This study provides a scholarly analysis of the phenomenon of metapoetics and its manifestations in Uzbek poetry. Metapoetics is one of the most advanced theoretical approaches in modern literary studies, viewing a poem not merely as an artistic text but as a phenomenon that comprehends and reflects upon its own process of creation. The term derives from the Greek words “meta” (beyond, about, above) and “poetika” (the law or art of poetry), and it interprets the poem as a self-referential text that explores its own essence, the nature of the word, the act of writing, and the inner metaphysics of inspiration. Metapoetics as a scientific concept was formed in the 20th century in Europe, initially closely associated with the notions of metatextual reflection, metafiction, and metanarration. It is perceived as a poetic phenomenon that analyzes the poem itself, the process of its creation, and the spiritual mechanism of the word. In poetic expressions such as “I did not write the poem — the poem wrote me,” the creative self and the ontology of language become evident. From this perspective, metapoetics represents the epistemological dimension of poetry — an act of cognition within the creative process. Metapoetic layer — represents the poem’s internal process of self-awareness, reflecting on the nature of the word, the act of writing, silence, and the creative subject. In European literary theory, scholars such as Gérard Genette, Linda Hutcheon, and K. E. Shteyn have interpreted metapoetics and metatextual reflection as an act of the text’s self-knowledge. They regard the text not only as an aesthetic object but also as an epistemological subject, capable of understanding and interpreting its own creation. These theoretical foundations have also been applied in Uzbek literary studies — particularly through analyses of V. I. Dal’s lexicography and Anton Chekhov’s dramaturgy, where the cognitive, reflexive, and epistemological functions of the metapoetic approach are revealed. In Uzbek poetry, metapoetics emerged in the late 20th and early 21st centuries, during a period marked by the poet’s deepening philosophical self-awareness. In the creative works of Sirojiddin Sayyid, metapoetic processes are revealed through an inner dialogue between word, silence, inspiration, writing, and selfhood. In his poetry, the word functions as a creative force, while creation itself is portrayed as an epistemological process realized through patience and contemplation. The poet presents himself not as the writer, but as a witness to the spirit that writes itself. Metapoetic analysis in this context unfolds through several key layers: Ontological layer: The word acts as a generative power, and the poet exists as a being essential to the word’s life. Epistemological layer: Writing poetry is viewed as an act of knowing — a process of waiting, revelation, and discovery. Axiological layer: The word is sacred, transcending human error; waiting for it reflects the poet’s devotion and spiritual fidelity. Aesthetic layer: Rhythm and repetition transform the metapoetic experience into an artistic form, embodying the unity of thought and expression.

Metapoetics, metatext, autoreference

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