Linguists, especially literary linguists, often look at the name of the famous writer, People's Writer of Uzbekistan Pirimkul Kadyrov, quotes from his works "People's language and realistic prose", "Language and language", "Language and people". 'You will fall. Modern Uzbek prose such as "Qadrim", "Erk", "Meros", "Starry Nights", "Generation of Generations", "Black Eyes" from the life of contemporaries, which raised our historical novel to a new level. The author's research on literary language, enriched with novels such as "Diamond Belt", still teaches young artists, researchers and readers devoted to literature the secrets of art.
The history of language, examples of our classical literature, folk language and literary problems both amazed the writer and encouraged him to constantly search as a place of pearls. Although widely known for his highly realistic works, the teacher Pirimkul Kadyrov deeply analyzed and interpreted the charm of the word, the magic of language in a scientific and popular style, and his legacy in this area is also of great value.
Below you will find some excerpts from the author's literary language, word art, classical poets, interpretations of great figures in this regard.
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If you look at the history of the world, you will see that in a country where the national language has become the state language and true historical works are created in that language, development is accelerating. Among the most important factors that accelerated the development of England in the past centuries is the fact that English became the state language, and writers such as Shakespeare and Walter Scott wrote brilliant historical works in this language and introduced their people to the world. The same is true of Balzac's homeland of France, Goethe's homeland of Germany, and Leo Tolstoy's homeland of Russia.
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"Temur's Statutes" should be highly valued in Uzbek literature as an autobiographical work that began realism six centuries ago. The fact that Amir Temur made realistic demands on writers such as Shami and encouraged them to write in a language that could be understood without exaggeration and exaggeration, became a great example and program for the Temurids who later ruled the country.
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The fact that Amir Temur raised the status of the Turkic language with his "Tuzuklar" and made a turn in relation to this language became a great example for his descendants.
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Alisher Navoi, who collected fifty thousand bytes of poetry in his memory, is not limited to accumulating in the heart the riches of our literary language created over thousands of years. Perhaps he also memorizes good words and phrases in Arabic and Persian by memorizing his favorite words and phrases.
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Alisher Boykaro praised Alisher Navoi's poetry during his lifetime. It is unprecedented in history that the king, who was very busy with state affairs, wrote a special pamphlet dedicated to the poet's work.
Alisher Navoi's greatest service is described in the treatise as follows: "The dead body of the Turkic language was clothed with the breath of Christ, and that spirit was clothed with Turkish alfoz toru pudidin hulla and silk."
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The qualities that make Alisher Navoi's works such a lifelong passion are reflected, first of all, in his word art, in his artistic language. Because language is a form in relation to content, and it is as if it is a "dress" dressed in meaning. That is why our eyes first come to this "dress" - the language.
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Bobur's language is simpler than Navoi's, close to a lively spoken language. Therefore, in the biblical language, the words "erdi", "erdim" are abbreviated as "edi", "edim". All this is due to the fact that Babur Mirzo was born and raised in Andijan, the birthplace of our literary language, and lived in Tashkent and Samarkand.
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Babur Mirza believed that a person can see himself through words. In the line “Every time you see my word,” the word is valued as a visible being.
Of course, the shape of the word is only visible on paper, but there is also a picture drawn on the inside of the word. This picture contains Bobur's life, his experiences, his taste in his language, his character, his inner experiences. With this in mind, Babur says, "When you read my words, you will see yourself" ("you will miss me").
Only realist writers on the level of genius can give such a living soul to literary language.
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Due to the classical power of our literary language, it is possible to freely express all the subtle and complex feelings and concepts that exist in the languages of the world in our native language.
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The whole power of language is due to the fact that it is created and enriched in the hearts of the people and in the process of labor.
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It is only when the idea and the feeling are truly harmonious that it reaches the heart of the reader, "infects" him in a good way, that is, educates him. And the feeling with the idea can be combined only in the material of artistic language, through clear and figurative words.
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It can be seen in the letters of Silver and Otabek that our pure-hearted and sincere people were able to express even the most delicate, the most beautiful, the most poetic feelings through the literary language of the past.
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If the letters of Otabek and Kumush were written entirely in the style of the last century, instead of "edi" would be written "erdi", "soil" instead of "soil", "letter" instead of "kitabat", ko. pgina Uzbek phrases were replaced by complex phrases based on the laws of the Arabic-Persian language. It was there that the truthful thoughts, the wonderful feelings, expressed by the writer through these letters, could not have had such a strong effect on the reader as they have so far.
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If we approach the works of our writers such as A.Qodiriy, S.Ayniy, Oybek, G.Gulam, A.Qahhor, we can see that all of them were used as an artistic graft of the living vernacular into the literary language. But the question of how to combine the two rivers - the language of the living people and the literary language, how to combine them - is unique, based on the ideological and artistic task set by each writer. taste, talent, independent decision-making with the participation of life experience. The diversity in their literary languages stems from this.
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Cholpon himself gives the deepest and truest interpretation of Cholpon's work that critics have not been able to give. He lives in the embrace of truly lofty ideas, which are as pure and attractive as the stars hidden in the sky. At the same time, the poet seeks the purity, freedom, and charm of those heavens from the earth as well, but suffers in the cruel age of not finding what he is looking for.
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How much can we, the people of today's pen, learn from the brave independents, such as Cholpon and his great colleagues Abdullah Qadiri, Behbudi, Fitrat, in speaking the truth, in burning the people, in courage and devotion, and to what extent? we have a duty to remember that we must receive.
Newspaper "Literature and Art of Uzbekistan", No. 2015, 26
