The article makes an attempt to analyze the ghazals of the outstanding representative of the Indian style Sohib Tabrezi in connection with the concept of “defamiliarization” (oshnoizdoi) formulated at the beginning of the twentieth century by Viktor Shklovsky, a key concept for Russian formalism. In the work of Sohib Tabrezi, “defamiliarization” is manifested primarily in the creation of meanings (maniofarini) and themes (mazmunsozi). The poet gives the word a new semantic and stylistic connotation, invests it with new potential and creates new motives and images with his participation. It is noted that in comparison with representatives of the Khorasan and Iraqi styles, poets of the Indian style show a greater tendency to defamiliarize. Soib Tabrezi is recognized as the most outstanding master of using the technique of detachment among the poets of the Indian style, as he reached unprecedented heights in creating unusual meanings (begon mania). It is emphasized that Soib uses innovations in word composition in ghazals, which are a prerequisite for creating new meanings. Thus, to denote the concept of “world”, the poet uses numerous, very unusual allegories “shishakhona” (“glass house”), “vakhshatsaro” (“house of horror”), “nilikhisor” (“blue fortress”), etc. It is emphasized that The most frequently used artistic figure, in which Soib Tabrezi uses “defamiliarization” with great skill, is the figure of reminiscence (talmeh). The main role in creating unusual meanings is played by changing the angle of view. After the figure of reminiscence, Soib most often uses the figures of comparison and personification.
Victor Shklovsky, formalism, creative work of Soib Tabrezi, “defamiliarization” (oshnoizdoi), artistic figures, reminiscence (talmekh), comparison and personification
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