Status of ghazal as a classical form of poetry in modern poetry

Abstract

In the article, in the last twenty years, the return to the ghazal genre has become the main subject of research. It is noted that since the first years of our state independence, the return to the ghazal genre, based on the great classical traditions, has begun to reveal its historical possibilities with new styles and expressions, and the return to the ghazal has become an opportunity to expand the new creative possibilities of many of our old and young poets. In this sense, it would be incorrect to speak of a crisis of aruz and ghazal in the twenty-first century. The article examines the path traveled by the ghazal and traces the pattern of its historical development from the beginning of the 20th century to the years of independence. Aliaga Vahid, Huseyn Javid, Azer Buzovnali, Mikail Mushfiq, Suleyman Rustam, who ignored any administrative and ideological bans in the Soviet times, followed the traditions of classical poetry, and in the following decades – Samed Vurgun, Rasul Rza, Mirmehdi Seyidzade, Bakhtiyar Vagabzade, and Zeynal Jabbarzade attempted to give freshness to the old weather.
In the 80s and 90s of the last century, the ghazal works of Haji Mail, Haji Alamdar Mahir, Alekber Shahid, Seyidagi, Aliaga Bakir, Hakim Ghani, who were disciples of the Baku-Absheron literary milieu to the classics, are characterized as a new comeback. Among the poets mentioned in the years of independence are Shahin Fazil, Ilgar Fahmi, Arif Buzovnali, Sayman Aruz, Ali Aslanoglu, Muzaffar Shukur, Haji Miraziz, Gulare Munis, Sona Khayal, Sahavat Talibli, Halil Yusifli, Aghakerim Hafiz, Mirhashim Talishli, Anver Nazarli, Hafiz Alimardanli, Baba Pünkhan, Mammad Majidoghlu, Akif Safa, Yasin Halil and other ghazal khans, the level of development of the ghazal in the new historical era is created, and its poetic possibilities are widely analyzed