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POETIC FEATURES OF CHARACTER CREATION IN UZBEK
LITERATURE
Abdikarimov Jaloladdin
Teacher of Nukus Muhammad al-Beruni Secondary
Specialized Islamic Educational Institute
https://doi.org/10.5281/zenodo.16991520
Abstract
. This article examines the poetic features of character creation in
Uzbek literature across different historical periods, ranging from classical works
to contemporary prose. The analysis demonstrates that character construction
in Uzbek literature is not only a stylistic and artistic technique but also a
reflection of ethical values, national identity, and social change. In classical
literature, as exemplified by Alisher Navoi, characters are imbued with
allegorical and moral significance. During the enlightenment and reformist
period, writers such as Abdulla Avloniy introduced characters symbolizing the
conflict between tradition and modernity. In the Soviet era, Abdulla Qodiriy and
Oybek produced psychologically complex and socially engaged protagonists,
while contemporary authors like Erkin A’zam emphasize individuality and
spirituality. Thus, the poetic dimension of character creation embodies a
dynamic synthesis of tradition, innovation, and cultural continuity.
Keywords
: Uzbek literature; character creation; poetics; Alisher Navoi;
Abdulla Qodiriy; Oybek; Erkin A’zam; national identity; allegory; psychological
realism
Introduction
. Literature, regardless of its national form, is inseparable
from the art of creating vivid characters. In Uzbek literature, character creation
is not only a matter of depicting fictional figures but also a way of reflecting
social ideals, cultural traditions, and the moral values of the people.
Consequently, the development of Uzbek literature has always been
accompanied by a refined system of artistic imagery. Moreover, the poetic
techniques used in character construction serve as indicators of how literature
interacts with history, society, and human psychology.
First of all, in classical Uzbek literature, especially in the works of Alisher
Navoi (1441–1501), character creation was closely linked with ethical and
spiritual ideals. His heroes were often embodiments of justice, wisdom, and
devotion, while antagonists reflected the dangers of arrogance, cruelty, and
ignorance. For example, in Farhod and Shirin (part of his Khamsa), Farhod is not
only a romantic lover but also a symbol of human perseverance and self-
sacrifice. Through poetic imagery, Navoi describes him as a man who “cuts
through mountains for the sake of love,” thereby transforming a personal
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emotion into a universal metaphor of struggle and devotion. In this regard, the
poetic feature lies in the intertwining of aesthetic beauty with didactic purpose
[2].
Later, during the period of enlightenment and reformist literature in the
late 19th and early 20th centuries, writers such as Furqat and Abdulla Avloniy
began shaping characters who symbolized the awakening of national
consciousness. Unlike the mythologized figures of classical works, these
characters were closer to real life. For instance, Avloniy’s play Turkish Gulistan
or Morality portrays students who aspire to knowledge and enlightenment, thus
reflecting the conflict between outdated traditions and modern educational
ideals. Therefore, we can argue that the poetic aspect of character creation
gradually shifted toward realism and psychological depth [1].
Furthermore, in the literature of the Soviet period, character construction
gained even more complexity. Writers like Abdulla Qodiriy, Oybek, and Pirimqul
Qodirov developed multi-layered protagonists whose inner conflicts mirrored
the sociopolitical transformations of the nation. For example, in Qodiriy’s O‘tkan
kunlar, the central character Otabek embodies the struggle between tradition
and progress. His deep love for Kumush is expressed through lyrical language,
yet his resistance to the corrupt feudal system is portrayed with symbolic
imagery: Otabek’s sense of honor and justice becomes a metaphor for the
nation’s desire for renewal. Thus, the poetic quality lies in merging romantic
lyricism with social critique.
Similarly, in Oybek’s historical novel Navoi, the great poet Alisher Navoi
himself is turned into a literary character. Oybek portrays Navoi not only as a
statesman and writer but also as a deeply reflective man torn between worldly
responsibilities and spiritual ideals. Through rich descriptions and inner
monologues, the novel reveals the psychological depth of Navoi’s character,
thereby demonstrating how poetic narration enhances historical fiction [3].
In addition, post-independence Uzbek literature demonstrates a renewed
attention to individuality and spirituality. For example, in Erkin A’zam’s short
stories, characters are often ordinary individuals—farmers, teachers, or
workers—whose inner worlds are revealed through metaphorical and lyrical
prose. In his story The Rich Man’s Daughter, the central character reflects on lost
traditions and changing moral values, and the poetic narration highlights
nostalgia as well as irony. Through such techniques, characters become vehicles
for expressing broader philosophical questions about freedom, morality, and
cultural identity [5].
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It is also important to note that character creation in Uzbek literature is
deeply intertwined with national culture and identity. Traditional folklore, epics,
and proverbs frequently serve as sources of inspiration, thereby enriching the
poetic dimension of literary characters. For instance, the image of Alpomysh
from the Uzbek epic tradition has influenced many modern works, either
directly or indirectly, by providing the archetype of the brave, loyal, and self-
sacrificing hero. Contemporary authors often reinterpret this archetype in the
light of modern challenges—for example, replacing the battlefield with moral,
social, or intellectual struggles. Consequently, the poetic art of character creation
functions as a cultural bridge that connects the past with the present.
Conclusion
. In conclusion, the poetic features of character creation in
Uzbek literature cannot be limited to simple narrative techniques. Rather, they
emdiv a dynamic process of merging tradition with innovation, aesthetics with
ethics, and individuality with collective identity. While classical literature
emphasized moral allegory, modern works highlight psychological realism and
symbolic depth. For example, Navoi’s Farhod, Qodiriy’s Otabek, and Oybek’s
Navoi demonstrate different but interconnected approaches to poetic
characterization. Thus, character creation in Uzbek literature stands out as a
multifaceted art form, which continues to evolve alongside the historical,
cultural, and spiritual development of the nation.
References:
1. Abdulla Avloniy. Turkiy guliston yohud axloq. – Toshkent: Yoshlar nashriyoti
uyi, 2018. – 96b. 5-15-betlar.
2. Alisher Navoi, "Farhod va Shirin" (Farhod and Shirin). - Tashkent: Literature
and Art, 1989. - 592 pages.
3. Aybek, (1958) “Navoi” Selected works” Volume 2. Moscow. Goslitizdat. P. 1, 5 -
6, 1. 29, 32-33, 275.
4. A. Qodiriy “Oʻtkan kunlar”. Sharq. T., – 2004. 50-bet.
5. A’zam, E. (2012). Selected stories. Tashkent: Uzbekistan Publishing House.
