TAJOHULI ORIFONA (Arabcha bi lib turib bilmaslikka olish) \u2014 mumtoz she’riyatda o’xshatish usullaridan biri; shoir o’xshatish manbaini kuchaytirib, bo’rttirib ko’rsatish maqsadida o’sha manbaga (odatda yorga, mahbubaga) nisbatan bir yoki bir necha o’xshatish qo’llaydi, lekin go’yo o’zini nodon kishilarcha tutib, o’zini bilmaslikka solib, ushbu o’xshatishlarining to’g’ri-noto’g’riligi haqida boshqalardan so’raydi. Aslida esa shoirning o’zini bilib bilmaslikka solishi shartli bo’lib, uning o’xshatishlarida kamchilik, xatolik yo’q; uning asl maqsadi yor qiyofasini mubolag’ali tavsifu o’xshatishlar asosida kishi ko’z o’ngida aniq gavdalantirishdan iboratdir. Masalan, Lutfiyning Malak yo hur, bilmom, yo parisan? Bu raftor ila yo kabki dariysan? baytida shoir ma’shuqa siymosini malak, hur, parilarga, uning yurishini esa kabki dariy (kaklik turi) yurishiga o’xshatadiyu, o’zini bilmaslikka solib, ayni qaysi o’xshatish to’g’riligini bilmaganday, bu haqda so’rab ko’radi. To’g’ridanto’g’ri o’xshatishga nisbatan bu xil yashirin o’xshatish, qiyoslash baytning ta’sirchanligini oshiradi, o’quvchiga zavq bag’ishlaydi. Tajohuli orifona san’ati ko’pincha g’azalning matlasidan maqtasigacha davom ettiriladi, ya’ni barcha baytlar shu san’at asosida yoziladi. Masalan, Atoiyning Mengiz yo ravzai rizvonmidur bu? Og’iz yo g’unchai xandonmidur bu? bayti bilan boshlanadigan g’azali oxirigacha shu san’atga asoslanib yaratilgan. Tajohuli orifona san’ati mumtoz she’riyatimizda keng qo’llangan bo’lib, undan deyarli barcha shoirlar foydalanganlar. Ad.: Hojiahmedov A., Mumtoz badiiyat malohati, T., 1999.<\/p>\n","protected":false},"excerpt":{"rendered":"
TAJOHULI ORIFONA (Arabcha bi lib turib bilmaslikka olish) \u2014 mumtoz she’riyatda o’xshatish usullaridan biri; shoir o’xshatish manbaini kuchaytirib, bo’rttirib ko’rsatish maqsadida o’sha manbaga (odatda yorga, mahbubaga) nisbatan bir yoki bir … Read More<\/a><\/p>\n","protected":false},"author":1,"featured_media":16402,"comment_status":"open","ping_status":"open","sticky":false,"template":"","format":"standard","meta":{"footnotes":""},"categories":[187],"tags":[],"class_list":["post-28961","post","type-post","status-publish","format-standard","has-post-thumbnail","hentry","category-t-harfi","entry"],"translation":{"provider":"WPGlobus","version":"3.0.2","language":"ru","enabled_languages":["uz","kr","ru"],"languages":{"uz":{"title":true,"content":true,"excerpt":false},"kr":{"title":false,"content":false,"excerpt":false},"ru":{"title":false,"content":false,"excerpt":false}}},"_links":{"self":[{"href":"https:\/\/milliycha.uz\/ru\/wp-json\/wp\/v2\/posts\/28961","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/milliycha.uz\/ru\/wp-json\/wp\/v2\/posts"}],"about":[{"href":"https:\/\/milliycha.uz\/ru\/wp-json\/wp\/v2\/types\/post"}],"author":[{"embeddable":true,"href":"https:\/\/milliycha.uz\/ru\/wp-json\/wp\/v2\/users\/1"}],"replies":[{"embeddable":true,"href":"https:\/\/milliycha.uz\/ru\/wp-json\/wp\/v2\/comments?post=28961"}],"version-history":[{"count":1,"href":"https:\/\/milliycha.uz\/ru\/wp-json\/wp\/v2\/posts\/28961\/revisions"}],"predecessor-version":[{"id":28962,"href":"https:\/\/milliycha.uz\/ru\/wp-json\/wp\/v2\/posts\/28961\/revisions\/28962"}],"wp:featuredmedia":[{"embeddable":true,"href":"https:\/\/milliycha.uz\/ru\/wp-json\/wp\/v2\/media\/16402"}],"wp:attachment":[{"href":"https:\/\/milliycha.uz\/ru\/wp-json\/wp\/v2\/media?parent=28961"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/milliycha.uz\/ru\/wp-json\/wp\/v2\/categories?post=28961"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/milliycha.uz\/ru\/wp-json\/wp\/v2\/tags?post=28961"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}