Naughty children in Gafur Gulam’s and Mark Twain’s works Contents Introduction Chapter I. Uzbek and American literature and their impact to the world Literature

Conclusion is about the result of the work.
In Bibliography you can see the list of literatures used to carry out the qualification paper.

CHAPTER I UZBEK AND AMERICAN LITERATURE AND
THEIR IMPACT TO THE WORLD LITERATURE
1. 1. Uzbek literature and its periods
Uzbek literature, the body of written works produced by the Uzbek people of Central Asia, most of whom live in Uzbekistan, with smaller populations in Afghanistan, Tajikistan, and Kyrgyzstan.
Although its roots stretch as far back as the 9th century, modern Uzbek literature traces its origins in large part to Chagatai literature, a body of works written in the Turkic literary language of Chagatai. The earliest works of Chagatai literature date from the 14th century but remain easily accessible to readers of the modern Uzbek language. Modern Uzbek has today assumed the role once held by Chagatai, which all but vanished by the early 20th century, of being the reference language for Turkic historical and literary works in Central Asia.
Uzbek literature’s classical period lasted from the 9th to the second half of the 19th century. During that period numerous literary works were produced, often under the patronage of Turkic emperors, kings, sultans, and emirs. The best-known patrons of the Turkic literature of the historical region known as Turkistan—which includes what is today Uzbekistan as well as a number of surrounding countries—include the Qarakhanids (10th–13th centuries); such Timurids (14th–16th centuries) as Timur (Tamerlane), Shahrukh, Ulūgh Beg, Ḥusayn Bayqarah, and Bābur, the founder of the Mughal dynasty in India; and ʿUmar Khan, a 19th-century ruler of the khanate of Kokand.²
From the 10th to the 12th century, Uzbek written literature migrated from a Turkic script to an Arabic one. This transition opened Uzbek writers to the influence of Arabic literature; the result was that Uzbek literature underwent extensive changes as it adopted many of the forms and some of the language of Arabic poetry and prose. Works from this period include Yusuf Khass Hajib’s Kutudgu bilig (“Knowledge Which Leads to Happiness”; Eng. trans. The Wisdom of Royal Glory), written in 1069–70; Mahmud Kashgari’s Diwan lughat al-Turk (Compendium of the Turkic Dialects), compiled in 1072–74; and Ahmad Yugnaki’s 12th-century Hibat al-haqaʾiq (“Gift to Truths”), a didactic poem.
Among the other Central Asian poets who had a lasting influence on Uzbek literature is Ahmed Yesevi, a 12th-century religious poet who was a follower of the great Sufi leader Yūsuf Hamadhānī. Ahmed Yesevi’s poems—collected as Divan-i hikmet (“Book of Wisdom”)—constituted a new genre of Central Asian Turkic literature: a religious folk poetry. He used a popular vernacular that borrowed little Arabic and Persian and that featured a Turkic syllabic metre.
The 13th and 14th centuries saw the emergence of works written in Chagatai, a tradition that had a strong influence on the literature later classified as Uzbek. Among the poets of this period, those whose works have been preserved to modern times and remain popular today are Khwārizmī, best known for his Muhabbatnamah (“Love Letters”); Quṭb Khorazmī, who in 1340 translated Neẓāmī’s romantic epic Khosrow o-Shīrīn (“Khosrow and Shīrīn”); and Durbek, best known for his Yusuf o-Zulaykha (“Yusuf and Zulaykha”). In the second half of the 14th century and in the first half of the 15th, the regions of Transoxania and Khorāsān—especially the cities Samarkand and Herāt—became centres of a cultural renaissance in Central Asia. Under the Timurids, literature, written in Chagatai, underwent intensive development. Many poetic genres flourished, including the lyric, the elegy, and the romantic destān (an oral epic poem). Many works in prose, especially historical works, were also produced. Of the many outstanding poets of this period, Luṭfī was the great master of the ghazal (lyric love poem) and tuyugh (a Turkic quatrain, similar to the robāī), and he exerted a wide influence on poets of his time. In his sole narrative poem, Gul wa Nawruz (written in 1411; “Gul and Nawruz”), he extolled ideal love. Sakkākī, also among the period’s prominent poets, is best known for his divan (collection of poems), which contains munajaat (hymns), ghazals, and qasidas (odes) devoted to Ulūgh Beg. But it was Gadāī who was the most remarkable Uzbek poet of the 14th and 15th centuries. Although his divan has been preserved, very little of his life is known. Even the poet’s original name is unknown; Gadāī is derived from his use of Gadā (“Beggar”) as a tahallus (pen name) in his ghazals. His divan consists of 229 ghazals, 5 tuyughs, 2 qasidas, and 1 mustazād (a poem in which every second hemistich, or half-line, is followed by a short metrical line that has some bearing on the sense of the first hemistich without altering its meaning).
The most ancient samples of the Uzbek literature concern to poetic creativity, integral part of culture of the Uzbek people. The large place belongs to fairy tails such as about the animals, magical- fantastic themes and household stories. Among the latter latifa (jokes) genre is developed. The national imagination created a collective image of Nasriddin Afandi, the main hero and with character of Uzbek national jokes.
The largest genre of the Uzbek folklore is dastan (poem). It was executed usually in support of musical tools. There are more than 300 dastans (100 plots_ were written dawn. The brightest samples are: the heroic epic of “Alpomish”, heroic epic-romantic of Gurogli (more than 40 plots) military epic “Yusuf and Akhmad” , “Tokhir and Zukhra” and others.
The book version as a rule, was borrowed from classical products.
“Farkhod and Shirin”, “Layli and Majnun”.
Pre-Islamic culture is represented by insignification numbers of written monuments in Old Turkic languages: Penitential prayer of Manicheans (the 5 th century) and Orhun-yYenisey writings (7-12^th centuries) “Kutghu-Bilig” (“knowledge”, “giving happiness”) (1069) of Yusuf Bolosoghuny. “Khibatul Khakaik” (a souvenir of truth) by Akhmad Yugnakiy and especially, “Devoni Lughati Turk” (dictionary of the Turkic languages) (1072-74) by Makhmud Khashgary and are among the finest examples of Uzbek literature. Since the 14^th century the Uzbek literature developed intensively and rather diverse. The period saw the imergence of a secular theme ( a love epic with Biblical-Quranic topic, “Yusuf and Zulaykho” by Durbek in 14-15- centuries).³
Also the most blooming period of Uzbek literature came on the scene during the period of Amir Temur. Diverse forms of brilliant poetic works achieved the special popularity.
Compositions by Fhorasmy were widely popular among the public. Amir Temur himself highly respected Yassavy for his geniality, and built a majestic monument on his grave.
Special attention on the part of Amir Temur towards Literature and arts has become a fair tradition to the entire Temur dynasty. Uzbek literature of that period served a significant stage in its historical development. Humanitarian values and great ideas are still urgent in it and still preserved their value.
One of the bright lyric poets of the 15 th century was Lutfy, who in his poens used to highlight an ideal love, poems by Atai and Sakkaky are also among brilliant examples.
Certainly the special place belongs to works by Alisher Navoi. He combined his lyrics in four collections, including kasidas, gazel kitas, rubais and others.
The cornerstone of his poetry is “Khamsa” ( “Five stories”). In the anthology “The Assambley of Scientists” Navoi briefly describe famous poets of the 15 th century. Also, in his many works he talked about theories of ethics and aesthetics. This treatise, namely “Weight of the sizes” served a significant development in Uzbek lyrics.
In the 16^th century numerous literary and historical works as well as their translations into Uzbek language were produced. Historical events of the 16th century were told in “Shayboniynoma” (1506), as well as in the works by Zakhriddin Muhammad Bobur, who ia said to have led record through his life, which later had become a source for his autobiographical work, entitled “Boburnoma” a remarkable literary and historical essay.
Later on, works by Turdi (Faroghy), Mashrab and other poets saw large popularity. The influence of folklore upon the written literature was legends served as basis for creation of large literary works. (poems Yusuf and Zulaykho by Nozim Khisrov , “Tokhir and Zukhra “ by Sayyodi, “Bakhrom and Gulandon” by Saykali and others) In the 18-19 centuries the Ferghana Vally, Khoresm and Bukhara became the laergest literary centers of the region.
Poems by Nishaty Khorasmy came on the scene, influenced enormously by works of Navoi and Fuzuly. Nodira and Uvaysy wrote about traditional theme of love. In early 19^th century satirical pamphlets by Gulkhany, Makhmur and Agakhy were popular. Works by Munis, his historical “Heavenly garden of joy”, finished later by Agahy, the author of the vast “ Talisman of those in love” became a masterpiece of the Uzbek classic literature. There were progressive poets of the period such as Mukumy, Furkat, Avaz Otar, Zavkhy, Khamza Khakimzada Niyazy, Sadriddin Ainy and Anbar Otin. In 1915 Khamza set up a theatrical group and wrote on local themes. In early 20^th century new poets and writers emerged in Uzbek literature, such as A. Kodiy, A. Chulpon, A. Fitrat, Oybek, G. Gulom, A. Kakhkhor, Kh. Olimjon, Uygur, and K. Yashin. New genres like political satire, feuilleton and pamphlet came on the scene. In 1923 satirical magazine “Mushtum” began to be published.
In 20 and 30s of the last century , the poetry prevailed in Uzbek literature. In 50-60s various stories and novels by authors such as I. Rakhim, Oybek, Shukhrat, S. Ahmad came on the scene. Oybek, Shukhrat, S. Akhmad came on the scene. Oybek, Abdulla Kakhkhor and Ibrohim Rakhm wrote about the countryside life. Also the historical theme saw its rise. However, spiritual shape of the contemporary person remained as the main topic in literature. Among such works there are novels by P. Kodirov, A. Yokubov and Mirmukhsin. In early 60s, stories and memories were further developed. One could observe a delicate mastery in the diversity of genres in the poetry by Shukrullo, E. Vokhidov, T. Tula, A. Oripov , Zulfiya and others. Historic and biographic themes in the works by Uighun, Izzat Sulton and others occupy a significant place an the playwriting, as well.
The Uzbek literature during the period of independence is not just another historical stage in the development of the national literature, but it is a display of the new art-aesthetic phenomenon , with its new creative features. It became independent of ruling communist regime and ceased to be a state literature. Respectively, the state stopped regarding for “services” and punishing for “disobedience”. Now the modern Uzbek literature cares of spiritual enrichment of each individual, and perfection of social structures and industrial attitudes are no longer main topic for anymore. It wishes to understand the person deeper- in all of its variety of interpersonal relations.⁴
A person has become its main subject, but not a typical hero given some typical circumstances. The modern Uzbek Literature delivers itself of primitivism, becomes diverse, more courageous in the chaise of a form and style.
However with freedom of creativity and plurality of opinions, there is a danger of dull works to come on the scene. The Uzbek poetry, continuing a centuries-long tradition, remains as the leading genre of the national literature. The attitude and poetic realization of the world saw a new stage in the poems by Omon Matchon, Barat Boykobulov, Sirojiddin Sayyid, Normurod Narzullayev, Shavkat Rakhmon, Chulpon, Ergash , Azim Suyun, Usmon Azim, Ikrom Otamurod, Abduvali Kutbiddin, Aziz Said, Bakhrom Ruzimuhammad, Muhammad Yusuf, Iqbol Mirzo and others. Contemporary poetry pays a great deal of attention towards not only circumstances and enthusiasm, but also reflection of comlex spiritual state and stritive for realization of the sacred feelings of an individual, study of his rich and diverse soul.
“Ancestors” (“Turkiylar”), “Acknowledgement” (“Iqror”) by Sh. Rahmon, “Confession” (“Istighfor”), “The white and black”, by Azim Suyun. “Non-explanatory dictionary” (Izohsiz lug’at) by Abduvali Kutbiddin, “Dream” (“Tush”), “Way” by A. Said are typical examples of the modern poetry. For this period variety of the forms and styles and wish to combine leading traditions of poetry of the East and West are common.
One of the main features is a return of poetry to its initial roots, communicating sincere feelings and modern secrets of soul. It become the elite genre oriented to people with a refined spirit and advanced imagination. Even though, sometimes it leads to decrease in number of readers, however it advances the aesthetic level of poetry lovers, as well as degree of understanding the art. While the young generation with new names prevails in contemporary poetry, then in the prose one could observe a continuation of traditions. Today writers of different generations, such as Odil Yokubov, Said Akhmad, Shukur Kholmirzayev, Utkir Khoshimov, Oman Matchon, Tokhir Malik, Murod Mukhammad Do’st, Toghai Murod, Erkin Azamov, Khairiddin Sultonov, Khurshid Dustmuhammad and others. Successfully work in the given genre. Creative an unexpected decisions in the sphere, obvious violations of certain rules are those main features of Uzbek modern prose of that period.
In the novel by Omon Mukhtor “The many faced” (“Ming bir qiyofa”) and surprisingly unordinary story by Nazar Eshankul “The black book” some of the features of the world prose were skillfully used. Original stories “Not to catch a wind” “A grave city”, “Cyclon” and others are new aesthetic phenomenon in the national literature. The prose writer Sh. Kholmirzayev skillfully employed a traditional style of the story-telling by creating a live image of the contemporary person in his novels, such as “Scarecrow” (“Olabuji”) , “Dinosaur” “Moon under a could”, “Freedom” and “Navruz”, N. Norkobilov followed the same route in his works: “White collar”, “Rocks cry too”, “A highlander”, “Honor”, “A joyful day”. The traditional style and innovation of the world literature is successfully combined in stories: “Old Soviet people”, “A plan tree” by Sh. Bugayev, “Armchair”, Ibn Mughannu” by Kh. Dustmuhammad and the novel , “Fields of y father” by Togay Murod.
The modern prose pays special attention to the spiritual world of the person and reflection of individual qualities in various aspects. New literary heroes now a part of the national literature: Bayna Momo, Ulton Gulsara, Tavakkal, Khusan Palvan, Zukhrs, Elnazar Palvon, Usar Kuklam. The urgent problems were touched upon in modern plays such as: “Iron Lady”, by Sh. Boshbekov, “Gloomy nights”, “Next door away” by U. Azim, “Reprisal” by U. Khoshimov, “Ruler” by A. Oripov, “Victorious ruler” , “Secrets of the castle” by A. Yokubov, “Old matchmakers” by Kh. Sharipov, “The first wedding cover”, by E. Khushvaqtov and others.
Uzbekistan’s literature suffered great damage during the Stalinist purges of the 1930s; during that period, nearly every talented writer in the republic was purged and executed as an enemy of the people. Prior to the purges, Uzbekistan had a generation of writers who produced a rich and diverse literature, with some using Western genres to deal with important issues of the time. With the death of that generation, Uzbek literature entered a period of decline in which the surviving writers were forced to mouth the party line and writer according to the famous formulas of socialism realism.
Uzbek writers were able to break out of this strait jacket only in the early 1980s. In the period perestroika and glasnost a group of Uzbek writers led the way in Establishing the Birlik movement, which countered some of the Soviet government in Uzbekistan. Beginning in the 1980s, the works of these writers criticized the central government and other establishment groups for the ills of society. A critical issue for these writers was the preservation and purification of the Uzbek language.
To teach that goal, they minimized the use of Russian lexicon in their works, and they advocated the declaration of Uzbek as the state language of Uzbekistan. These efforts were rewarded in 1992, when the new national constitution declared the Uzbek language to be the state language of the newly independent state. At the same time, however, some of these writers found themselves at odds with the regime, because of their open criticism of post- soviet policies.
Today more than a hundred countries have recognized the Republic of Uzbekistan, which has the longest history of any of the newly independent state of the former Soviet Union. It is a country with more than 120 ethnic groups. It is well known that czarist Russia, starting in the 1850s, occupied the territory of Turkistan, as a result of the agreement between the Russian and the Chinese and a policy of colonization and occupation, West Turkistan became subject to Russia and East Turkistan became subject to China. ⁵