The role of metaphors in shaping the lyrical plot in the poetry of I.Yusupov

Lirik she‘riyatda syujet epik janrlardagi kabi tashqi voqealar orqali emas, balki lirik subyekt ichki dunyosining bosqichma-bosqich ochilishi orqali rivojlanadi. Bu jarayonda metaforalar hal qiluvchi o‘rin tutadi: ular faqat ifoda vositasi emas, balki lirik syujetni shakllantiruvchi tarkibiy unsur vazifasini ham bajaradi. I. Yusupov she‘riyatida metaforalarning turli xillari, ayniqsa, jonlantiruvchi va narsalashtiruvchi metaforalar lirik syujetning dinamik ochilishiga xizmat qiladi. Metaforik fe‘llar lirik tuzilmaga harakat olib kirishda muhim o‘rin tutadi, ot va sifatlardan yasalgan metaforalar esa ramziy ma‘nolar va hissiy ziddiyatlarni kuchaytirib, lirik syujetni chuqurlashtiradi. Shunday qilib, I. Yusupov she‘riyatida metaforalar shunchaki uslubiy bezak emas, balki lirik syujet qurilishining asosidir. Metaforik o‘zgarishlar orqali shoir hissiy kechinmalarni tartibga soladi, lirik fikr yo‘nalishini belgilaydi va yaxlit badiiy tuzilma yaratadi.

R E S E A RC H F O C US xalqaro ilmiy jurnali hamkorligida

IQTIBOS UCHUN Daniyarova G.P. The role of metaphors in shaping the lyrical plot in the poetry of I.Yusupov // «O‘zbekiston olima ayollarining mamlakat taraqqiyotiga qo‘shayotgan hissasi» mavzusidagi xalqaro ilmiy-amaliy konferensiya materiallari (Nukus, 2026-yil 9–10- oktyabr). – Nukus, 2026. – B. 493– 497. – DOI: https://doi.org/10.66073/ ReFocus-Conf/0910092

«O‘zbekiston olima ayollarining mamlakat taraqqiyotiga qo‘shayotgan hissasi» XALQARO ILMIY-AMALIY KONFERENSIYA NUKUS, 9–10-OKT YABR 2026

THE ROLE OF METAPHORS IN SHAPING THE LYRICAL PLOT IN THE POETRY OF I.YUSUPOV

Daniyarova G.P Karakalpak State University, Doctorate (DSc) Keywords: lyrics, image, metaphor, lyric plot In lyrical poetry, the plot does not develop through external events as in epic genres, but through the gradual unfolding of the inner world of the lyrical subject. In this process, metaphors play a crucial role, functioning not only as expressive devices but also as

structural elements that shape the lyrical plot. In the poetry of I.Yusupov, metaphors actively participate in the formation, development, and culmination of the lyrical experience. Unlike traditional narrative progression, the lyrical plot is built upon emotional and conceptual shifts. Metaphors serve as key markers of these shifts, enabling the transition from one emotional state to another. For instance, metaphorical images such as the

“green roof of youth” or “childhood as a golden ring” do not merely decorate the text but create stages in the lyrical movement—from nostalgia to loss, from reflection to philosophical generalization. Well-known poetry belongs to lyrical works. Lyric (Greek "Lyra" is a musical instrument. This instrument was played while reciting verses) is a part of literature. There is an artistic image in the basis of any lyrical work. The artistic image is usually described as a form of the representation of reality and as a tool in art, the representation of abstract ideas in concrete forms of feeling. Metaphors are one of the main tools that provide imagery in poetry. Although all the words used interchangeably in terms of similarity form a type of metaphor, they are not all the same. We have mentioned that the problem of metaphor can be studied in many humanities fields besides literature. All these branches learn the metaphor in the aspect they are interested in, and divide it into groups based on the principle of classifications necessary for them. In modern linguistics, firstly they are divided into linguistic and poetic metaphors. As can be seen from this, the poetic metaphors are learned in literary studies. The most important properties of poetic metaphors are originality and expressiveness, and these properties are always realized in close connection with the context. In scientific studies related to literary studies, in particular, in special dictionaries and textbooks, no special attention is paid to the classification of metaphors. Therefore, in the scientific literature, two types of metaphor are mentioned: metaphor – animating and metaphor – objectification types and they estimate that there may be other classifications besides these. [2.69]

Let's focus on two types of metaphor. When we say that metaphor is animate, it is meant that the qualities characteristic of a person are transferred to the inanimate things, events in the world. On the other hand, in the opposite way, the metaphor is the objection, the signs characteristic of the events, things of the external world are transferred to the events of the inner world – to the spiritual concepts. It is clear that NUKUS · 2026

metaphor is a comparative study of internal and external world. In I. Yusupov's poetry, the animating type of metaphor is used actively. For example: Wa tuwısqan tallar dala batırı, Oh, related willow field hero, Wa, siz jaslıǵımnıń jasıl shatırı, Oh, you are the green roof of my youth, Sarǵayǵan saratan barlas batılı. "The yellowed saratan brave dares", [3.58] in X A L Q A R O I L M I Y- A M A L I Y K O N F E R E N S I YA

the lines the relation of the poet to a willow is described, which is considered to be an expressive characteristic of poetic metaphor. By reading the lines, a deep love for his birthplace is awakened on the reader. The poet imitates black willows, which tolerate the intense heat of the sun and grow green in summer to the qualities of courage and heroism in a person. In general I. Yusupov's creativity, the willow, black willow detail can have the development evolution as own artistic image, and this tree type can have the symbolic image in the poet’s creativity. In poetry, metaphor objection is used actively in poet works like animating metaphor, and the impact is no less than animating metaphor. In Yusupov’s poetry, different types of metaphors—particularly animating and objectifying metaphors— « O ‘ Z B E K I S T O N O L I M A AY O L L A R I N I N G M A M L A K AT T A R A Q Q I Y O T I G A Q O ‘ S H AY O T G A N H I S S A S I »

contribute to the dynamic unfolding of the lyrical plot. Animating metaphors (where human qualities are attributed to nature) intensify emotional engagement and establish a connection between the poet and the surrounding world. At the same time, objectifying metaphors transform abstract inner experiences into concrete images, making the lyrical progression perceptible and tangible. Jıl artınan jıllar júzip, Year comes after year, Oyınıńdı keter buzıp, It will spoil your game Balalıq bir altın júzik A childhood is a gold ring. Túsip qalǵan soń qolıńnan After it falls out of your hand Hár kim izler óz jolınan, "Everyone traces on his own path" [3.73] in the lines he gives time a sign characteristic of a person, and imitates childhood, which is the happiest and most inexhaustible nature of a person to the "golden ring". Here, the "golden ring" is a precious metal. And even if it is buried for years, it does not rot like other metals because of it he may have copied its characteristics. Since I. Yusupov's poetry, no matter what topic he writes about, philosophical thought and thought predominate, so the artistic images used by him are also inclined to philosophical thought. This type of metaphor, that is, a metaphor objection, provides a description of a concrete feeling, which is one of the main conditions of an artistic image. This is because concepts related to the inner world of a person are abstract concepts, and objectification helps to perceive them based on concrete feelings. For example, the poem called «Ómirbek laqqı» contains the following lines: Kel jigitler gápti onsha sozbayın, Come on, guys, let's not talk too much. Bir qazanǵa kúydireyin sóz mayın, I will burn oil of words in a cauldron, Hám sol mayǵa salǵan gúrish piskenshe, And until the rice put in that oil is cooked,

Bes altı awız warsaqı sóz qozǵayın. Let's talk five or six words. [3.66] In the daily life of our people, it is known to us that in the past, oil was cooked in a pot and burned. And then vegetable oils appeared, and mainly it was used to make oil from sesame and cotton seed. And this type of oil is firstly burned then used for food, and it is the same now. He loaded the usage of the oil after being ready at the NUKUS · 2026

result of burning on the word. In the previous examples, we saw the transition of meaning of metaphors from inanimate to inanimate. Such metaphors can be transferred from animate to inanimate. For example: "You are poem born in a torn house" in this line he resembles the person or the Karakalpak classic poet Berdak to the poem. If we pay attention to the next lines of the poem, we will notice that the X A L Q A R O I L M I Y- A M A L I Y K O N F E R E N S I YA

image of the resin has become more defined and deeper. El dártine dárman bolǵan giyasań You are a medicine for the country's pain, Xalıq ármanı tuwǵan poeziyasań If you are the poetry born of the people's dream [3.70] If the metaphors used in both lines of the couplet clearly and understandably convey the image of the poet Berdak, the rhyme of these metaphors also affects the construction of the couplet, and as a result, we can see that the couplet is effective emotionally robbed. From the above examples, we can see that types of metaphors are used in the poetry of I. Yusupov, depending on the comparison objects and the meaning transfer. « O ‘ Z B E K I S T O N O L I M A AY O L L A R I N I N G M A M L A K AT T A R A Q Q I Y O T I G A Q O ‘ S H AY O T G A N H I S S A S I »

These are: 1) transferring human characteristics to inanimate objects; 2) transfer the sign of the subject to abstract concepts related to the spiritual world of a person or in the external world; 3) Metaphors are considered to be realized in basis of transfer of meaning from animate thing to an inanimate object; 4) Metaphors are considered to be realized in the basis of transfer from an inanimate object to an inanimate object. It is worth mentioning that in the creativity of the poet, the levels of these types of metaphor are not the same in terms of usage. Among these, the most used is metaphor animation, and the metaphor objectification is also the most used type. We can see that in the artistic thoughts of I. Yusupov, he tried to compare and understand the inner and outer world, and this is the event related to the surrounding where the poet grew. Language units that realize these two types of metaphors have also particular importance. If we take a general look, a metaphor can be described by words that belong to any part of speech. However, in poetry, especially in the creativity of I. Yusupov, these two types of metaphor prevail, and they are basically made from the words related to the verb and noun. This is because, even if we look at it from a logical point of view, they are the most suitable words for animating verbs and subjecting nouns. Despite this, the verb has an important place in the formation of both types of metaphors. Especially, in I. Yusupov's poetry: Teńiz qashqan menen bizden, even the sea fled from us, Biz qashpaymız elimizden, We will not run away from our country. Arba júrip keter ele, The cart will go,

Iske ótip alsaq sózden. if we move to work from word. [3.25] Verbs such as "run", "walk" in the compound series animate the sea and the cart with the actions associated with the words "sea" and "chariot". However, it should be mentioned that the action is not only characteristic of humans, but there are also words that denote the actions characteristic of animals, insects, birds, and other NUKUS · 2026

things. Contextual verbs explain a significant meaning when used with concepts related to the inner world of a person. For example, there is a poem called "Kewil kewilden suw isher". Basically, drinking water is applied to humans or animals. Water is the source of all life. Like this the person soul needs water (spiritual food) X A L Q A R O I L M I Y- A M A L I Y K O N F E R E N S I YA

like a thirsty person. So, where does the soul of a person get spiritual food, of course, from the soul of another person. That's why our people use the phrase "let your heart be relaxed". This means don't worry about anything. Therefore, we can see that verb metaphors have a special place in I. Yusupov's poetry. Metaphors made from nouns are characteristic of the objectification type of metaphor. For example: Qosıq teńiz, bolsam balıq, I will be a fish, if poem is sea, Is buyırsa sizdey xalıq, orders to work, people like you Ayaǵımdı qolǵa alıp, will hurry taking my leg Basım menen jumalayman. I will walk with my head. [3.129] « O ‘ Z B E K I S T O N O L I M A AY O L L A R I N I N G M A M L A K AT T A R A Q Q I Y O T I G A Q O ‘ S H AY O T G A N H I S S A S I »

These lines are taken from I. Yusupov's poem "Sen degende" and he resembles the poem to the sea. He resembles the importance of the sea for fish to the poet and poem. As it can be seen from the examples, we can say that the metaphors made from nouns have the same strong imagery as the metaphors made from verbs.

We can see that in the poetry of I. Yusupov there are also metaphors that come from the adjectives. Adjective metaphors animate some places, thing, events, but objectify them in other places. Especially the adjectives characteristic of a person animate. Scientist B. Yusupova, who has specially studied this, says the following description about the adjective metaphor: "... adjective metaphor is a metaphor that appears in the context of transferring a sign from one thing to another"[44]. And she says that in I. Yusupov's poetry the adjective metaphors appear from the transfer of signs, characteristics, qualities characteristic of people to other things. Also, she particularly said that they are inseparably connected with nature, things in it, events, human life, life, the contrast and correspondence between them are taken together, and in the context, they are harmonized with other words and used in a poetic sense.

Qaytpas miynet – qattı qollı tábiyat, Irrevocable work – strict nature, Aralasqan qızǵın miynet óshegis. Mixed hard work doesn’t give up [4.134] Man's cunning, narrow-mindedness, strictness, qualities are transferred to nature in these lines. Words that are neutral or do not have emotional-expressive properties in a separate form are given a poetic color in resin poetry and are effectively used in a new meaning in the context.

Moreover, metaphorical verbs play a significant role in introducing motion into the lyrical structure. Through verbs such as “the sea fled” or “the cart walks,” inanimate objects are set into motion, symbolically reflecting the internal dynamics of the lyrical subject. This movement is essential for the development of the lyrical plot, as it mirrors the evolution of thoughts and emotions. Metaphors constructed from nouns and adjectives further deepen the lyrical plot by reinforcing symbolic meanings and emotional contrasts. They create associative chains that guide the reader through the poem’s internal logic, ensuring NUKUS · 2026

coherence and unity in the absence of a conventional narrative. Thus, in I. Yusupov’s poetry, metaphors function as more than stylistic ornaments; they are fundamental to the construction of the lyrical plot. Through metaphorical transformations, the poet organizes emotional experience, shapes the trajectory of lyrical thought, and creates a cohesive artistic structure that reflects the X A L Q A R O I L M I Y- A M A L I Y K O N F E R E N S I YA

complexity of human perception and feeling.