one's inner world is more leading than describing outer poetics, the features of correlation between composition and con-
world, that an opinion is more leading than a shape. tend, the peculiarities of individual searching of the author in poet-
6. In general free verses without rhymes are constraints of pe- ics. Giving the name of poetics to work requires big adroitness and culiar type in Karakalpak lyrics, but we can evaluate them artistic investigation.
References:
1. Генжемуратов Б. Ибрайым Юсупов поэмаларында атама поэтикасы//Эжинияз атындагы НМПИньщ илим, билимлендириу ;эм тэрбия мэселелерин рауажландырыудагы орны атамасындагы Республикалы^ илимий-теориялы^ конференция материаллары. -Некие: Кдра^алпа^стан, 2010. - Б. 192-193.
2. Генжемуратов Б. Сайланды шыгармалар; Крсыцлар ;эм поэмалар. - Н.: Кдра^алпа^стан, 2012. - 164 б.
3. Ибрагимов С. Бесинши мэусим. - Н.: Кдра^алпа^стан, 1986. - 60 б.
4. Оразымбетов Дэзирги ^ара^алпак, лирикасында керкем формалардыц эволюциясы ;эм типологиясы (1970-2000 жыллар). -Монография. - Н.: Билим, 2004. - 188 б.
5. Расулов А. Бадиийлик-безавол янгилик. - Тошкент: Шар^, 2007. - Б. 336.
6. Юсупов И. БYлбил уясы. - Некис: «Билим», 1997. - 200 б.
7. Юсупов И. Х|эр кимниц ез заманы бар. - Некис: Кдра^алпа^стан, 2004. - 113 б.
