The Harora (Non-Rhymed) Ghazals In The Uzbek Classical Literature

This article begins with a brief overview of the role, historical development and types of the ghazal genre in Eastern classical literature. The peculiarities of the poetry of Uvaysi, who has an important role in the history of the Ghazal genre, will also be analyzed in detail. The special type of ghazal, that is “Harara” will also be issue of the particular discussion. This type of ghazal is considered to be one of the unique peculiarity of Uzbek classical poetry, which can be rarely found in the classical works. The reason why this genre is rarely faced is that, it does not consist any rhymes, which is the most important element of poetry. Creating a poem without any rhymes is extremely difficult. Despite this difficulty, Uvaysi succeeded to create poems at “Harara” genre, because of her unique talents and skills. There are totally 6 Hararas involved in the manuscript of her collection. In this article, these ghazals are qualified in terms of meaning and artistic expression. Additionally, the issues of the originality and mastery of the works of Uvaysi are highlighted. All necessary resources related to this genre is gathered and discussed, as well as, analyzed in detail. The researcher expresses his attitude to them and argues on some controversial issues. The meaning and content of the ghazals are widely covered. The role and characteristics of spiritual love are analyzed. The real essence of “Orifona ghazal” is defined. The issue of symbolism and its role in the works is clarified.