The article reveals the peculiarities of the artistic structure of Alisher Navoi's romantic poems based on the analysis. It deals with the great poet's skill in the use of visual aids and rhyming techniques related to repetition. For this purpose, the great poet's valuable comments on the principles of ghazal writing in the "Debocha" of the "Badoye ul-bidoya", the work of Atoullah Husseini "Badoye 'us-sanoye" by a scholar of classical Eastern poetry, well-known literary critics M. Shaykhzoda, A. Mirzoev, Hayitmetov and Y. Is’hakov's research is based on theoretical conclusions. Navoi's great predecessors, such as Hafiz and Lutfi, were aware of the question-and-answer style in their ghazals. It has been described as an artistic discovery of peculiarities, such as the beginning, the course of events, the sharpness of reality, the peculiar solution, and the praise drawn from reality. The artistic skills of the great poet in the use of the art of tardi reflection are analyzed, and the analysis of the formation of a unique semantic-compositional structure of romantic poems with the help of such pictorial means based on word repetition is revealed. The analysis also reveals the peculiarities of the musajja ghazals based on the formation of the inner rhyme in the poet's ghazal verses, the influence of the inner rhyme and internal radifs on the artistic structure of the ghazal, and the fact that Navoi's musajja ghazals were written not only in the hajj, but also in the rajaz and ramal.
Keywords:
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: romantic ghazal, artistic construction, word-based art, tardi aks (repetition of two or more words in a couplet), tavze (harmony formed by the repetition of the same sounds), musajja ghazal (a type of ghazal in which internal rhymes are formed in ghazal verses), rhetorical arts.
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