The article dwells on the analysis of the poetical the mastership pertaining to the creation of Tajik poet Tolib Karim Ozarakhsh; the collection of his gazels «Divan of Love» being the basic material the author of the article hangs onto. The actuality of the theme is determined by the fact that Ozarakhsh`s creation hasn`t been subjected to any research up to now in the plane of redif rhyme. It is asserted that out of all classical and modern poetical genres it is a gazel where the poet`s innovations are evinced mostly noticeably. The author of the article marks Ozarakhsh`s peculiar art in the creation of redif which not only intensifies a musical coloring of the verse, but bears a meaningful charge either. Very original redifs are made out of different parts of speech; the fact being of rare occurrence in modern Tajik poetry. Into the bargain, the author makes an endeavor to theoretically generalize the definitions of redif notions in interpretations of both mediaeval theoreticians of literature and modern explorers as well.
Modern Tajik poetry, «Divan of Love» by Ozarakhsh, poetry, gazel, rhyme, redif, poetical mastership
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