Uzbek literature

UZBEK LITERATURE
 At the heart of the development of Uzbek literature is rich folklore - amateur and folk arts. People wrote and passed from mouth to mouth heroic epics whose characters became heroes who fought against oppression and oppressors, depicted in the images of evil forces. Thus were born such epic works of Uzbek folklore as "Ker-oglu" and "Alpamysh." The poem "Alpamysh" tells the story of the courage and bravery of the Uzbek athletes. This poem survived the centuries and became a real monument of Oriental literature.

Another popular folk work of art was a cycle of the tales and stories about Nasreddin Afandi - deft, clever fox, who, with his antics lesson gave a lesson to the greedy rich men and money-bags.

In the XI century it was created numerous works which were based on religious norms of Islamic morality. They are some instructive poems, such as "The knowledge that gives happiness" (1069) by Yusuf Balasagunskii, "The Gift of the truths" by Ahmad Yugnaki and especially the "Dictionary of Turkic dialects" (1072-74) compiled by Mahmud of Kashgar.
Historical epoch reached its high peak in the fiction of Amir Temur and as so as in his dynasty. Its popularity was based on the fact that the products were becoming more secular in nature, getting rid of excessive religiosity. During this period, works great eastern poet, thinker and statesman Alisher Navoi, who is considered a classic of Uzbek literature and the founder of the Uzbek language. His imperishable works - "Chordevon" and "Hamsa" are included in the treasury of world literature, and translated into hundreds of languages around the world.

The last of the Timurid dynasty, the founder of the Great Powers of the Mongols in India, which had been existed for over two centuries - Zahiriddin Muhammad Babur -, was not only a talented regent and military leader, but he also became famous as a brilliant poet of his time. His epic poem describing his autobiography is “Baburname”. He recounts the history of the peoples of Central Asia, Afghanistan and India. It is a masterpiece of Uzbek literature, a valuable historical and literary monument of that time.

Uzbek literature of the XVIII-XIX centuries was mainly lyrical, and is dedicated to the love theme. In this period are known such great poets as Nadir, Uvaysi, Mashrab, Khwarizmi, and many others.

At the beginning of the XX century Uzbek literature of the Soviet period was born. Important representatives are Mukimi Furkat, Hamza Niyazi Khakimzade and Sadriddin Aini Abdullah Kadiri, Fitrat, Oybek, Ghulam Ghafoor, Abdullah Kahhar, Xamid Alimjan, Uygun and the others.

The most ancient Uzbek oral literary works are over 200 epic poems, many legends, epic songs performed by folk poets - bakhshi. Heroes of folklore struggle with hostile forces - evil spirits, dragons. The oldest cycle of epic poems Ker-ogly and the poem Alpamysh were written around the 10th century. Alpamysh went in the folklore of all the peoples of Central Asia. It talks about the courage of folk heroes, courage and hatred of enemies; it contains many witty aphorisms, vivid metaphors, colorful descriptions. Another popular work from the cycle Ker-ogly is a poem about the transforming power of love of Ravshan-Hon. Many times later it was processed by folk poets. The satirical novels of Nasreddin Afandi, in which the khans and bais are derided, are popular. In the oral Uzbek literature, people of different nationalities - Chinese, Iranian, Turkmen, Negro, etc., female images are devoid of sentimentality.

In the XI century, many works are created, based on religious norms of Islamic morality. These are the instructive poems "Kugadau Bilig" ("Knowledge of Grace" or "Science of Happiness") by Yusuf Khas Hadjib Balasaguni, the poem "Khibat al-Khakaik" ("Gift of Truths") by Ahmad Yugnaki.

Classical literature in the language of Farsi played a huge role in the development of Uzbek written literature. Such monuments are of special cultural and scientific interest for all Turkic-speaking peoples, as it is possible to include Islamic didactic works created at a later time based on ethical norms, for example, "Dictionary of Turkic dialects" compiled by Makhmud al-Kashgari.

Fiction literature reached the flourishing in the historical epoch of Amir Temur and the Temurids. Its popularity is justified by the fact that the works acquire a more secular character, freed from excessive religiousness.

The study of the origins of the development of oral (folklore) and written literature in Uzbekistan convincingly attests to the intensive and dynamic interaction of the cultures of settled and nomadic peoples inhabiting this fertile territory. First of all, this applies to modern Afghanistan, the northern territories of which were part of the large Uzbek (Central Asian) state formations that were associated with the heyday of the genius of Alisher Navoi. He is considered the classic of Uzbek literature and the pioneer of the Uzbek language.

The last of the Timurid dynasty, Zakhiriddin Mukhammad Babur - was also famous as a bright poet of his time. His epic poem "Baburname" is a masterpiece of Uzbek literature, an estimable literal monument of that time.

Literary centers appeared in the 17th - 18th centuries. Most of the writers who took part in their activities, graduated from local madrassahs and, according to tradition, wrote in two languages ​​- Uzbek and Tajik. At this time in Bukhara, Khiva and Kokand anthologies of poems of local poets appeared, which testified to a new upsurge of Uzbek literature. For example, during the rule of Muhammad Rahimkhan (1885-1910), a literary center appeared in Khorezm at the palace, which published poems of local authors collected by Tabibi in a special anthology of poetry. Naturally, in the works of court poets, the khan and his officials were song.

However, in addition to court poets and mystic poets, there was a place in Uzbek literature for people, democratically minded progressive writers and poets. In their sketchy prose and poetic works, they boldly exposed the vices of their time, hypocrisy, insidious tricks of khans and beks. Such writers, for the most part, lived in poverty and were persecuted. One of such courageous defenders of the people and opponents of his oppressors during the reign of Subkhan-kulikhan (1680-1702) was the brave Turdi (Farogi).

Among the democratically minded writers and poets, known for their profound and substantial works, a special place was occupied by Babarakhim Mashrab (1654-1711). Living in poverty and wandering, this great man in his satirical lines mercilessly ridiculed the oppressors of the people - the feudal lords, the beks and their lackeys. Mahmud and Gulkhani also painted in their works a true picture of the plight of the broad masses of working people and boldly exposed injustice and violence.

One of the prior representatives of Uzbek literature during the khan’s period was the excellent poet, translator and historian Muhammad Riza Ogakhi (1809-1874), known for his democratic ideas and progressive views. His humanism and patriotism were clearly manifested in the depiction of a merciless satirical pen of a true picture of the situation of the working people and exposing the injustice of the ruling circles.

Uzbek literature of the XVIII-XIX centuries was mostly lyrical, and was devoted to a love topic. During this period Nadira, Uvaysi, Mashrab, Khorezmi and many others created.

After the seizure of Turkestan by the Russian Empire, a new modern stage of Uzbek literature began. Its bright representatives were the poet Mukimi and the writer, poet and satirist Furkat. At the beginning of the 20th century there were such talents as Hamza Khakimzadeh Niyazi, Sadriddin Aini, Abdullah Kadiri and the philosopher Fitrat. Their literary traditions were continued by Oibek, Gafur Gulyam, Abdullah Kakhhar, Khamid Alimdjan, Uigun and others.

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 fair)' tales such as about the animals, magical- fantastic themes and household stories. Among the latter a latifa ('jokes') genre is developed. The national imagination created a collective image of Nasriddin Afandi, the main hero and wise 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 down. The brightest samples are: the heroic epic of"Alpomysh", heroic- romantic epic of "Gur-ughli" (more than 40 plots), military epic "Ynsuf and Akhmad", "Tokhir and Zukhra", and others. The book version, as a rule, was borrowed from classical products "Farkhod and Shirin", "Layli va Majnun".

Pre-Islamic culture is represented by insignificant number of written monuments in Old Turkic languages: "Penitential prayer of Manicheans" (the 5th century) and Orkhun-Yenisey writings (7-12th centuries), "Kutadghu-Bilig" ('knowledge', 'giving happiness') (1069) of Yusuf Bolosoghuny, "Khibatul Khakaik" ('a souvenir of truths') by Akhmad Yugnaky, and especially, Devoni Lughati Turk ('dictionary of the Turkic languages) (1072-74) by Makhmud Kashghary are among the finest examples of Uzbek literature. Since the 14th century the Uzbek literature developed intensively and rather diverse. The period saw the emergence of a secular theme (a love epic with Biblical- Quranic topic, "Yusufand Zulaykho" by Durbek in l4-15th centuries.)

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 Akhmad Yassavy, Akhmad Yugnaky and Khorazmy 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 15th century was Lutfy, who in his poems used to highlight an ideal love, Poems by Atai and Sakkakv are also among brilliant examples. And, certainly, the special place belongs to works by Alisher Navoi. He combined his lyrics in four collections, including kasidas, gazek kitas, rubais and others.

The cornerstone of his poetry is "Khamsa" ("Five stories"). In the anthology "The Assembly of Scientists" Navoi briefly describes famous poets of the 15th century. Also, in his many works he talked about theories of ethics and aesthetics. His treatise, namely "Weight of the sizes" served a significant development in Uzbek lyrics.

In the 16th 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 Zakhiriddin Muhammad Bobur, who is said to have led records throughout his life, which later had become a source for his autobiographical work, entitled "Boburnama", 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 on the rise. Many topics for legends served a basis for creation of large literary works (poems Yusufand Zubykbo by Nozim Khisrav, "Tokhir and Zukhra" by Sayyodi, "Bakhrom and Gulandom" by Saykali, and others).

In the 18-19 centuries the Ferghana Valley, Khorezm and Bukhara became the largest literary' centers of the region. Poems by Nishaty Khorazmy came on the scene, influenced enormously by works of Navoi and Fuzily. Nodira and Uvaisy wrote about traditional theme of love. In early 19th century satirical pamphlets by Gulkhany, Makhmur and Agakhy were popular. Works by Munis, his historical "Heavenly garden of joy", finished later on by Agakhy, 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, Zavky, Khamza Khakimzoda Niyozy, Sadriddin Ainy, and Anbar Otin. In 1915 Khamza set up a theatrical group and wrote plays on local themes. In early 20th century new poets and writers emerged in Uzbek literature, such as A. Kocliry, A. Chulpon, A. Fitrat, Oybek, G. Gulom, A, Kakhkhor, Kh. Olimjon, Uyghun, 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 5O-6Os various stories and novels by authors such as I. Rakhim, Oybek, Shukhrat, S. Akhmad came on the scene. Oybek, Abdulla Kakhkhor, and Ibrakhim Rakhim 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 Murmukhsin. In early 60s, stories and memoirs 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 in the playwriting, as well. The Uzbek literature during the period of independence is a 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 rewarding 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 topics for it anymore. It wishes to understand the person deeper - in all of its variety of interpersonal relations. 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 choice 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 Narzullaev, 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 complex spiritual state and strive for realization of the sacred feelings of an individual, study of his rich and diverse soul.

"Ancestors" ("Turkiylar"), "Acknowledgment" ("Iqror") by Sh. Rakhmon, "Confession" ("Istighfor"), "The white and black" ("Oq va qora") by Azim Suyun,"Non-axplanatory dictionary" ("Izohsiz lughat") by Abduvali Kutbidin, "Dream" ("Tush"), "Way" ("Yo'l") 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 became 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 Kholmirzaev, Utkir Khoshimov, Oman Mukhtor, Tokhir Malik, Murod Muhammad Dost, Toghai Murod, Erkin Azamov, Khairiddin Sultonov, Khurshid Dustmuhammad, and others successfully work in the given genre.

Creative and unexpected decisions in the sphere, obvious violations of certain rules are those main features of Uzbek modern prose of this period. In the novel by Omon Mukhtor "The many faced" ("Ming bir qiyofa") and surprisingly unordinary story by Nazar Eshankul "The Black book ("Qora kitob") some of the features of the world prose were skillfully used. Original stories "Not to catch a wind" ("Shamolni tutib bo'lmaydi"), "A grave city" ("Tobut shahar"), "Cyclon" ("Qiyin"), and others are new aesthetic phenomenon in the national literature.

The prose writer Sh. Kholmirzaev 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" ("Dinozavr") , and stories "Moon under a cloud" ("Bulut to'sgan oy" by U. Khoshimov, "Ruler" ("Sokhibqiron") by A. Oripov, "Victorious ruler" ("Fotikhli Muzaffar"), "Secrets of the castle" ("Bir koshona sirlari") by A. Yokubov, "Old matchmakers" ("Sovchi chollan") by Kh. Sharipov, "The first wedding cover" ("Chiniildik") by E. Khushvaqtov, and others.