SOCIOPSYCHOLINGUISTIC ANALYSIS: LINGUISTIC AND PSYCHOLOGICAL FEATURES OF WOMEN'S SPEECH IN ALISHER NAVAIY'S 'KHAMSA' EPISTLES

SCIENCE AND INNOVATION INTERNATIONAL SCIENTIFIC JOURNAL VOLUME 4 ISSUE 11 NOVEMBER 2025 ISSN: 2181-3337 | SCIENTISTS.UZ 17 SOCIOPSYCHOLINGUISTIC ANALYSIS: LINGUISTIC AND PSYCHOLOGICAL FEATURES OF WOMEN'S SPEECH IN ALISHER NAVAIY'S 'KHAMSA' EPISTLES B.M. Polvonova Doctor of Philosophy (PhD) in Philology, Acting, Associate Professor Teacher of Academic Lyceum No. 2, Fergana Technical University https://doi.org/10.5281/zenodo.17744854 Abstract. This paper investigates the speech characteristics of female characters in Alisher Navoi’s “Khamsa” through a sociopsycholinguistic lens. By examining the linguistic, emotional, and sociocultural features of women’s dialogue in classical texts, the study highlights key stylistic patterns and their relevance in contemporary linguistic research. The works “Farhod and Shirin”, “Layli and Majnun”, and “Sab’ai Sayyor” are analyzed for their poetic devices, psychological undertones, and gender-based communicative strategies. Keywords: Alisher Navoi, Khamsa, sociopsycholinguistics, female speech, poetic devices, Eastern literature, gender linguistics, concept, sociology, psychology, gender linguistics, anthropocentric. 1. Introduction The “Khamsa” by Alisher Navoi represents a cornerstone in the canon of Eastern classical literature. Among its most notable features is the sophisticated portrayal of female characters and their speech patterns. These portrayals serve not only as literary devices but also as windows into the cultural, psychological, and social realities of the time. This study seeks to investigate how female speech in these texts reflects deeper sociopsycholinguistic traits that contribute to gender identity, communication norms, and linguistic heritage. We conducted research on the sociopsycholinguistic analysis of women's speech in the Hamsa epics, and, first of all, we studied sociological groups of female characters, such as the number, social origin and living conditions, age, and nationality, and developed their differences. The coverage of female characters in the sociocultural context was explained and analyzed in special diagrams. 2. Methods This study employs a multi-dimensional approach integrating sociolinguistic, psycholinguistic, and linguistic-stylistic analysis. Specifically: - Linguistic stylistic analysis was applied to detect metaphors, similes, emotional diction, and other poetic devices. - Psycholinguistic profiling was conducted to understand inner dialogues, emotional tonality, and speech strategies. - Comparative linguistics was used to juxtapose Navoi’s female characters with contemporary female speech. Corpora were developed using segments from “Farhod va Shirin”, “Layli va Majnun”, and “Sab’ai Sayyor”. While previous studies have focused on the artistic-aesthetic approach, this work has conducted scientific research based on the integration of sociolinguistics, psycholinguistics, and gender linguistics. Through the speech of each female character, their psychotype, emotional state, SCIENCE AND INNOVATION INTERNATIONAL SCIENTIFIC JOURNAL VOLUME 4 ISSUE 11 NOVEMBER 2025 ISSN: 2181-3337 | SCIENTISTS.UZ 18 and stream of consciousness were modeled. Communicative strategies of women's speech were identified and a typology was created based on their functional-social role. Actual speech acts such as requests, refusals, objections, and entreaties expressed in the speech of female characters (mother, princess, beloved, enslaved woman) were analyzed and described in a sociopsychological context. For example, the letter written by Princess Shirin to her lover Farhod is characteristic of written speech, and in this type of speech the girl speaks better, more freely, and calmly than in oral speech, and also expresses soft and anxious speech. What is your condition, O poor and poor man? I am a stranger in the land of the living. What is your condition, O mountain of sorrow? What is your complaint about this burden? Or the thoughts of her aunt Mehinbonu when she reports from Khisraw's suitors are also expressed in a unique way, with shame, anxiety, and hiding her own situation, as well as signs of pity for her lover clearly visible. The women's speech in the work is fundamentally different from the modern women's speech, as well as from the speech of lively conversation. Because the work takes into account the subjective views of the poet, the requirements of poetic speech. In the women's speech, the descriptions are very long and exaggerated, and strong emotions, subtle pragmatic goals and other means of influence are hidden in them. For example, this is evident in Shirin's appeals to Farhod: There is no one in the world like you, What you have done is like the work of the people. This work, you have created without us, You have made our hearts very happy. We are helpless in our own way, Without skill, your eyes have seen a miracle. If a hundred people were to be on your stomach, Then you would be able to work for a day. A hundred people would be like us because of your work, What we are, I will shine before you from God It is clear that in the work, the words of the mistress to her lover are many and passionate. She also retains the shyness and shyness of a young girl. When her aunt tells her about Khisraw's suitors, she expresses with the masculinity and modesty typical of girls that it would be better to die today, that death would be better than hearing these words. For example, the following speech of Shirin is an example of this: Who: "O my refuge, the place of my sorrow! May you always be my refuge from sorrow! How much trouble will I have to endure, How much shame will I have to endure. What if you put a knife to my head and hurt me, What if you kill me until I say this!? Lead me to the fire like an Indian, Throw me into the fire like a naked man In classical literature, poetic texts have a specific meter, rhyme system, and artistic techniques that give the characters' speech a unique style, appearance, and purpose. This creates a linguistic, sociopsychological state. SCIENCE AND INNOVATION INTERNATIONAL SCIENTIFIC JOURNAL VOLUME 4 ISSUE 11 NOVEMBER 2025 ISSN: 2181-3337 | SCIENTISTS.UZ 19 3. Results 3.1 Emotional Expressions and Poetic Devices The analysis of 'Farhod va Shirin' reveals Shirin's speech as deeply rich in emotional and aesthetic qualities. Her use of tashbeh (simile), isti'ora (metaphor), and tashxis (personification) constructs a layered discourse that reflects her internal struggle, moral reasoning, and social constraints as a royal woman. For example: “If your path is right, the path is open in my heart”. This phrase metaphorically communicates moral integrity as a condition for emotional vulnerability. The psychological and sociological analysis of women's speech, as seen in the genetic and purposeful origin of their names, is more clearly expressed in the graph below. "Khamsa" female images and modern female speech - a comparative analysis If we consider the first column as the discourse of female characters in classical works, and the second column as the discourse of characters in modern women, the difference between them is obvious. In this, it is also necessary to take into account the specific subjective factors of the author's discourse. Shirin's character's speech uses metaphor and simile more often, which indicates a strategy for expressing her emotional and social status in a complex way. Based on graphical indicators, Shirin used metaphor 1.5 times more than Layli. 3.2 Psychological Profiling of Speech Female characters were categorized into three psycholinguistic types: - Layli: lyrical, emotional, reflective. - Shirin: rational yet emotionally expressive. - Malika: directive, authoritative, high status. This categorization shows a pattern between social role and linguistic choice. 3.3 Comparative Findings Comparative analysis with modern Uzbek female speech shows a significant shift toward pragmatic, brief communication. However, emotional undertones persist in specific social contexts (e.g., maternal speech, traditional celebrations). 4. Discussion The results demonstrate how classical literary texts encode sociocultural attitudes toward women through stylistic and psychological dimensions of speech. Female dialogue not only constructs emotional identity but also reflects historical gender norms. These findings contribute to understanding linguistic evolution and the endurance of cultural speech archetypes. 5. Conclusion 0 50 100 Emotsionallik Sintaktik murakkablik Obrazlilik SCIENCE AND INNOVATION INTERNATIONAL SCIENTIFIC JOURNAL VOLUME 4 ISSUE 11 NOVEMBER 2025 ISSN: 2181-3337 | SCIENTISTS.UZ 20 This study provides an in-depth sociopsycholinguistic analysis of female speech in Alisher Navoi’s 'Khamsa'. Findings emphasize the poet’s mastery in representing women as complex, emotional, and socially nuanced characters. The research contributes to gender linguistics, psycholinguistics, and classical literary analysis. Poetic Device Shirin Layli Simile (Tashbeh) 14 10 Metaphor (Isti'ora) 18 12 Personification (Tashxis) 9 6 The table indicates that Shirin’s speech is stylistically denser, reflecting a fusion of emotional restraint and artistic refinement expected from a royal female figure. Her rhetorical strategy is subtly persuasive, often layered with moral implication and indirect appeals. A bar chart analysis (not shown here) indicates that Shirin uses metaphor 1.5x more frequently than Layli, suggesting a higher level of symbolic communication in negotiating her emotions REFERENCES 1. Navoi, A. (2010). Khamsa. Yangi Asr Avlodi 2. Karimov, A. (2015). Navoiy asarlarida ayol obrazlari. Toshkent: Fan. 3. Usmonov, B. (2018). Sharq adabiyotida ayol obrazining tahlili. Samarqand: Ilm. 4. Rahmonov, D. (2020). Psixolingvistika asoslari. Toshkent: Ilm Ziyo. 5. Qodirova, M. (2022). Lingvopoetik tahlil metodlari. Buxoro: Ma’rifat. 6. Lakoff, R. (1975). Language and Woman’s Place. New York: Harper. 7. Tannen, D. (1990). You Just Don’t Understand: Women and Men in Conversation. Ballantine Books. 8. Table 1. Frequency of Poetic Devices in Shirin and Layli’s Speeches (per 100 lines)