American Journal Of Philological Sciences
40
https://theusajournals.com/index.php/ajps
VOLUME
Vol.05 Issue04 2025
PAGE NO.
40-43
10.37547/ajps/Volume05Issue04-11
Individual Principles of Depiction of Princesses in
Risolat Haydarova's Novel “Javzo”
Djalilova Durdona Zairkhodja qizi
A doctoral student at the Alisher Navoi University of Uzbek Language and Literature, Uzbekistan
Received:
12 February 2025;
Accepted:
13 March 2025;
Published:
10 April 2025
Abstract:
This article provides information about the individual principles of depiction of Timurid princesses in
Rislolat Haydarova’s historical novel “Javzo”. The work skillfully covers not only historical figures, but also the
lifestyle, thoughts, spiritual devel
opments, and dreams of the princesses of that era. The novel “Javzo” introduces
readers to the Timurid era, in particular, the state ruled by his sons Muzaffar Mirzo and Badiuzzaman Mirzo in the
period after Husayn Baykara, and its disintegration. The article uses the necessary literature.
Keywords:
Historical novel, princess, historical figure, image, sahibkiran, princes, historical reality, historical truth.
Introduction:
After Uzbekistan gained independence, a
new stage began in literature. During this period,
writers sought to describe the historical past, cultural
heritage and national ideas of the Uzbek people in a
new way, taking into account modernity. The novels of
the independence period were created with the aim of
understanding the identity of the people, enriching
them with the national idea, personality and the best
traditions of world literature. With the beginning of the
independence period, various genres began to develop
in Uzbek literature, in particular, historical,
psychological, social and socio-psychological novels.
The novels written during this period acquired great
importance in reflecting the history, future and
national values of the people.
The image of the Timurid princesses in the Uzbek
novels of the independence period is mainly aimed at
interpreting historical values from a new perspective.
In novels written after independence, the Timurid era,
especially the Timurid queens, the political, social and
cultural role of the princesses was more in the
spotli
ght. The novels “Farewell of the Mother Falcon”
by P. Kadyrov, “Gavharshodbegim” and “Bibikhonim”
by Sh. Isakhanova, and “Javzo” by R. Haydarova were
created. These works reflect thoughts about the
personal characteristics, influence, political activity and
cultural heritage of the Timurid princesses.
METHODS
In the novel “Javzo” by the talented writer Risolat
Haydarova, the individual image principles inherent in
the image of the princesses, the character traits of the
characters, and the spiritual image are not left out,
expressing their attitude. Zero, the characters discover
themselves:
their
actions,
thoughts,
worries,
arguments, dialogues and monologues fulfill the
function of artistic painting in this regard. In this, the
means of psychological imagery play an important role
in the idea. Indeed, “revealing the character of a
character is the primary and most important task of
psychological portrayal. Nonverbal behaviors such as
facial expressions, mimicry, gestures, and posture
often testify to the feelings that are going on in the
character's soul.” Risolat Haydarova fruitfully uses such
opportunities of psychological portrayal in the nature
of her characters.
In Risolat Haydarova’s novel “Javzo”, imagining the life
of the Timurids and Shaybani Khans, gaining a certain
knowledge and understanding of the rulers, scholars,
merchants, warriors, dervishes, sheikhs, as well as the
thoughts and dreams of the women of that time, plays
an important role. The work skillfully illuminates not
only historical figures, but also the lifestyle, thoughts,
spiritual developments, and dreams of the queens of
that time. The novel “Javzo” allows readers to learn
about the Timurid era, in particular, the state ruled by
his sons Muzaffar Mirzo and Badiuzzaman Mirzo in the
period after Husayn Baykara, and its disintegration. We
will learn about these branches, Bashkir- it is
considered a perfect work that allows you to imagine
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American Journal Of Philological Sciences (ISSN
–
2771-2273)
and feel the knowledge of historical figures such as the
kings and Shaybani Khan who ruled the state on a
partnership basis, as well as the complexity of the
environment in which the queens of that time lived. In
the novel “Javzo”, the "undercoat of historical facts" is
also revealed, linking historical events with the fate of
women such as the Timurid queens Khadichabegim,
Opokbegim, Shokhbeka, Qarakozbegim, Gulnurbegim,
Sevinch beka, Nurbadanbegim, and their personal lives.
It also embodies the love, hatred, suffering, joy,
dreams, fantasies, and helplessness of women of that
time. This allows the reader to share the lives, dreams,
aspirations, and thoughts of women of that time. Also,
the main role in the work is to show the relationship
between
historical
figures
Husayn
Baykaro,
Shayboniykhan,
Khadichabegim,
Qarakozbegim,
Mogilkhanim, and Khan Oym. At the same time, the
names of several historical figures such as Alisher
Navoiy and Muhammad Salih are also mentioned in the
work, and they participate in the events in the plot
system, illuminating the realities of that era, their
lifestyle, and in particular the images of Qarakozbegim
and Khadichabegim. The landscape in “Javzo” is one of
the important means of revealing the idea of the work
and the psyche of the heroes in today’s Uzbek prose. It
is not only a means of artistic chronology, but also a
means of portraying the heroine, or rather the female
psyche. The end of spring has come unusually hot for
Khorasan. Even the elderly could not remember the
days being so hot at the beginning of the spring. It has
only been ten days since the torrential rains of Cypress
ended. But in the minds of people, it seems as if the
rains have poured for a long time... People are worried
that the pleasant warmth has suddenly turned into a
dull, dry heat, and the unrest of recent days has added
to this, and peace has lifted from the lives of the people
of Herat.
RESULTS
The image and character of Qorakozbegim in the work
are revealed more broadly than in other female
characters. It is not for nothing that the work begins
with her thoughts and experiences and ends with her
death. We do not intend to elevate her to the level of a
mere heroine. However, Qorakozbe
gim’s place in the
chain of events is significant. She is devastated that her
husband, Muzaffar Mirza, has abandoned his
homeland, his mother, and his beloved wife and fled.
Despite the encouragement of his servant Fatima, the
princess cannot hold back her
tears and cries, “He
won't come! He ran away! He left me to the wolves and
fled.” When a love letter arrives from Shaiboni Khan,
Esa is left in a state of conflicting emotions. Following
loyalty and obedience on one side, betrayal and
rebellion on the other, she struggles to come to a
decision:
“
-Who did you say brought it? This was the sixth time
that Princess Fatima had to answer this question.” The
author shows the princess’s hesitation through the
word “sixth time.” The feeling of hesitation was the
force that forced her to read the letter carefully and ask
the person who brought it over and over again.
Surrounded by memories, Qorako‘zbegim feels like a
“forsaken wife.” Burning with grief and revenge, she
wants to take revenge on her husband. A woman is a
beggar for sweet words from the beginning. She cannot
forgive the injustice done to her feelings. Perhaps this
is what prompted Qorakozbegim to agree to Shayboni
Khan’s poetic letter. Wanting to forget all the
experiences associated with Muzaffar Mirza and live a
new life, when he left, he ordered Fatima to leave
behind all her cakes and decorations she had bought at
the palace. Even under the influence of what he had
done, “He imagined himself being unable to find a place
to rest in the world, chasing after what he saw, and
doing it day after day, and a slight shiver ran through
his div from pleasure. Let it be worse! This is how
revenge is done”! A woman, in fact, is a mirror for men.
We see in them our own hearts, we see our hearts, our
mistakes and successes, our defeats and triumphs, our
happiness and misfortunes. That is why they always
seem mysterious and magical.
In the past, the words of my Qarakozbegim were given
without words, and he could easily get expensive
jewelry. Due to the desire to be in the lead in any
business and a sharp feeling of jealousy, he caused the
untimely death of a servant girl named Ganjina. When
he learned that Muzaffar Mirza was having an affair
with him, he devised various plots. He defiled her pure
name and honor in the harem with black words. As a
woman, he is jealous, as a woman, he always strives to
be loved. In such a situation, Qorakozbegim said to
himself, “What if Khusravshoh doesn't send such a
beautiful girl away? Or is there a mahlia in my name
“With” pure intentions,” he manages to marry Ganjina
to a prisoner. Three days later, news arrives that her
husband has beaten her to death. However, no matter
how beautiful Qorakozbegim himself is, his fate will be
just as ugly. Qorakozbegim will not be able to live with
his former companions, even with his new friends.
What he thought was happiness is gradually turning
into a mirage. The strict rules of the Shaybani Khan
harem restrict his freedom, making him feel like a
captive bird. He regrets not being able to reach the
level of his former master. This situation is described in
the following words from the Qorakozbegim: “How
many new fabrics came to the harem of Sultan Hussein.
Chinese kings, Indian saris, Arab silks, Persian
velvets…”, “The days in the harem of Shay
bani Khan
American Journal Of Philological Sciences
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American Journal Of Philological Sciences (ISSN
–
2771-2273)
passed in the same way, peacefully. There was no
party, no banquet or gathering.” In organizing
banquets, Queen Khadijabegim, the wife of H. Bayqara,
was very skilled in such matters. Of course, banquets
were organized with the money from the treasury.
Khadijabegim was very strong in the state treasury, in
the desire for various decorations, compared to her
concubine Opaqbegim. There was a huge difference
between the Timurid queens and the Dashti Kipchak
queens. Knowing that her thoughts were a mirage, she
surrendered to fate. The former rebellious, proud
Qorakozbegim became a lazy, submissive and sad
woman. When she heard that Muzaffar Mirzo was in
Mashhad, her mother-in-law, Khadijabegim, did not go
to the Ikhtiyoruddin fortress with her regrets:
“If I go,
maybe these children will not be there? I made a
mistake, I lost my way without going to the castle...”
Finally, his heart breaks from the endless thoughts,
torment of conscience and the burden of pain and he
dies. The different characters, views, and psyches of
women are revealed through the characters mentioned
in the work as Shaybani Khan's women, such as Khan
Oym, Mugil Khanim, and Khanzodabegym. Then you
can be sure of the mysterious aspects of women. In
fact, the world of women is complex and full of
mysteries. However, the role of fictional characters in
the novel is greater. Fictional characters such as
Sherzod, Yodgor, and Zulayho also actively participate
in the events of the novel. Although they are created
based on the imagination and fantasy of the writer, in
the way these characters speak, in their clothes and in
the appearance of their places of residence, there are
features and qualities that allow us to imagine the
lifestyle, thoughts, and aspirations of the queens of the
Timurid and Shaybani Khan periods, and to closely
experience the conflicting events that Qarakozbegim
experienced. Regardless of the era, the views,
aspirations, and dreams of women remain the same.
Historical novels not only illuminate historical figures,
but also delicately depict and illuminate the psyche and
emotional experiences of the queens of that period,
which is more vividly expressed in the work of female
writers. In the work of female writers, the image of a
woman, the image of a woman's heart is depicted and
recognized in a special way. Female writers perceive
the spiritual world of a woman more deeply than male
writers. The presence of such female writers in Uzbek
literature is also gratifying. It is a direct influence on the
concepts and customs of soc
iety”
DISCUSSION
The external appearance of a character (appearance,
posture, facial expressions, div posture and
movements, gestures) depicted in words, which is
animated in the reader’s imagination as an image, is
one of the means of creating a vivid image of his human
face and revealing his character. In this regard, let us
pay attention to the description of Khanim Oym:
“Forty
-six -at forty-seven years old, a dark-skinned
woman with a round face, almond-shaped cheeks, a
thin chin, drooping eyebrows, and fine wrinkles around
her eyes. Her voice is melodious, her words are elegant,
her eyes are steadfast...” . As can be seen, these
descriptions of the image evoked a certain image in the
library not only about the external aspects of the
woman, but also about her internal state. Being the
eldest wife of Shaybani Khan, Khanum Ayim heads the
entire harem. This is not without reason. Firstly,
because she is older than the other wives in terms of
age, and secondly, because of the above description,
her It is understood that she is a determined, serious
and thoughtful woman. This can also be seen in the
name of the lady. However, this heavy, restrained
woman is worried about the arrival of Qorakozbegim in
the palace for some reason, she feels uneasy. It is most
likely that Shayboni Khan was jealous of him. The
following situation further clarifies this: “While she was
spinning her rosary, she felt that the amber beads were
Feeling that he was shaking harder, he was surprised.
“What happened to me?” he thought. “Nothing
happened, why am I so angry?” As you know, jealousy
and love are not age-related processes. They do not
lose their value even as age passes. Despite the internal
enmity and the heartaches that have passed between
them, my lady follows a just path in following my
Qoraqozbegim to his final destination. She does not
rejoice in his death, she does not curse his name with
bad words. Rather, she is determined to perform the
rituals with the patience and respect characteristic of
Muslims. Another female figure that can be analyzed in
many ways is the Mughal Khanum. The author admits
that she “always spoke in a low voice. Even when she
laughed, she did not raise her voice. Or, to be more
precise, the Mogul lady laughed very rarely. She was
always serious and thoughtful. No, this girl was not
considered
beautiful.
The
consciousness
and
intelligence in her eyes would have frightened a blind
man more than he could have imagined. Along with
this, this young woman had an unexpectedly shy smile,
At this moment, her eyes close, smiles appear on both
her cheeks, and a completely different Mongol lady
appears before one's eyes-
betiful”An attractive woman
was visible." If we pay attention, the beauty of the
servant girl Ganjina was not something to be envied.
The situa
tion of Sevinch Beka, who “did not bring joy to
Badiuzzaman,” is similar. All three of them live in
expectation of mercy from the khan's heart. As a result,
the life of Ganjina and Sevinch Beka ended in tragedy.
The Mongol lady eagerly awaited Shaybani Khan before
his visit to Khorezm. But even if he sat down before
American Journal Of Philological Sciences
43
https://theusajournals.com/index.php/ajps
American Journal Of Philological Sciences (ISSN
–
2771-2273)
dawn, he would not see the khan. It didn't happen.
Then he remembered the words of my Khanzoda
Begum: “It is not wise to fight for the Caliphate
-ur-
Rahman...”, “We are people who have been put o
n a
ship by misfortune.” Do they really want to be free from
happiness? Are they satisfied with their lives? In fact,
these questions are superfluous. "They are not even
interested in this. But it is precisely because of these
qualities that these women are considered the most
beautiful women.
We imagine them as warm, cheerful, kind, and caring
women. Another active female figure in the novel is
Khadicha Begum. She, against her will, causes the
murder of Momin Mirza, the honorable grandson of
Hussein Bayka
ra. In her opinion, “the throne should
belong only to a son who is loyal to his father and born
of a beloved wife.” The beloved wife is herself. After
all, it was Husain Bayqaro who raised her from a simple
girl to the rank of Mahdi. The woman could not stand
the fact that her son Muzaffar Mirza remained and
Badiuzzaman Mirza became the crown prince. She did
not consider the lives of others for her own benefit. She
even managed to drive Beka Sultanbegim, the mother
of Badiuzzaman, out of the harem. But while he was in
solitary confinement, his conscience tormented him,
he was tormented by his deeds. His dreams were also
gloomy: “The nights were still not pleasant. The same
steep stairs, the darkness around, the stone walls...” .
Memories of the past did not give him peace for a
moment. Among the Timurid princes, there were few
who had not been imprisoned in the Ikhtiyoruddin
fortress. Here, Gavharshodbegim and finally, through
his efforts, Prince Momin Mirza was also executed.
Now that he was in this fortress with all his harem, his
trusted son had abandoned his mother and father to
the enemy, his daughter-in-law had betrayed him, and
was there anyone left to support him? On the contrary,
Momin Mirza's executioner Rahimali was also in this
fortress. Khadijabeg was afraid of what was coming, of
the nearness of her death, she despaired, and
remained in a state of convulsion. In fact, she did not
intend to dip her hands in blood. The crown, jealousy,
and the children of the inner world caused her to lose
control of her mind. This quick-tempered, unstable,
conceited, and selfish woman was described by her
daughter-in-
law, Qoraqozbegim, as “Khadijabeg was a
woman who, after shooting her words like an arrow,
turned her ears deaf.” The fate of Nurbadan in the
novel made the bookkeeper sad and thoughtful. The
girl was orphaned from her mother's womb. Then life
blessed her with a loving mother like Shohbeka. She
studied with the best teachers and grew up to be an
intelligent, delicate, and beautiful girl. “...her large
eyes
under her delicate eyebrows, her small, as if pinched
nose, her thick eyelashes, and her charming smile in her
eyes” could charm and captivate any person. Her
character is characterized by such qualities as
thoughtfulness, prudence, delicacy, and gentleness.
Her tragic death, that is, the collapse of the
Ikhtiyoriddin fortress, which was the very room of
Queen Shohibek and Nurbadam Begum, led to the
death of the queen.
CONCLUSION
The image of women in the work “Javzo” is extremely
diverse. The writer, paying attention to their various
characteristics, distinguishes one as determined and
patient, the other as naive and trusting; and others
portray them as cunning, selfish, scheming, and so on.
In short, the image and psychology of women, as one
of the most important features in Risolat Haydarova's
creative heritage, continues to reveal its undiscovered
facets as a result of numerous analyses and studies.
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Tashkent: Uzdavnashr,
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Eshonkul N. From
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