P. Qodirovning "Yulduzli tunlar" romaniga xos epiklik va tarixiy shaxs talqini

P. Qodirovning “Yulduzli tunlar” romaniga xos epiklik va tarixiy shaxs talqini.
Badiiy asar saviyasini yuksaltiradigan omil uning kim yoki nimaga bag’ishlanganligi emas, balki qanday yozilganligidir. Tarix va undagi ulkan ijtimoiy evrilishlar odamlar tomonidan amalgam oshirilishi, tarixiy shaxslar ma’naviy qiyofasining tarixiy hodisalar ijtimoiy salmog’ini tayin etishi ijodkorlarimiz tomonidan anglab yetilmoqda. Yozuvchi Pirimqul Qodirovning “Avlodlar dovoni” romani yozlishiga zamin bo’lgan “Yulduzli tunlar” asarini tahlil qilamiz.
“Yulduzli tunlar” tarixiy-biografik romandir. Chunki unga asos qilib olingan syujet roman janriga xos ma’lum bir davrdagi shart-sharoit, xalq, mamlakat hayoti, tarixiy shaxs obrazlari orqali yoritiladi va Zahiriddin Muhammad Boburning hayot yo’li asar markazida turadi.
Ma’lumki, inson hayotida sharoitning o’ziga xos o’rni bor. Shuning uchun u tarixiy asarda – inson xarakteri, shaxsi qahramon yashayotgan va harakat qilayotgan sharoit bilan bog’liq ekanini ko’ramiz. Inson muhit ta’siri ostida o’z xarakteri, imkoniyatlari doirasida o’zgaradi. Mustahkam irodali, kuchli xarakterli shaxs o’tkinchi muhit ta’siriga to’liq ma’noda bo’ysunmaydi. Muhitga qarshilik ko’rsatish tuyg’usi ularda kuchli rivojlangan bo’ladi. Ba’zi xarakterlar esa tezda o’tkinchi muhit ta’siriga tushib, unga bo’ysunadilar.
“Muhit tushunchasi o’z ichiga oilani, jamiyatni, davr va tarixni, tabiatni qamrab oladi. Insonni qurshab turuvchi barcha narsa – turmush va uning jihozlari, jonli va jonsiz tabiat, jamiyat va davlat, shaxs va jamiyat, tarix, ya’ni turli davrlar va xalqlarning madaniyatlari muhit tushunchasiga kiradi. Muhit – murakkab va ko’p ma’noli tushuncha”1. Shu sabab, M. Gorkiy “Muhit – bu o’zimiz. Muhit – bu bir-biriga ta’sir o’tkazuvchi psixik birliklarning muayyan miqdoridir”2, - deb ta’kidlagan edi.
Xullas, muhit tushunchasi badiiy asarda insonga borib taqaladi. Zotan, tabiat va jamiyat inson vositasida tahlil va talqin etiladi. Yozuvchi tarixiy asarga qo’l urushidan oldin qahramon yashagan davrning sharoitini, muhitning o’ziga xos qirralarini, xarakter shakllanishiga ta’sirini, odamlarning o’zaro munosabati, ruhiyatidan falsafasigacha barcha voqea – hodisalarni mukammal o’rganishi shart.
Matyoqub Qo’shjonov “Yulduzli tunlar” haqidagi maqolasida “Pirimqul Qodirov Bobur obrazini tiklab, uni davr tafakkuri nuqtai nazaridan izohlaganini”3 aytib, asar kompozitsiyasi, syujeti, ayniqsa, o’quvchini o’ziga jalb etadigan konflikti yanada kuchaytirilsa, voqealar ixcham bayon qilinsa yaxshiroq bo’lishini yozadi.
Umarali Normatov esa “Tarixga ulug’ hurmat” maqolasida “garchi yozuvchi keng qamrovli, izchil, batafsil xronologik tasvir yo’lini tutsa-da, asarda o’quvchini toliqtiradigan cho’ziqlik yo’qligiga…” 4 e’tiborni qaratadi.
Ushbu mulohazalarga qo’shimcha qilib quyidagilarni aytish mumkin: birinchidan, bizning tekshirishlarimiz shuni ko’rsatadiki, tarixiy faktlar hech vaqt yozuvchini o’ziga tobe qilib qo’ymagan, balki unga shu faktdan turtki olishga, uning mohiyatini ochishga, davr ruhini badiiy inkishof etishga olib kelgan.
Bobur – ham shoh, ham shoir. Uning ichki dunyosi juda rang-barang va ayni vaqtda murakkab. Bu murakkablik bir shaxs timsolida mohir sarkarda hamda jahongirlik, fotihlik bilan chiqisha olmaydigan gumanist ruhiyati mujassamligida namoyon bo’ladi.
“Yulduzli tunlar”dagi tarixiy sharoitning badiiy talqini haqida adabiyotshunoslar bir-biriga zid fikrlar bildirishgan va uni Boburning sarkardalik mahorati tasvirlangan epizodlar misolida tadqiq qilishgan. Holbuki, mantiqan qaraganda ham tarixiy sharoit faqatgina jangu jadallardan iborat emas. Tarixiy sharoit qahramon yashagan zamon va makonga xos bo’lgan barcha unsurlarni o’z ichiga oladi. Ularning barchasini bir asarda ko’rsatishning imkoni yo’q. Shuning uchun ham Pirimqul Qodirov Bobur hayot tarzi va tarixiga taalluqli belgilarnigina badiiyat mezonlari asosida talqin qilgan.
Xulosa qilib aytganda, tarixiy sharoit, muhit insonni tarbiyalaydi, uning hayotiga o’z ta’sirini o’tkazadi. “Yulduzli tunlar”da tarixiy manbalarga asoslanib, faqatgina oddiy insonlar emas, Boburdek shohlar ham ba’zan tarixiy voqelik oldida ojiz ekanligi real tasvirlangan.
“Yulduzli tunlar” asarining zamoni XV asr oxiri XVI asrning birinchi yarmi yoki Boburning qirq yillik hayot yo’li, faoliyati bilan uzviy bog’liqdir. Yanada aniqroq aytadigan bo’lsak, asarning syujet-kompozitsion qurilishi asosida Bobur yashagan davr turadi. Asardagi barcha obrazlar, ularning harakatlari bir maqsadga qaratilgan bo’lib, temuriy shahzodaning niyatlari, orzu-umidlari, g’alaba va mag’lubiyatlari u yashagan zamon taloto’plarini real yoritishga xizmat qilgan.
Romanning birinchi bobi “Quva. Qil ustida turgan taqdirlar” deb nomlangan. Buni ko’rgan o’quvchi da’fatan bu bobda makon tasviri ustun ekan degan xulosaga kelishi mumkin. Aslida esa yozuvchi Pirimqul Qodirov asarni vaqt tasviridan boshlagan: “Milodiy 1494- yilning yozi. Saraton issig’ida Farg’ona vodiysining osmoniga chiqqan quyuq bulutlar kuni bo’yi havoni dim qilib turdiyu, kechki payt birdan jala quyib berdi5”.
Muallif “1494 yilning yozi”ni bekorga ta’kidlamagan. Birinchidan, asosiy e’tiborni shu davrda bo’lib o’tgan voqealarga kitobxonni jalb etmoqda. Ikkinchidan, Bobur hayotida, umuman Farg’ona vodiysining aholisi uchun shu yilgi saraton alohida ahamiyatga egaligini ta’kidlagan. Uchinchidan, eng asosiysi, to’g’ridan-to’g’ri inson, shaxs, jamiyat taqdiri, uning taraqqiyotida vaqtning roli birlamchi ekanligiga urg’u bergan. Romandagi obrazlar bilan bog’liq bo’lgan barcha voqealar rivojining asosi “milodiy 1494 yilning yozi” bilan uzviy bog’liqdir. Asardagi Bobur bilan yonma-yon yoritilgan Tohir hamda uning tog’asi Fazliddin va Robiyalarning hayotida shu davrning ahamiyatini qiyoslaganimizda vaqtning tasviri katta ahamiyatga ega ekanligiga yaqqolroq amin bo’lamiz.
Adib yuqorida keltirilgan iqtibosidan keyinoq, Farg’ona ahlining og’ir, qonli janglar ichida davom etadigan hayotlarini oldindan bashorat qilgandek yozadi: “Qizil tuproqli tepaliklar orasidan o’tib kelayotgan sersuv Quvasoy qon qo’shib oqizilgandek qip-qizil bo’lib ketdi”.
Yuqorida ta’kidlanganidek, oqar suv adabiyotda vaqtni, yanada aniqroq qilib aytadigan bo’lsak, inson umrini bildiruvchi majoziy obrazlardan biridir. Agar xuddi shu holatda suvni zamon deb olsak, daryoning o’zani uning makoni bo’ladi. Shundan ham ma’lum bo’ladiki, makon zamonga, ya’ni vaqtga nisbatan turg’unroq. Ma’lum bir makonda qachondir sodir bo’lgan voqea tarixga aylanadi, lekin makon o’zgarmaydi. Bunga misol qilib, “Milodiy 1494 yilning yozi”da Quvada bo’lib o’tgan voqealarni ko’rsatish mumkin. Besh asrdan ortiqroq vaqt o’tdi, besh yuz marotaba Quva saraton issig’ini ko’rdi. Ammo u voqea takrorlanmadi. Takrorlanishi ham mumkin emas. Chunki, o’sha yozdagi voqealar 1494 yilning zamonigagina xos bo’lgan hodisadir. Biz tarix deb ataydigan vaqtni orqaga qaytarib bo’lmaydi.
Badiiy asarlarda vaqtning tasviri tush bilan ham bog’liq. Tarixiy asarlar ham badiiyat namunasi sifatida bundan mustasno emas. To’g’ri, roman qahramoni bo’lmish tarixiy shaxslar tush ko’rgan, uni o’z xotiralarida qayd qilgan bo’lishlari mumkin. Lekin asar qahramonlari tush ko’rishsa, asosan muallifning badiiy niyatlari bilan bog’liq bo’ladi.
Moziy haqida yozilgan, ayniqsa tarixiy shaxslar hayotini yoritishga bag’ishlangan badiiy asarlarning syujet, kompozitsiyasining asosini qahramon hayotidagi asosiy voqealarni ikkinchi darajali voqealardan ajratib, tipiklashtirishga qo’l keladi.
Romandagi vaqt bosh qahramon – Boburning hayot yo’lini yoritishga vosita bo’lib xizmat qiladi. Shunga qaramasdan, asardagi vaqtni – Tohirning vaqti, Robiyaning vaqti, Fazliddin tog’aning vaqti, Umarshayx mirzo va boshqa obrazlarning vaqtlariga bo’lish mumkin. Bu obrazlar va ularga ajratilgan vaqt tasviri bir maqsadga, Bobur yashagan vaqt va muhitni to’liqroq gavdalantirishga qaratilgan. Vaqt, muhit ham Bobur obrazining turli qirralarini badiiy bo’yoqlar yordamida kitobxon ko’z o’ngida yanada yorqinroq chizilishiga xizmat qiladi.
Vaqt Boburning inson, shaxs, sarkarda bo’lib yetishishida, ayniqsa, xarakterining shakllanishida va davlatni boshqarish hamda uning tartiblarini o’rganishida, o’zidagi bir-biriga zid bo’lgan shoh va shoirga xos bo’lgan sifatlarning yuzaga chiqishda muhim ahamiyat kasb etadi.
Badiiy adabiyotdagi yo’l xronotopi ham vaqt kabi mutloq cheksizdir. “Yulduzli tunlar”da ham yo’l tasviriga keng o’rin berilgan. Makoni Turkiston, Afg’oniston, Hindistondek keng bo’lgan romanda yo’l tasviri bo’lmasligining imkoni yo’q. Adib nafaqat bosh qahramoni, balki me’mor Fazliddin, tarixchi Xondamir, Tohirlarning yurgan yo’llarini ham aks ettirgan. Bu tasvirlar xuddi asardagi obrazlarning hayotidek bir-birini takrorlamaydi.
Yozuvchi Bobur xarakterini yaratishda obrazlarning xatti-harakati orqali davr ijtimoiy hayoti va tarixiy shart-sharoitlarni, qahramon ma’naviyatini, yetuk inson sifatidagi faoliyatini ochib berishga alohida e’tibor beradi. Haqiqatan ham, “Yulduzli tunlar” romanida tarixiy ijtimoiy muhit, ya’ni taxt manfaatlari asta-sekin Boburning fikrlariga, uning adolatli qarashlariga, pokiza tuyg’ulariga tazyiq o’tkaza boshlaydi.
Tarixiy memuar manbalardan bu temuriy shaxzodaning juda ko’p xususiyatlari bizga ma’lum. Lekin bu manbalar Bobur to’g’risida oddiy axborot beradi, xolos. Asarda Bobur faoliyatini aks ettiradigan tarixiy voqealarning qahramon xarakterini ochishga bevosita xizmat qiladigan qismini tanlab, yozuvchi eng kichik bir epizodga ham alohida badiiy jilo beradi. San’atkor tarixiy voqealar bilan cheklanmaydi, Bobur hayotidagi hodisalarning bir-biriga chambarchas bog’lanishini ishonchli badiiy to’qimalar bilan mustahkamlaydi.
Umarshayx vafotadan keyingi toju taxt tashvishlari Boburni tinimsiz fikrlashga va izlanishga majbur qildi. Mana shunday og’ir sharoitda ham u zo’ravon beklardam biri Ahmad Tanbal istagiga qarshi chiqdi va o’z opasi Xonzoda begimni bekning tajovuzidan qutqarib qoldi.
“ – Men sizning pok qalbingizdan adolat izlaymen! Qalbingiz nima buyursa, siz menga shuni buyuring! Men rozimen!
Bobur sakrab o’rnidan turdi-yu, opasining qo’llaridan olib, uni o’rnidan turg’azdi.

Yig’lamang, bas! – dedi, ammo Boburning o’zi ham ko’ngli erib ko’z yoshini zo’rg’a tutib turardi.

Siz menga barcha beklarimdan yaqinroqsiz. Bir tug’ishgan yagona egachimsiz. Siz tufayli ne og’irlik kelsa, mayli ko’ray. Xotirjam bo’ling! Toki bormen, suymagan odamingizga uzattirmasmen” (104).

Bu esa Ahmad Tanbaldek beklarga qarshi isyon edi. Bobur o’z opasi Xonzoda begimning iztirobli muhabbatini qadrlab, uni himoya qila olishi oddiy odatdek ko’rinsa-da, aslida bu yerda juda katta ma’no yotadi. Nomus uchun, oila shon-shuhrati uchun kurash toj-taxt uchun kurashga qaraganda qadriyati balandligini anglatadi. Bizning nazarimizda, bu holat Bobur shaxsining go’zal va boyligini ko’rsatishga xizmat qiladi.

Yoki Bobur endigina taxtga chiqqan vaqtda sodir bo’lgan bir voqeani eslaylik. Beklar Bobur oldiga Darvesh govni ig’vo tarqatganlikda ayblab olib keladilar. Darvesh gov oddiy fuqaroni qo’llab-quvvatlagani uchun ham beklar undan qasd olish maqsadida ayblaydilar.
“Amirzodam, men ig’vogar emasman! Men ig’vogarlarning qurbonimen! Menga rahm qiling! Beshta bolam bor! Noumid qilmang, amirzodam” (50).
Uning so’zlaridan keyin Boburda unga nisbatan rahm-shafqat tuyg’usi uyg’onadi. Lekin urush xavfi beklarning talabiga ko’nishga majbur etadi. Sharoit insoniylikka yo’l bermaydi, buni “Boburnoma”dan ilg’ab olish mumkin: “Bu fursatda Darvesh gov otliq Andijonning arbobidin nomunosib so’z aytqon uchun yasoqqa yetdi. Bu siyosattin tamom el bosildilar6”.
Ushbu voqeaga Boburning munosabatini, uning qanday ahvolda qolganini yozuvchi Pirimqul Qodirov quyidagicha tasvirlaydi:
“Yasoq! – qichqirayotgan har bir darg’azab bek Boburdan quyoshni to’sib olgan bir qora bulutga o’xshar. Boburni chirmab aylantirayotgan dahshatli quyun mana shu qora bulutlarning shamoli emasmikin? Nahotki, bu bulutlar doim toju taxt bilan yursa-yu, Darvesh govga o’xshaganlarning qoniga shunchalik tashna bo’lsa?
Boya Boburga xuddi shu bulutlar orasidan suzib chiqqan to’lin oyday go’zal ko’ringan toju taxt, endi oy tutilgan tunday vahimali tusga kirdi.
Bobur noma’lum xavf-xatardan seskanib, Xo’ja Abdullaga yordam so’raganday qaradi:

Ustod!..

-Amirzodam, - shivirladi Xo’ja Abdulla, - podshohlik udumiga binoan xatarli urush paytida tojdorlar sha’niga nomunosib gap aytgan odam jinoyatchi hisoblanur! Endi siz… bitta Darvesh govni deb barcha beklardan voz kechmagaysiz. Vaziyat tahlikali… Siyosat uchun govni yasoqqa yetkazmoqdan boshqa iloj yo’q!” (52-53).
Boburning shohlikdan voz kechib, Dahkat tog’larida sarson sargardon bo’lganligi tarixiy fakt. Shunday bo’lsa-da, saltanat uchun kurash bu yerlarda ham o’zini qoldirib ulgurgan edi.
Yosh qalb insoniylik tamoyillariga zid bo’lgan bunday dahshatli holatni ko’rib seskanadi. Uning ongida doim ikki his tinimsiz jang qiladi. Shoh Bobur so’zlarini tinglab turgan shoir Bobur bu qabohatlar oldida o’z-o’zidan intiqom talab qiladi. Mana shu o’rinda qilich toptamoq uchun, qalam yaratmoq uchun paydo bo’lmaganmikin degan savol tug’ilishi tabiiy. Shohlik olamni egallamoq, shoirlik qalbni inson ko’nglini zabt etish emasmikin?
Yozuvchi talqinidagi Bobur va cho’pon yigitning suhbatiga diqqatni qarataylik:
” – Men Boburmen! – dedi.
Cho’pon quloqlariga ishonmay, uning yalang oyoqlariga yana bir qaradi:

Nahotki podshoh Bobur sen bo’lsang?!

Ha, men podshoh edim.

Hozir-chi?

Hozir... toju taxt da’vosidan voz kechdim. Endi faqat shoirona hayot kechirmoqchimen (235-236).

Yozuvchi fantaziyasi mahsuli bo’lgan bu lavhalarda davrning asosiy mohiyatini ochish bilan birga shoh va shoir Boburning qalb iztiroblarini tadqiq etishga harakat qilgan.

Bu o’rinlarda shohlikdan shoirlik g’olib keladi. Ko’rib turganimizdek, adib real bo’yoqlarda Bobur irodasi va qalbini tasvirlagan. Yozuvchi badiiy mahorati shundaki, u shoir Boburning ichki olamini juda teran tushuna olgan va buni asar ruhiga singdirib yuborgan. Shoh Bobur faqat toj-taxt kurashlarida emas, o’zining mag’lublik davrlarida ham insoniy qiyofasini yo’qotmaydi.
Shayoniyxon XV asr oxiriga kelib, Movorounnahrda o’z harbiy-siyosiy yurishlarini boshlagan paytlarida ham islom diniga kuchli qiziqish bilan qarab, “fikh” ni teran o’rganishga katta kuch sarflagan. Bu haqda mojor olimi Herman Vamberi quyidagicha ma’lumot beradi: “U har holda o’zining eronlik dushmanlari tarafidan tasvir etilganidek, nimani xohlasa shuni bajaruvchi vaxshiy bir kimsa emas edi. Masalan, u zamonning ruhoniy ulamolariga katta hurmat, hatto bolalarcha itoat qilib, barcha urush safarlarida o’zi bilan barobar kichkina go’zal kutubxonasini olib yurar, Temur kabi bu ham Damashq va Halab ulamosi bilan diniy munozaralarga qatnashgan7”. Shayboniyxon haqidagi mojor olimining bu fikrlari haqiqatdan yiroq emas.
Bu haqda Hasanxo’ja Nisoriy shunday yozadi:
“Sohibqiron xon ilm fazilatlardan to’la xabardor, aniqrog’i ularni to’la egallagan kishi edi. She’riyat sohasi, shoirlarga e’tiqod-e’tibori katta bo’lgan, mudom olimu fuzalolarni o’ziga hamsuhbat bilgan8”. Bu xususiyat uning Muhammad Solih, Binoiy singari hamda boshqa tarixiy shaxslarga bo’lgan munosabatida yaqqol ko’zga tashlanadi. Shayboniyxon umrining oxiriga qadar ilmu ijod bilan shug’ullanadi. U g’azallar, ruboiylar va tuyuqlardan iborat devon tartib berib, turkiy she’riyatning ajoyib namunasini yaratadi. 1507-1508 yillarda valiahd o’g’li Temur Sultonga bag’ishlab hozirda Turkiyada saqlanayotgan pand-nasihatlardan iborat asarini, shuningdek, 1508 yilda “Bahr-ul-xudo” (“Haqiqat yo’lining dengizi”) nomli asarlarini yozadi. Shayboniyxon ham Boburdek shoh va shoir sifatida o’z davrining yetuk siymolaridan biri edi.
Umuman, Shayboniyxon shaxsi va ijodi to’liq yoritilmaganligi uchun “Yulduzli tunlar” asari haqida fikr yuritgan ba’zi adabiyotshunoslar asarda Shayboniyxon obrazi tasviri haqida turli fikrlarni bildiradilar. Jumladan, P.Alimov yozadi: “Pirimqul Qodirov tasvirida Shayboniyxonning markazlashgan davlat haqidagi siyosati ham uning tabiati, xarakteridagi ayyorlik va makkorlik belgisi sifatida tasvirlanadi.
To’g’ri, yozuvchi asar davomida Bobur va Shayboniyxonni bir-biriga qarama-qarshi qo’yadi. Tarixda ham xuddi shunday bo’lgan. “Boburnoma”ning bir necha joyida Shayboniyxon tilga olingan9”. Bobur ham ba’zi o’rinlarda bor haqiqatni yozib qoldirgan. Bu faktlarga asoslanib yozuvchi Shayboniyxon siymosini yaratadi.
Temriylarda ”o’zim”, ”o’zim bo’lay” degan xudbinlik Boburga ozgina xos edi. Chunki u ham temuriyzodalardan biri. Vaholanki, Shayboniyxon unga yaqinlashishga intildi, shu sababli, uning opasi Xonzoda begimga uylandi, undan Xurramshoh ismli o’g’il ko’rdi; Bobur Shayboniyxon bilan sulh tuzishi, birlashgan yagona turkiy davlatni birgalashib tashkil qilishi ham mumkin edi. Bunday bo’lmadi. Boburning eng katta tarixiy xatosi shu edi. Bu xato oqibatida mislsiz ko’p qon to’kildi, Movarounahr parchalandi, Rossiya ta’qibi va istilosi ostida qoldi. Oxiri bu ikkala buyuk shaxs esa eng dahshatli kulfatlarga duchor bo’ldi. Yozuvchi davrdagi cheklanganlik, sotsialistik realizmning siyosiy ruhi tufayli romanda bunday to’g’ri, teran, haqqoniy xulosalar chiqarishga ojizlik qildi. Ma’lumki, mahoratning ikkinchi belgisi tasvirlashdir, dedik, yozuvchi bu tomondan ham yaxshi yo’ldan bordi. Biroq mahoratning uchinchi belgisi baholashdan iborat bo’lib, yozuvchi bu sohada yetarli darajada odillik ko’rsatolmadi, bunga zamona zayli to’sqinlik qildi.
Siyosiy tarqoqlik va birlshtirish qutblariga suyangan bosh konflikt roman syujetiga poydevor bo’ldi. ”Yulduzli tunlar” romanining syujeti realistik va u Bobur xarakterining takomilidir.
Romanning boshida biz Tohir, uning sevgilisi Robiya, uning tog’asi Fazliddin, Samarqand shohi Sulton Ahmad, Koshg’ar hukmdori Abubakr, Toshkent hukmdori Mahmudxon, Umarshayx va uning ikki o’g’li Bobur hamda Jahongir Mirzolar bilan tanishamiz. Bu ekspozitsiyadir. Chunki keyinroq Mahmudxon Boburning tog’asi, Tohir Boburni o’limdan saqlab qoluvchi kishi, Jahongir Mirzo Bobur bilan ”taxt talashuvchi” ukasi bo’lib chiqadi. Biz bundan Umar Shayxning xotinlari va qarindoshlari bilan ham tanishamiz. Shu narsa ham ayon bo’la boradiki, Boburning otasi o’zbeklashgan temuriylardan, temuriylar esa o’zbeklashgan mo’g’ullarning barlos urug’idan; Bobur ona tomondan esa o’zbekdir, turkiydir. Boburning eshik og’asi bo’lgan Qosimbek uning hayotida muhim mavqega ega bo’ladi.
Bobur otasi vafotidan so’ng Andijonda taxtga ega bo’lishi lozim edi. Ammo ona boshqa ukasi (Jahongir Mirzo) o’z avlodlari tomonidan, da’vogar hukmdor sifatida, oldinga chiqariladi, bu tugundir, romanda Bobur yechishi kerak bo’lgan bunday tugunlar shu bittagina emas, keyinchalik Bobur bilan temuriylar, Shayboniyxon va Hindiston podshosi Ibrohim Lodiy o’rtasida ham birin-ketin tugunlar paydo bo’la boradi va Bobur ularni chidam, aql, kuch, jasorat va mardlik bilan yechib boradi ham inson sifatida kamolga yetadi; dastlab yosh hukmdor shoh, so’ng jangchi, sarkarda, shoir, olim sifatida namoyon bo’ladi. Romandagi voqea Boburning Samarqandni qamal qilib olishi va ochlik, keyin Samarqand va Andijondan mahrum bo’lishi, temuriylar bilan jang qilishlari, Shayboniyxon degan kuchli ko’chmanchi turkiy raqibga duch kelib qolishi va undan yengilishi, Kobulni jangsiz egallashi va Hindistonni zabt etishi, Shoh Ismoil bilan sulh tuzishi yo’li bilan rivojlanadi. Bobur yengilish va o’lim tahdidlari hamda og’ir azoblardan tushkunlikka tushmaydi, uni aniq maqsad, temir iroda, jur’at, aql, ulug’ niyat, farosat, yuksak insoniylik va umid saqlab qoladi. U – o’z davrining kishisi. Hindistonda, Ibrohim Lodiyning onasi Boburga zahar berishi kulminatsiyadir. Boburning hayoti saqlab qolinadi, ammo u kasalvandlikka duchor bo’ladi. U oxir shohlikni o’g’li Humoyunga topshiradi, jahongirlikda yurib sevikli xotini Mohimga ko’p ozor berganligi uchun undan uzr so’raydi. U Movarounnahrni yagona davlat qilish niyatiga erisha olmaydi, bu - yechim (undan so’ng Shayboniyzodalar hukmronligi va oxir uch xonlik paydo bo’ladi); boburiylar bir-biri bialn jiqqa musht bo’ladi, temuriylar izmidan boradi va ularni oxiri inglizlar tugatadi. Bu - ham yechimning davomi.
”Yulduzli tunlar” romani kompozitsiyasi negizida ham asardagi g’oya va maqsadida ham ularning ifodasi bo’lgan Boburning ko’pqirrali va murakkab xarakteri turadi.
Roman ikki qismli, birida Boburning Movarounnahrni birlashtirish, o’z avlodlari temuriylar ichida birlikka erishish, temuriylarning yagona davlatini tiklash, uni Shayboniyxondan himoya qilish uchun olib borgan kurashlari aks etdi. Ikkinchi qismda Afg’oniston, Xuroson va Hindistonda ellarni birlashtirish uchun olib borgan jangu jadallar tasvirlangan. Birinchi qism ”Arosat”, ikkinchi qism ”Falakning gardishi” deb ataladi va har bir qism yana sarlavhali bo’laklarga bo’linadi, ularda voqea bo’lgan joy ta’kidlangan. Birinchi qism ”Quva. Qil ustida turgan taqdirlar”, ”Axsi. Ajalga davo yo’q”, ”Andijon. Gul va quyun”, ”Quva. Jasoratning jazosi”, ”O’sh. Najot qayda?”, ”Samarqand. Zafar va kulfat”, ”Andijon. Uvol bo’lgan orzular”, ”Samarqand. Hal qiluvchi olishuv”, ”Toshkent. Isfara. Ko’chki bosgan buloq” degan bo’laklardan iborat. Ikkinchi qismga esa ”Hirot. To’lgan paymonalar”, ”Qunduz. Samarqand. Ikki qilich orasida”, ”Kobul. Toshgan daryo o’zan izlaydi”, ”Laho’r. Panipat. Dehli. Yangi qirg’oqlar”, ”Agra. Taqdir taqozosi”, ”Sekri. Qayta ko’z ochgan buloq”, ”Agra. Yulduzlar girdobi” va ”Xotima” kabi bo’laklar kiradi. Ko’rinib turibdiki, bo’laklarni nomlashda ro’y bergan voqealar yo’nalish va pafosiga e’tibor qilingan, nomlar goho ko’chma ma’noli, ramzli va obrazlidir. Syujet va kompozitsiyaning dedektiv tus olganligi romandagi hikmat va bosh qahramon xarakteri taqozosidir. Bu hol asarning qiziqarli bo’lishiga sababchidir.
”Yulduzli tunlar” romaniga turli davrlarning tanqidiy qarashi davom etadi. Muallif esa xohlasa, undan
mumkin.
”Yulduzli tunlar” mahorat bilan yozilgan badiiy roman sifatida tanildi. Chunki unda mavzu – muhim, muayyan davr materiali asosida o’zbek markazlashgan davlatchiligi masalasi ilgari surildi. Bu niyat munosib realistik syujet va dedektiv, qiziqarli hodisalar kompozitsiya va roman g’oyasi bilan yaxshi uyg’unlashgan. Tili XVI asrdagi an’anaviy, murakkab o’zbek milliy adabiy tilida ish ko’rilgan, shu bilan birga, til sohasidagi tarixiylik ham hisobga olingan, shu sababli, roman tili hozirgi zamon kishiga hozirgi zamon kishisiga tushunarlidir.
Tarixiy mavzu to’g’ri tanlangan. Tasvir vositalari boy va realistik. Yozuvchining bahosi – g’oyasi asar voqeasidan kelib chiqadi. Xullas, mahoratning tanlash, tasvirlash va baholash muammolari tarixiylik (istorizm) jihatidan romanda umuman o’z to’g’ri ifodasini topgan.
Bitta romanda katta va murakkab davr qamralgan. Buni Bobur faoliyatinigina tanlab olinishi taqozo etadi. Ammo muallif tasvirda buning uddasidan chiqa olgan, ya’ni voqeaning to’rt joyda, Andijonda, Movarounnahrda, Afg’oniston va Xurosan hamda Hindistonda ro’y berishi to’rtta to’qnashuv va to’rtta yordamchi konfliktning paydo bo’lishiga olib kelishi, uning siyosiy tarqoqlik va birlshtirish haqidagi bosh konfliktga bog’lanishi, mahorat belgisi bo’la oladi.
Aka – uka – Bobur va Jahongir Mirzo o’rtasida birlik yo’qligi yo’qligi Shayboniyxon bosh ko’tarishi va uning qo’li baland kelishiga sabab bo’ladi. Boburning o’z pochchasi Shayboniyxon bilan umumiy til topa bilmasligi temuriylar davlatining nurashini ravshan qilib qo’yadi. Ammo Bobur Afg’onistonda boshqacha yo’l tutadi, Eron shohi Ismoil va Panjob hukmdordori Davlatxon bilan kelishida, natijada Hindistonni qo’lga kiritadi. (Biroq, keyinchalik boburiylar o’zaro hukmdorlikni talashishda temuriylar yo’lidan boradi. Oqibatda, siyosiy tarqoqlik va uyushmaslik temuriylarning Movarounnahrdagi, Boburiylarning Hindistondagi hukmronligiga nuqta qo’yadi. Bu ikki natija tarixning ikki muhim sabog’i edi. Yozuvchi buni ishonarli va ibratli tarzda bayon qilgan). Bu hol tarixiy shaxslar va to’qima obrazlar harakat qiluvchi, markazida ma’rifatli, irodali, aqlli, mard va bardoshli Bobur xarakterini yaratuvchi murakkab syujet qurilishini hosil etadi.
Roman ikki qismdan iboratligi, birinchi qismda Movarounnahr voqealari, ikkinchi qismda Afg’oniston, Xuroson va Hindistonda bo’lgan hodisalar aks etishini Bobur shaxsiyati birlashtiradi. Syujet, kompozitsiya va qahramon hayotining bunday dedektiv xususiyati qiziqarli va nishob. U o’ziga xos, ziddiyatli dialoglar, nafis, halokatli tasvirlar va psixologik monologlarni kashf qiladi. Avvalgi muvaffaqiyatsizlik va keyingi muvaffaqiyatlarning sabablari ko’rsatilgan.
Sho’rolar milliy zaminlar tarixida ilgari o’tgan hukmdorlar sha’nini, markazlashgan davlat qurish g’oyasini taqiqlab kelgan zamonda Boburshoh to’g’sida roman yozishning o’z ichiga oladi. Unga taalluqli bo’lmagan ijodiy masalaning o’zi yo’q.

ANALYSIS OF "STARRY NIGHTS"Ikhtiyorbek Norov, Yuldashev JavlonNukus State Pedagogical InstituteStudent of the Faculty of Turkish LanguagesAnnotation:The meaning of names in Pirimkul Kadyrov's Starry Nights and methods of their study.Keywords:Pirimkul Kadyrov, Starry Nights, Zahiriddin Muhammad Bobur, Tahir oftobachi, anthroponyms.Although Pirimkul Kadyrov's starry night has been published for more than 41 years, it has become a favorite of all readers. As the author says, the work was created to sing the truth: I scratched the thorns from the clutches of various thoughts and opinions, I always relied on the truth of history, especially the original sources in the "Boburnoma" so as not to get lost. Many readers understand that it is very difficult to present an event in history with real written records. As a result of the Soviet era and attacks on the authors of the work, Starry Nights remained in print for 6 years, and in1979, with the help of the late Sharof Rashidov, the work was published and reached readers. At the beginning of the work, the image of the Fergana Valley is vividly depicted: in the heat of cancer, the dark clouds in the sky of the Fergana Valley suffocated the air all day long, and in the evening it suddenly began to rain. shows. It is known from history that at that time, internal wars were raging in our country, and our external enemies began to frequently attack the country's borders. From the very beginning of the work, we see that the younger Bobur Mirzo can think like an adult, and his ancestors, such as Amir Temur, Shohruh Mirzo, Ulugbek, were wise, compassionate, just and masters of martial arts. The sudden death of his father, Umarshaikh Mirza, and the fact that internal enemies began to attack Andijan show that the young Temurid was able to withstand many trials, and despite the fact that he was only 11 years old, he defended his country with the help of his relatives. But because he was still young, he was forced to join the decisions of the ignorant beys. The beginning of the

ISSN:2776-0960 Volume 2, Issue 2, Feb, 20212| P a g eknot in the play begins with the death of Umurshaikh Mirza, the father of Babur Mirza in Aksida, who fell from a small pigeon house and died. When the message of his fathercame to the scholar, the author clearly describes the situation of Babur Mirza: The message of the scholar to Babur, who had just walked in a flower-like delicate senses, seemed to be a snake coming out of this flower. In this way the young Babur Mirza ascended the throne. From that day on, he lost his vibrant childhood. After Babur Mirzo established peace in his country, his grandfather Amir Temur organized marches to restore the state. He was forced to leave Samarkand, despite the fact that he had occupied it several times. His internal enemies forced Babur Mirza and his brother Jahangir Mirza to intensify their enmity and raise swords against each other. Babur Mirza divided the Fergana Valley into two parts on the condition that he and his brother would not shed blood, and gave one part to his brother Jahangir Mirza. During the Samarkand marches he was defeated by Shaibanikhan and besieged. When the famine broke out in the city and the disease spread, his first daughter, Fakhriniso, died of the plague. The author was able to describe Bobur's state of mind in a very beautiful way:As Babur carried the shrouded boy to the newly dug grave, he wept, pressing his face against his crooked face, "May this plague befall me and may I be relieved of this torment forgood!" he kissed the cold lips of the godak with a painful moon. After the loss of his son, Babur Mirza was in a very difficult state of mind, and Shaibanikhan Khanzod sent a suitor to ask for a beggar, and his sister married Shaibanikhan to save Babur. The mountain rises to the rocks and lives there like a dervish.Throughout the work, the author describes an example of a natural landscape with a few eyes: Akhsi Fortress, built on a high hill, is as black as a mountain rock at night.b corinadi. At the foot of the fort, Kosonsoy can be heard pouring into the Syrdarya, and the waves of the two rivers are fighting with each other and slapping on the shore. Throughout the work, we also pay attention to the purpose for which such images and names were given, through the actions and deeds of many images. For example, if we come to the image of Tahir, a man who served him faithfully until Babur's death, it is as if the author is trying to explain the symbolic meaning through his name and image.
ISSN:2776-0960 Volume 2, Issue 2, Feb, 20213| P a g eLet us now analyze the name Tahir.TohirArabic: TohirClean, spotless, flawless, innocent. This name was the name of the son of Muhammad (s.a.v.).Throughout the work, Babur Mirza sees Tahir through Tahir. He tells her his experiences. An ordinary reaper compares the fate of a young man to the fate of a young man, appoints a special man, that is, a relative, and carries out all his special work through him. In the last part of the work, Babur Mirza's work Boburnoma was brought to his native Andijan by Tahir and handed over to his countrymen, who carried out the last order of the ruler.References1.Pirimkul Kadyrov Starry Nights Tashkent-Sharq Publishing House 20192.www.ziyonet.com3.www.xurshiddavronkutubxonasi.uz

ONOMASTIC ANTHROPONYMS IN STARRY NIGHTSIkhtiyorbek NorovNukus State Pedagogical InstituteStudent of the Faculty of Turkish LanguagesAnnotation:Onomastic units used in Pirimkul Kadyrov's Starry Nights and methods of organization of anthroponyms in them. Research has been conducted on the differentiation of names in different languages (Arabic, Persian-Tajik, Uzbek).Keywords:Pirimkul Kadyrov, Starry Nights, Zahiriddin Muhammad Bobur, toponyms, onomastic anthroponyms.In the history of world art, the novelties that have had a strong impact on the birth of works of art typical of thenovel, its development from the beginning of the genre to the present day, and its development to artistic perfection, continue to be organized and analyzed.The various features of the well-known names in the language have been attracting the attention of scholars in various fields since time immemorial. For example, the works of the ancient Greek scholars Aristotle, Democritus, and Heraclitus also commented on the characteristics of famous horses.Although Pirimkul Kadyrov's Starry Nights has been published for more than 41 years, it has become a favorite of all readers. As the author says, the work was created to sing the truth: I scratched the thorns from the clutches of various thoughts and opin ions, I always relied on the truth of history, especially the original sources in the "Boburnoma" so as not to get lost. Many readers understand that it is very difficult to present an event in history with real written records.The lexical structure of the onomastics of Starry Nights, the problems of classification of famous horses, methods and ways of doing so are briefly commented on. As a result of our observations in the work of Starry Nights, it was found that there are more than 450 famous horses, of which more than 250 are anthroponyms, more than 160 are toponyms, 36 are hydronyms, 53 are career names. there are titles, 31 tribal names, 20 works of art, and many other names. In turn, these names are further divided into smaller groups.This division of the work is judged by its appearance, and through thesedivision s we obtain information about the identity of the protagonists of the work. Names are meant to distinguish one person from another. From time immemorial, human names have been used to distinguish one from another. In Starry Nights, the author alsouses a variety of personal names to distinguish one person from another. At the same time, the use of surnames is a more explicit form of distinguishin g one person from another, but the use of surnames alone also means respect for that person. Each name represents the history of a nation, and similar names appear in the novel Starry Nights, including the custom of naming each period. For example, in the primitive and patriarchal period, names such as

I n ternational Virtual Conference on Science, Technology and Educational Practices H osted from Gorontalo, Indonesiah ttp://euroasiaconference.comFebruary 20th -21st202143courage and heroism were used, but with the advent of Islam, names related to religion began to be given to children. Among them are Abubakr, Hasan Yaqub, Abu Yusufbek, Umar, Usman, and Ali, who appear in the novel Starry Nights.Indeed, the names of the protagonists play an important role in deepening the ideological and artistic content of the work, strengthening its national spirit, nationalism, and typifying the images and events in the work. The names Alpomish, Davlatkhan, Alamkhan, and Bahodir, which appear in the play, reflect similar features. It is clear from the meaning of the name that the name chosen by the author fully reflects all the characteristics of the protagonist, because feature corresponds to the meaning of the name of the worldview.Sacred names are often chosen when choosing a name. By choosing a name for the child from the ancestors, the child remembers and respects the past generations and ancestors, and believes that the baby will be supported by the spirit of the past, the ghost. In addition, people dream that their little child will belike a dead relative named after a baby, rich or brave, kind, polite, hardworking, diligent. It is on the basis of such goals and aspirations that the names of the sixty ancestors have become dear and unique in people's imagination. People began to pay attention to giving their children Arabic names, and Pirimqul Kadyrov did not shy away from this tradition, choosing Arabic names based on the heroes he created. Depending on the meaning of the names in the play, we divided them into Arabic, Persian-Tajik and Uzbek names. An example of this is the following list:Arabic namesNoNamesMeaning1.AbdualiArabic: High-ranking, slave of the great2.AbdukarimArabic: The servant of Allah, t he Beneficent, the Merciful, the Forgiving3.Abdurazzoq SamarkandiyArabic: The share of all is the servant of Allah, the Sustainer of sustenance4.AbdurahimArabic: Merciful, forgiving, a servant of Allah. Merciful, in the sense of mercy, is also a quality of Muhammad (saas)5.AliqulArabic, Uzbek: Ali's slave or great, high-ranking slave, servant6.Zahiriddin Muhammad BoburArabic: Zahiruddin -radiant, bright, radiant or guardian of religionArabic: Muhammad is praiseworthy.English: Bobur -1) Tiger, lion,2) Great, huge, great3) A speaker, an eloquent, fast-talking personPersian-Tajik namesNoNamesMeaning1Alisher NavoiPersian-Tajik: Alisher -Let Sherdek grow up brave and courageous and support Ali;Persian-Tajik: Navoi-Kuyga, belonging to the song2BehzodPersian-Tajik: A noble, noble, generous child, born on a happy day3BobobekPersian-Tajik: The deceased grandfather, a child named after his grandfather. According to some sources, Bobo (Arabic) is a father, a religious leader, a great sheikh
I n ternational Virtual Conference on Science, Technology and Educational Practices H osted from Gorontalo, Indonesiah ttp://euroasiaconference.comFebruary 20th -21st2021444GavharshodbegimPersian-Tajik: A glittering, glittering pearl or pearl-like pricelessor joyful, happy girl.5GulbadanPersian-Tajik: zebo, latif qadli, khushandon6Yor HusaynbekPersian-Tajik: yor-friend, companion, companion or a form of noun containing the word yorMeaning of Uzbek namesNoNamesMeaning1BahodirUzbek, Mongolian: Botir, pahlavon, dovyurak2BibixonimUzbek: A woman belonging to the dynasty of khans, rulers or a noble, classic girl3BoysunqurEnglish: Rich and brave, smart boy4Ko’chkinchixonEnglish: Avalanche -Avalanche, turn to good, that is, live a long life. Name given when the child is not present5Kutlug ’NigorUzbek; Congratulations -Happy, lucky and step by stepPersian-Tajik: Beautiful face, beautiful6OyxonEnglish: A girl as beautiful as the moon or the most beautiful of the months, born on a yellow or moonlit nightAs you become familiar with the meanings of many of the names in the play, you will see that their meanings often correspond to the character traits of the characters in the play. In the play, we understand the essence of the work through the images of Babur Mirza and his surroundings. When we describe the heroes of the work, we see that the name is chosen according to their images.References1.Pirimqul Kadyrov Introduction to Starry Nights 1991 Page 12.www.ziyonet.com3.www.wikipedia.com

из 4

EURASIAN JOURNAL OF ACADEMIC RESEARCHInnovative Academy Research Support CenterUIF =8.1| SJIF =5.685www.in-academy.uzVolume2 Issue3,March 2022 ISSN 2181-2020Page 105TYPOLOGICAL SIMILARITIES IN FLORA ANNA STEELE'S "KING-ERRANT" AND PIRIMKUL KADYROV'S "STARRY NIGHTS" IN THE INTERPRETATION OF THE KING AND COMMANDER BABURKhayrullayevaKamola RavshanovnaEnglish language teacher at Bukhara State Medical Institute, Bukhara, Uzbekistanhttps://doi.org/10.5281/zenodo.6368804ARTICLE INFOABSTRACTReceived: 01stMarch2022Accepted: 10thMarch2022Online: 14thMarch2022This article examines the interpretation of the image of Zahiriddin Muhammad Babur in Pirimkul Kadyrov's "Starry Nights" and Flora Annie Steele's "King-Errant".The descriptions given to Babur’s appearance during his childhood, teenage years, manhood and the end of his life as a king and a poet, a warrior and a cultural figurehave been reviewed. Furthermore, those facts are enriched by the personal thoughts and opinions of two western and eastern writers. KEY WORDSZahiriddin Muhammad Babur, Amir Temur, king and poet, Chingizxan, ShaybaniyxanIn uzbek and world literature, it has become a tradition to embody the images of figures who have left a worthy name in history. Therefore, Zahiriddin Babur, who became famous for his great personality, leadership, rule and poetry, is one of such figures. Our observations show that Babur is one of the most historical figures whose artistic image has been created not only in Uzbek but also in world literature. Among them areFlora Anna Steele's "King-Errant", FritsVuyrtle's "Prince of Andijan", Harold Lamb's "Babur-the tiger", StephanMeridith Edwardes's "Babur: diarist and despot", P. Kadyrov's "Starry Nights", H. Sultanov's “The Beach of Happiness”and “Baburinama”.Flora Anna Steele’s novel “King-Errant”covers the events of Babur’s life from the time he ascended the throne to the end of his life. This work corresponds in content and essence to the novel "Starry Nights" by the famous Uzbek writer P. Kadyrov. This can be observed in portrait images, plot system, composition. It is noteworthy that the English writer relied on historical sources, in particular, the English translation of the "Baburnama" in the creation of the image of the king and poet, world-famous Babur, considering that "Baburnama" is a reliable source inthe creation of the image of Babur, it becomes clear how close the work is to historical reality. Based on a comparison of the two works, we will try to identifysimilarities anddifferences in the creation of the image of Babur.This condition can be classified into three:1. Similarities and differences in the creation of a portrait of Babur.2. Similarities and differences in the plot of the works.3. Proportions and differences in character image.
EURASIAN JOURNAL OF ACADEMIC RESEARCHInnovative Academy Research Support CenterUIF =8.1| SJIF =5.685www.in-academy.uzVolume2 Issue3,March 2022 ISSN 2181-2020Page 106MAIN PARTIn Anna Steele's “King-Errant”, she portrays a teenager, Babur, as follows: “Babur was a very thin boy; in the eyes typical of Westerners, the teenager, who was beginning to show signs of youth in his six-foot-tall limbs, looked at least 15 years old. But Babur, the heir to this small Fergana kingdom, was only twelve years old. Still, he had his own goals.” We see the correspondence to this image in P. Kadyrov's novel "Starry Nights": Taking a step is also quite weighty. The last three years since he ascended the throne have brought him up very quickly, and his eyes are as calm as those of many who have seen him. Only her hip stature and yet-full shoulders reminded her that she was now 15 years old. However,Babur’s adolescence did a lot of work on the climb. In front of everyone, he climbed the rocks lightly, sometimes reaching outto help his mother and sister.” F.A.Steele claims that Babur had “signs of youth in his limbs that come six feet”. This can be seen in the expression of P. Kadyrov: "When Babur got off the horse, he grew taller and became equal to the older men." In both, there are clear indications that Bobur grew up much earlier. On the other hand,Babur's self-confidence, despite his young age, is described in F.A.Steele’s workas "he had his own goals", while in P. Kadyrovwrites like this: “The last three years since he ascended the throne have brought him up very quickly, and his eyes are as calm as those of many who have seen him.” So, it is not accidental that Babur ascended the throne, he has great goals. In addition, both writers show that 12-year-old Babur looks 15-year-old and is quite ready to take the throne.The peculiarity of these two portraits isthat Anna Steele’s description as“in the eyes of the West.”In fact, Babur has an oriental look. Or its thinness is not mentioned in historical sources, as well as in "Starry Nights". However, the slender figure and slightly swollen shoulders fit Babur's image.When we get acquainted with Babur's life, we can be sure that he fell seriously ill when he captured Samarkand. His condition worsened to the point that even rumors of the death of the young king Babur spread among the people. Flora Anna Steele describes the same situation in her work: “A tall, thin, young bodywas fighting for her destiny with her sharp qualities and curious eyes. He struggled with the disease for an hour or two, but suddenly his voice stopped and he fainted.” A similar situation is described in Pirimkul Kadyrov's novel "Starry Nights": "Babur, suffocated by fever, stood up and opened the letter with trembling hands. Suddenly a bucket of cold water seemed to pour over him, and his limbs froze and relaxed, and his head slumped on the pillow. That'sit!” Both of these plays depict Babur becoming very weak and fainting from the pain. But the differences are that Anna Steele brings about a change in Zahiriddin's body, that is, "tall, thin, young body," while Kadyrov describes Babur's condition and uses analogies such as "abucket of water poured over him.".The two writers also use different approaches to describe Babur's appearance as a teenager. In particular, Flora Anna Steele portrays the young king as follows: "Babur, tall and strong, stood up and waved his broadarms to get out of motion." P.Kadyrov tries to depict Babur's appearance from the point of view of his mother Kutlug Nigar Khanum: “As Bobur
EURASIAN JOURNAL OF ACADEMIC RESEARCHInnovative Academy Research Support CenterUIF =8.1| SJIF =5.685www.in-academy.uzVolume2 Issue3,March 2022 ISSN 2181-2020Page 107walked side by side with hismother, Kutlug Nigor realized that his height had grown considerably in those ten months andBabur, a brave young man at the age of sixteen was growing up fast and becoming a hybrid, and once again thanked God.” In the above two images, one can see the some similarities. The difference is this. Anna Style adds Babur's "broad arms", while Kadyrov points out that “Babur's height has grown”significantly.Zahiriddin's appearance in the most prosperous period of his life, when he ascended the throne of Kabul and established his rule there, is described in the novel “King-Errant”: “sweating, thetired soldiers could not get off the horse, at which point the tall, erect, strong Babur rose from his stirrup and gave the order”. In the novel "Starry Nights" his image is reflected in the views of his sister Khanzoda Begim: "It was Babur. But the princess remembered her brotherin the form of a sleek nineteen-year-old boy with no beard. The broad-shouldered, straight-shaven young man standing in front of him now was not even royal in his clothes: a simple turban with no ornaments on his head, and a beret with a cumin on his head. It is very difficult to see the proportions in these two images, as both artists have different approaches to depicting 30-35 years old Babur. F.A.Steelecreated the image of "tall, upright, full-bodied Babur", while P.Kadirov showed the image of "a young man with broad shoulders, a straight beard".Flora Anna Steele also uses the phrase, "A tall, erect, athletic young man in his forties, standing facing the Kabul Valley." It can also be seen from these images that Babur, despite being over forty years old, was a regular sportsman and was able to maintain his physical strength on a regular basis.In describing the king, who suffered from many diseases in the last years of his life, P. Kadyrov in the novel "Starry Nights" looks through the eyes of a famous architect of his time, Khandamir, had shrunk considerably. “Khandamir saw very clearly in the sunlight how much he had shaved himself as he set out on his journey to Mount Sekri. Khandamir looked at his thin, bulging face, the wrinkles around his eyes and forehead, and the lids that had sunk into insomnia, and felt regretfor him.CONCLUSIONFrom the abovemenioned facts, it is clear that there are many similarities and differences in Uzbek and world literature in the creation of the portrait of Babur. In particular, Flora Anna Steele and Pirimkul Kadyrov's images of Zahiriddin Muhammad Babur in his childhood, adolescenceand manhood show many similarities. But in these places, they describe the creation of a portrait from their own point of view. This, in turn, gives students a different perspective on the image.References:1.Khayrullayeva, K. R. (2020). Description of Zahiriddin Babur’s achievements in various fields in the works of Uzbek and world authors. ISJ Theoretical & Applied Science, 09 (89), 8-11. Soi: http://s-o-i.org/1.1/TAS-09-89-2 Doi: https://dx.doi.org/10.15863/TAS.2020.09.89.2
EURASIAN JOURNAL OF ACADEMIC RESEARCHInnovative Academy Research Support CenterUIF =8.1| SJIF =5.685www.in-academy.uzVolume2 Issue3,March 2022 ISSN 2181-2020Page 1082.Ravshanovna, Khayrullayeva Kamola, and Hakimova Muhabbat Alimovna. "THE EXEMPLARY LIFE OF BABUR MIRZA IN THE INTERPRETATION OF STEPHEN MEREDITH."3.Kamolov Ikhtiyor Nigmatullayevich, Khayrullayeva Kamola Ravshanovna and Quvvatova Dilrabo KhabibovnaTHE IMAGE OF BABUR IN THE INTERPRETATION OF HAROLD LAMB. Journal of Contemporary Issues in Business and Government Vol. 27, No. 4,2021. P-ISSN: 2204-1990; E-ISSN: 1323-6903. DOI: 10.47750/cibg.2021.27.04.015. https://cibg.org.au/.4.Khayrullayeva Kamola Ravshanovna. INTERPRETATION OF ZAHIRIDDIN MUHAMMAD BABUR’S IMAGE IN UZBEK AND WORLD LITERATURE. EPRA International Journal of Research and Development (IJRD), Volume: 5 | Issue: 5 | May 2020. SJIF Impact Factor: 7.001| ISI I.F.Value:1.241| Journal DOI: 10.36713/epra2016. ISSN: 2455-7838(Online).5.Ravshanovna, Khayrullayeva Kamola. "The imageof babur mirza in the interpretation of stephen meredith."ACADEMICIA: An International Multidisciplinary Research Journal11.11 (2021): 239-244.6.Zayniddinovna, T. N. “The Image of the Eastern Ruler in the Works of Christopher Marlowe”. CENTRAL ASIAN JOURNAL OF SOCIAL SCIENCES AND HISTORY, Vol. 2, no. 10, Oct. 2021, pp. 10-14, https://cajssh.centralasianstudies.org/index.php/CAJSSH/article/view/173.7.Zayniddinovna, T. N. . (2022). The Problem of “A Strong Personality” in Shakespeare’ Dramas: Richard III and Macbeth. Middle European Scientific Bulletin, 20, 7-10. https://doi.org/10.47494/mesb.2022.20.10068.Zaynitdinovna, T. N. . (2022). Lyrical Dialogue in Shakespeare’s Poems as a Reflection of Renaissance Anthropocentrism and a Strong Personality. Middle European Scientific Bulletin, 21, 120-125.9.Остонова, С. Н. National traditions and rituals in modern Uzbekistan (basing on the analysis of Uzbek traditional meal «Palov») / С. Н. Остонова. —Текст : непосредственный // Молодой ученый. —2020. —No 47 (337). —С. 199-203. —URL: https://moluch.ru/archive/337/75335/ (дата обращения: 28.10.202110.Остонова, С. Н. National traditions and rituals in modern Uzbekistan (basing on the analysis of Uzbek traditional meal «Palov») / С. Н. Остонова. —Текст : непосредственный // Молодой ученый. —2020. —No 47 (337). —С. 199-203. —URL: https://moluch.ru/archive/337/75335/ (дата обращения: 28.10.2021).11.Ziyodillaeva Mahbuba Ermatovna. (2022). ITERLINGUISTIC FEATURES OF AMERICAN ENGLISH AND MEXICAN SPANISH. SOCIOLINGUISTIC RESEARCH ON CHICANO ENGLISH.Galaxy International Interdisciplinary Research Journal,10(2), 328–332. Retrieved from https://internationaljournals.co.in/index.php/giirj/article/view/1266