A BILINGUAL POETESS

ISSN: 2582-4686 SJIF 2021-3.261, 2022-2.889, 20235.384, 2024-6.875 ResearchBib IF: 9.948 / 2024 VOLUME-5, ISSUE-12 772 A BILINGUAL POETESS Nasiba Saydalieva Farkhodovna, Candidate of Philological Sciences Academic Lyceum of the Samarkand Institute of Economics and Service (Republic of Uzbekistan) e-mail: nasibasaydalievaf[email protected] Mob.: 773272270 Annotation: The article discusses the tradition of bilingualism in the works of the 19thcentury poetess Muazzamkhan. Several of her ghazals written in Persian-Tajik have been analyzed from a literary perspective. The poetess’s emotions and views are examined in the context of modern interpretations. Keywords: bilingualism, hijron (separation), ghazal, riddle. Bilingualism has a unique tradition in the history of Uzbek literature. Creating poetry in two languages requires great skill and responsibility from a poet. To be able to find the artistic potential of a second language at the level of one’s mother tongue and to compose lines that correspond to the aesthetic spirit of that people is granted only to those with exceptional talent. Among the works of the poetess Muazzamkhan, who lived and wrote in the late 19th and early 20th centuries, 2 ghazals, 2 rubai and one riddle written in Tajik have survived to this day, alongside her Uzbek-language ghazals. Muazzamkhan’s Tajik-language ghazals also reflect her social views, hopes, and aspirations. She laments the world, the difficulties of her time, and regrets that her life passed in pain and sorrow: Ba dunyo omadam aslo nashud ayyomi man behbud, Nuqudi umr az dastam gurezht, hargiz nadidam sud Translation: I came into this world, but my state never improved; The treasure of my life slipped from my hands, I never gained any benefit. In another ghazal, Muazzamkhan turns to God, asking forgiveness for her sins and mourning that she spent her youth without devotion and worship. On the Day of Judgement, she begs God to have mercy on her: Khairad begona az gavg‘oi mahshar, voy bar holam, Ba waqti rihlatam yor ab, tu sozi oqibat mahmud. Translation: My intellect is overwhelmed by the uproar of Judgement Day; If You do not improve my final state, woe be upon me at my last moment. Muazzamkhan approaches the spiritual perfection of a human being from the standpoint of divine moral requirements. In her poems, we observe the artistic depiction of the spiritual image, intellect, and refined manners of the Uzbek woman. Every creator strives to test his or her talent in various poetic genres. Muazzamkhan widely used the possibilities of the traditional genre of the ghazal, turning it into a means of expressing her ISSN: 2582-4686 SJIF 2021-3.261, 2022-2.889, 20235.384, 2024-6.875 ResearchBib IF: 9.948 / 2024 VOLUME-5, ISSUE-12 773 ideological intention and impressions from various life events. Mastering the poetics of the ghazal, she also created richly in other poetic forms. Muazzamkhan’s rubai are mainly written on lyrical-romantic themes. In each of them, the subtle emotional experiences of the lover are expressed through artistic imagery capable of evoking deep aesthetic pleasure. In one of her rubai she writes: Chand kardam chora, az man khud turо dur medori, Zi oshiq harchi kutohi guzash tа‘zur medori. Ghuru ri husn dori, qadri oshiqro namedoni, Ilоhi misl-i man oshiq shavi, to qadri man doni. Translation: I searched for many solutions, thinking you were weary of me; If your lover has erred, forgive him. You are proud of your beauty and do not value the lover; May God make you a lover like me, so that you may know my worth. The enchanting power of love, the confession of the lover’s inner state toward his beloved, cannot be measured. In this rubai, the emotions of love arise from the poetess’s soul and reach the level of awakening the beloved from her indifference. According to the rubai, the lover expresses his feelings repeatedly, yet the beloved remains indifferent. Therefore, the lover decides to abandon his love and distance himself from her. However, the buds of love deeply rooted in his heart continue to blossom, driven by the beloved’s charm. Unable to detach himself from her, he begs forgiveness and asks her to listen to his heart. But the beloved, proud of her beauty, does not appreciate him. Finally, the lover tries to convince her of the strength of his love, and by praying that she too becomes a lover, he strengthens the emotional impact of the rubai. The final rubai is logically connected to the first and presents a new image of the emotional relationship between the lover and the beloved. Here, the lover is ready to turn the dust of the beloved’s feet into collyrium for his eyes, and if he happens to cast even a single unkind glance at her beautiful face, he is willing to have his face blackened in both worlds. The poetess skillfully finds unique metaphors to describe the beauty of the beloved’s face and the darkness of her eyes: Gar zi chashmi marhamat so yam kuni, jonо nigoh, Khoki poyaroh nasozam tutiyo, ruyam siyoh. Gar ba chashmi bad kunam bar ruyi nekuyat nigoh, Ruyi man dar har du olam misl-i chashmoyat siyoh. Translation: My dear, if you look upon me with merciful eyes, If I do not turn the dust of your feet into collyrium for my eyes, let my face be darkened. If I ever cast a bad glance at your beautiful face, Let my face be as dark as your eyes in both worlds. Muazzamkhan is one of the poetesses who holds her own place in Uzbek poetry of the late 19th and early 20th centuries. Her works express the people’s pains, dreams, and aspirations. Just as her poetic genres are diverse, the thematic scale of her creativity is also broad. Regardless of the language in which they are written, the themes Muazzamkhan addresses are closely connected with the issues found in classical Uzbek literature and are considered an integral part of the literatures of these peoples. ISSN: 2582-4686 SJIF 2021-3.261, 2022-2.889, 20235.384, 2024-6.875 ResearchBib IF: 9.948 / 2024 VOLUME-5, ISSUE-12 774 REFERENCES: 1. Akbarkhodjaev. “The Seven Lights of the East”, Tashkent. 2. Valikhodjaev B. From the History of Uzbek Epic Poetry. Tashkent, Fan 3. Publishing House, 1974. 4. Ganieva S. Alisher Navoi. Tashkent, Fan Publishing House, 1962, p. 83. 5. Jalolov T. Uzbek Poetesses. Tashkent, 1959. 6. Iskhakov Yo. Navoi’s Poetics. Tashkent, Fan Publishing House, 1983, p. 208. 7. 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