Classification Of Poems In The Collection “Gulshani Dilafgor”

This article classifies some of the poems in the “Gulshani Dilafgor” collection. Most of the poet’s poems are in sync with the lyrical works of poets such as Furqat, Muqimi, Hamza, Khislat, Kami, imbued with the ideas of nationalism and enlightenment. The classification of lyrical poems in the collection of the poet “Gulshani Dilafgor” shows that Dilafgor could not avoid the themes that accompanied the poets in Uzbek classical poetry. He, too, relied on the progressive ideas of his time in continuing the traditions of his predecessors.


INTRODUCTION
The literary heritage of enlightened artists who lived and worked in the late 19th and early 20th centuries is preserved in many libraries around OCLC -1121105668 addition to the Middle Ages, the museum has a large number of sources on various fields of science and literature created in the XIX -XX centuries.
It is natural and customary for any researcher whose case is related to the past to come across information here that is not yet known to anyone.
Our encounter with "Gulshani Dilafgor" was one of such "ordinary" cases. Dilafgor's poems "Gulshani Dilafgor" were first published in book form in 1914 in Tashkent by Yakovlev, and then in 1916 in the Gulomiya printing house. Both editions repeat each other. "Gulshani Dilafgor" includes poems of the poet in the genres of ghazal, murabba, muhammas, musaddas, qasida, masnavi, qita and chiston. The poems were not placed at the request of the dewan. At the end of the book, the author explains this situation as follows: Insha'Allah, he hopes that we will be able to recite the second verse in the same way, that is, in the same alphabet and under the name of "Devoni Dilafgor" [1, p. 48]. Does this collection meet the literary requirements and legal requirements specific to the dewan?

THE MAIN FINDINGS AND RESULTS
What should Devon be like? As we know from sources and scientific literature, the dewan often begins with a preface (introductory part). In it, the author provides information about the reasons for writing this collection of poems, its name, the spiritual or material support in its writing (of course, if they exist). There is no prose or prostration in Gulshani Dilafgor. Toshbosma (Printing industry): Zihi shohi arab, mohi ajam, ul sayyidi barno, Xudo Qur'onda aydi vasfinga "Yosin" ilan "Toho".
But the poet's literary heritage has not been studied as a separate object of study based on primary sources. One of the urgent scientific tasks is to study the lyrical works in Dilafgor's collection "Gulshani Dilafgor" on the basis of the latest achievements of literature and literary sources and textual studies.
There is not much information about Dilafgor's biography and creative heritage. The available sources are also in the form of brief reports on the activities of this artist.
As a poet, Dilafgor created more lyrical works. He, too, was inspired by the masters of the word art in his work, wrote parables to them, and tied tahymes to his poems. He wrote poems similar to Fuzuli's. Poets such as Yassavi, Mashrab, Khislat, Hazini, Muqimi, Furqat, Zavqi, Miskin, Kami tied muhammas to their works.
When the poetry of the poet Dilafgor is classified by subject, it is possible to observe how the writer's aesthetic ideal grew. The collection "Gulshani Dilafgor", published by the poet at his own expense, includes 23 ghazals, 20 muhammas (1 muvashshah), 3 musaddas (1 tarje'band), 1 chiston and 2 fard.  While studying the lyrical works in "Gulshani Dilafgor", we witnessed that the poet was a madrasa student, a man of knowledge of poetry, and was able to show his talent and potential in his works. Dilafgor could not avoid the themes that accompanied the poets in Uzbek classical poetry. He, too, relied on the advanced ideas of his time in continuing the traditions of his predecessors, who had shaken the pen before him. The range of themes of the poet's poetry is wide and varied. Most of Dilafgor's lyrical works are ghazals, which also vary in form and subject matter.
It is known that the period of Dilafgor's life is called "the period of national awakening" in the history of our literature. Of course, in the work of each artist, the period in which he lived, the environment is reflected in some way. We can see this in Dilafgor's work as well. Accordingly, the lyrical works of the poet can be divided into the form of poems that express the mystical spirit and content, religiousenlightenment, science-enlightenment, love songs, social problems. Won't you burn, poor soul, Dilafgor, ohkim.
He is always in the forefront of conversation.
Dilafgor's works, like the poems of his contemporary poets, play a special role in shaping the sense of nation. In particular, his poems about the nation are in harmony with the poetry of Hamza, Abdullah Avloni on this subject: Tun-kechalar choyxonada aytib hamisha safsata, Ko'k choy ichib, shilqillashib hyech ish qilolmaymiz hanuz.
It is always nonsense to tell in the cafe at night, We still can't do anything by drinking green tea and sneezing.
Or in another poem he states that he will not be left out of the progress that science holds: Simsiz havoda teligrof yurguzdi ilmu fan ilan, Biz bodparak, bedonadin o'zga bilolmaymiz hanuz.
A wireless telegraph carried with science, We still don't know anything other than the wind.
Ul Yo(v)rupo odamlari ilm yo'lig'a aylar jadal, You are the best in the world.
As we have seen, Dilafgor's verses on "figurative divine love" are numerous. Another of them begins with the following matla: Arsai olamda, jono, orazing chun oftob.
In the history of our literature, there is probably no Turkish-speaking writer who did not enjoy Fuzuli. Once upon a time, it was customary to write ghazals in Fuzuli's language due to his sweetness. People's poet of Uzbekistan Erkin Vahidov also acknowledged Fuzuli's genius: He wrote, Mening shoirligim yolg'ondir ammo, Fuzuliy she'riga oshiqligim rost, -My poetry is a lie but, It is true that I am in love with Fuzuli's poetry, Dilafgor, like his predecessors, wrote fuzuli poems and continued this tradition in a sense. In particular, the poet's ghazal, which begins with the following verse, is similar to Fuzuli's: Go'zal mahvashlar ichra sen kabi hurliqo bo'lmaz, Qiyomingla nechun tashbih qilam tubo raso bo'lmaz.