THE USE OF STYLISTIC DEVICES IN THE WORKS OF MAGTYMGULY

Nurymova Gulnar1, Gurdova Lachyn1
1Dovletmammet Azadi Turkmen National Institute of World Languages, Lecturer in the Department of Far Eastern Languages

Abstract
Magtymguly Pyragy, a renowned Turkmen poet, is revered for his masterful use of literary devices to imbue his verses with profound meaning. His poems, infused with a blend of philosophical insights, social commentary, and heartfelt emotions, have captivated audiences for centuries. This article delves into the effectiveness of literary devices in shaping meaning in Magtymguly Pyragy’s poetry, exploring how these tools enable him to convey his messages with unparalleled depth and resonance.

Keywords: devices, Magtymguly, poetry, stylistics


Category: 10.00.00 Philology

Article reference:
Nurymova G., Gurdova L. The use of stylistic devices in the works of Magtymguly // Modern scientific researches and innovations. 2024. № 1 [Electronic journal]. URL: https://web.snauka.ru/en/issues/2024/01/101351

View this article in Russian

When discussing the eloquence of language, it is imperative to delve into the profound mastery of linguistic elements, particularly the intricacies of stylistic devices and linguistic series. Magtymguly Pyragy, the esteemed poet of the Turkmen people, showcases a remarkable command of linguistic series in his verses. His utilization of linguistic devices not only enhances the aesthetic value of his works but also contributes to the cultural and intellectual richness of Turkmen literature.

Magtymguly Pyragy, often referred to as the “Poet of the People,” skillfully employs linguistic series to embody the values and character of the Turkmen society. His deep understanding of the Turkmen language serves both the cultural heritage and the artistic expression of the nation. Magtymguly’s commitment to linguistic precision and cultural representation in his works reinforces the dignity of the Turkmen people and preserves the poet’s creative legacy as a sacred contribution to national identity.

Magtymguly’s attainment of the status of the “Poet from the Heart” underscores the profound impact of his words on the collective consciousness of the people. His verses resonate deeply with the hearts and souls of his audience, distinguishing him from other poets of his time. The emotional intensity and genuine connection found in Magtymguly’s poetry elevate him to a level where his words become an integral part of the emotional landscape of his readers.

The efficacy of linguistic mastery lies in its ability to influence the audience on various levels. Magtymguly’s incorporation of stylistic devices such as metaphors, and metonymy enhance the aesthetic appeal of his poetry. The deliberate choice of words and their arrangement creates a synergy that not only conveys meaning but also elicits emotional responses from the readers.

Magtymguly’s attention to linguistic precision is evident in his meticulous use of sound patterns and rhythmic elements. Whether in the gentle flow of love-themed verses or the rhythmic intensity of his patriotic compositions, the poet’s linguistic choices contribute to the overall musicality of his works. The lyrical imagery created through linguistic devices enriches the sensory experience of the audience, making Magtymguly’s poetry a captivating journey of language and emotion.

Pyragy’s mastery of language is evident in his meticulous crafting of sounds and rhythm. He employs alliteration, the repetition of initial consonant sounds, to create a pleasing auditory texture, as in the line “Görsem, eý, dilber jemalyň, ygtyýarym galmaz-a” (“Seeing your beauty, my will is lost”). Onomatopoeia, the use of words that sound like what they describe, adds an element of vividness to his descriptions, such as the word “galmaz-a” (“is lost”), which mimics the sound of a sigh. Additionally, Pyragy utilizes rhyme schemes to enhance the musicality of his verses, creating a sense of harmony and cohesion.

Pyragy’s poetry is enriched by his skillful use of figurative language, which allows him to transcend the limitations of literal expression and convey abstract concepts with vivid imagery. Personification, the attribution of human qualities to inanimate objects or abstract concepts, breathes life into his verses, as in the line “Görmez ersem bir zaman, sabr-u kararym galmaz-a” (“If I do not see you for a time, my patience and resolve will not last”). Metaphor, the substitution of one term for another to imply a comparison, adds layers of meaning, as in the line “Ýürek daglarynda, ýaşlar ýaýlar-a” (“Tears flow on the mountains of the heart”). Simile, which directly compares two elements using the words “like” or “as,” provides a clearer and more concrete connection, as in the line “Dünýä gülleri ýaly, ýaşaýan her adam” (“Like the flowers of the world, every living person”).

Magtymguly Pyragy’s poems stand the test of time due, in part, to the effectiveness of his literary devices. These tools enable him to transcend cultural and linguistic barriers, connecting with readers on a profound emotional level. His verses continue to inspire and challenge audiences, prompting them to reflect on the nature of love, life, and the human experience. The mastery of language, the power of figurative expression, and the subtle use of symbolism all contribute to the enduring resonance of Magtymguly Pyragy’s poetry.

In conclusion, Magtymguly Pyragy’s poetry stands as a testament to the profound connection between language, culture, and artistic expression. His masterful use of linguistic series elevates his works to a timeless realm, where the beauty of words transcends boundaries and resonates with readers across generations. Magtymguly’s legacy as a linguistic virtuoso continues to inspire admiration and appreciation for the rich tapestry of Turkmen literature.


References
  1. Çöňňäýew Ý. Häzirki zaman türkmen dili. Leksika. – Aşgabat, “Magaryf”, 1988.
  2. Garryýew B.A. Magtymguly. – Aşgabat, “Ylym”, 1975.
  3. Häzirki zaman türkmen diliniň leksikologiýasy. – Aşgabat, “Türkmenistan”, 1972.
  4. Magtymguly. I tom. – Aşgabat, 1992.
  5. Nepesow G. Metafora çeper diliň möhüm serişdesidir. – Aşgabat, “Ylym”, 1983.


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