European International Journal of Philological Sciences
37
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TYPE
Original Research
PAGE NO.
37-41
DOI
OPEN ACCESS
SUBMITED
14 March 2025
ACCEPTED
10 April 2025
PUBLISHED
12 May 2025
VOLUME
Vol.05 Issue 05 2025
COPYRIGHT
© 2025 Original content from this work may be used under the terms
of the creative commons attributes 4.0 License.
The Category of Literary
and Aesthetic Ideal in
Poetry (Through the
Example of Hamid
Olimjon’s Creative Work)
Turopova Parizod
Associate Professor at JSPU, Doctor of Philosophy in Philological Sciences
(PhD), Uzbekistan
Abstract
: This article is dedicated to the study of the
transformation process of the literary-aesthetic ideal
category in Uzbek literature, based on the works of
Hamid Olimjon. The analysis reveals that Hamid Olimjon
drew inspiration from Uzbek folk oral tradition, classical
literature, the literature of fraternal peoples, as well as
modern Eastern and Western poetry. As a result, it is
identified that a number of the poet’s articles pro
moting
the ideals of the Soviet regime emerged in response to
the political demands of the time, and that such
politically influenced elements also appear in his poetry.
Furthermore, although the poet criticized the traditions
of classical literature and writers who focused on
historical themes in several articles, it is demonstrated
that he acknowledged the organic unity of his own
literary-aesthetic ideals with the works of Navoi and the
epics Alpomish and Gorogly, based on their analysis.
Keywords:
Journalistic genre, journalistic pathos,
political propaganda, political system, patriotic ideas,
national character, national ideal.
Introduction:
From the second half of the 19th century
until the Independence period, the Uzbek people
underwent complex historical, social, political, and
spiritual processes connected first with the colonization
and later with the repressive policies of Tsarist Russia
and the Soviet government. The first of these
processes
—
during the 19th century
—
was associated
with the intensified efforts of the Russian Empire to
colonize the lands of Turkestan, eventually leading to
their conquest. Initially, under Peter I, the plan to
conquer Turkestan progressed slowly, but by the 19th
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century, with the escalation of the so-called "Great
Game" and the competition between the British and
Russian Empires for control over the markets of
Turkestan
—
especially
through
their diplomatic
relations with the Emirate of Bukhara
—
these
interactions fueled rapid expansionist actions. The
Uzbek people became victims of colonization partly
due to the unawareness of the rulers of the three
khanates about the colonial strategy and their
backwardness in comparison to the advancing
European culture, science, and education.
Although in the first quarter of the 20th century our
people gained an opportunity to break free from
Russian colonial rule, the Soviet regime ultimately
reasserted control, leaving even more devastating
consequences. Political repression intensified, and the
rights of our people to express free thought and openly
articulate their hopes and aspirations were severely
restricted. In general, the period from the second half
of the 19th century until independence was extremely
difficult and dark. During this time, colonial powers not
only exploited the natural resources of the Uzbek
people but also encroached upon the nation's
centuries-old spirituality, literature, and manuscript
heritage. In an effort to alienate the Uzbek people from
their national identity, many spiritual manuscripts
were destroyed or taken away. Sources related to
Islam
—
central to our moral heritage for centuries
—
were reinterpreted for colonial purposes. Works by our
ancestors were published in shortened forms, and at
the same time, literature serving colonial ideology was
promoted. Even in such a politically dominated literary
environment, devoted and visionary writers continued
to sing of their dream of a free homeland
—
one that is
beautiful, patriotic, educated in science and
knowledge, connected to its ancestral heritage, and
socially progressive. Although on the surface the works
of this period may appear to serve the ideology of the
regime, the ideals expressed by the authors were at
times overt and at times symbolically embedded. Thus,
the literary-aesthetic ideal appeared to enter into a
seeming compromise with the era and its political
repressions, taking various forms and undergoing
transformation [6;3].
Independence opened new opportunities for all
creators in our country to promote their high literary-
aesthetic ideals. Such transformations in literary art
were also reflected in the works of creators from all
regions of our homeland, including those from the
Jizzakh oasis. During this period, many poets and
writers emerged from Jizzakh, whose works likewise
present literary-aesthetic ideals in various forms.
The creative legacy of Hamid Olimjon plays a significant
role in shaping contemporary Uzbek poetry, enriching
it with new imagery, tones, and systems of
representation. Hamid Olimjon was well-versed in the
Uzbek folk oral tradition, classical literature, the
literature of fraternal peoples, as well as contemporary
Eastern and Western poetry. His poetic style was also
influenced by the literature of his time and the
environment in which he lived. The traces of poetry in
his works appear in different forms, often containing
both open and hidden meanings. Therefore, when
speaking of the literary-aesthetic ideal in Hamid
Olimjon’s works, it is necessary to consider these
aspects. From this perspective, we can observe the
specific manifestations of the transformation of the
literary-aesthetic ideal category in his works [7;741].
Hamid Olimjon’s creative work matured during the first
half of the 20th century
—
a period marked by the most
complex historical processes in Uzbek literature.
Therefore, as previously noted, the traces of this era can
be observed in both his journalistic and literary writings.
The poet lived during a time when the Soviet regime
intensified its political repressions. The Soviet
authorities sought to rapidly implement their vision of a
new literature and began imposing their political
demands on writers.
N. Karimov, in his discussion of the works of Usmon
Nosir
—
a poet who lived and wrote during the same
period as Hamid Olimjon
—
explains the creation of
Usmon Nosir’s literary montage Paxtako
r, written in
accordance with the political demands of the time, as
follows:
“After the depiction of past landscapes, this monologue
was particularly well received by young listeners. This
work, dedicated to the struggle for cotton, was also
positively received by education officials. Such works by
Usmonjon on contemporary themes, composed in
alignment with the political demands of the era,
increased official trust and expectations regarding his
talent” [1;70].
The characteristics typical of Usmon Nosir's literary
work can also be said to pertain directly to the work of
Hamid Olimjon. In Olimjon’s oeuvre, we also encounter
poems and articles shaped by the political demands of
the time. Notably, following his encounter with
Mayakovsky, the influence of Mayakovsky's works
began to be felt in his own poetic output.
“In 1930, as the building of the Pedagogical Academy on
Abramov
Boulevard
remained
unfinished,
the
Academy’s assemblies were held in the auditorium of a
college. Ideologically themed meetings were frequently
conducted in this hall. At one such meeting in 1930,
attended by party and government officials, following
the main report and several speeches, the chair
unexpectedly gave the floor to Hamid Olimjon. As the
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uproar died down, the impassioned poet appeared at
the podium with a glowing face. He calmly and slowly
surveyed the hall and, with a smile, began to speak. He
typically did not deliver speeches at official gatherings,
preferring instead to recite poetry. On this occasion,
too, he read a poem
—
In Days of Defense, composed
for the event.
…This poem,” notes N. Karimov, “was written under
the influence of Mayakovsky’s Left March” [2;52].
The influence of the political ideologies of the time can
also be seen in several of Olimjon’s articles. For
example, works such as The Struggle Against
Nationalism and Counter-Revolution and Uzbek
Proletarian Literature, On the Literary Work of Fitrat,
and speeches delivered at sessions of the Supreme
Soviet of the Uzbek SSR, all reflect the spirit of the
prevailing political demands.
In his article Navoi
–
the Creator of the Uzbek
Language, he emphasizes that the works of Alisher
Navoi hold a place in world literature equal to those of
Ferdowsi, Shakespeare, Balzac, Leo Tolstoy, and
Pushkin. He also lists several asp
ects of Navoi’s works
that reveal their universal significance for human
development and moral education [9;157]. In the
article Navoi and Our Time, he highlights the
timelessness of the ideals voiced by the great scholar,
stating:
“The theme of justice ac
companied the great thinker
throughout his life. According to his view, for people to
live in peace and harmony, for the country to be saved
from destruction and ruin, and to be free from
senseless wars and conflicts, justice must reign in the
world...
According to Navoi, a ruler or king should govern the
country who is wise and knowledgeable in science and
wisdom, and whose guiding principle is justice. This
issue occupies a central place in many of his works
—
especially in Farhod and Shirin, Mahbub al-Qulub, and
particularly in the epic Saddi Iskandari.”
Hamid Olimjon, as an advocate of the ideal of justice,
viewed the image of Iskandar in Saddi Iskandari as the
embodiment of an ideal ruler. Through this figure, the
poet expresses the essence of his own aesthetic ideal.
Through the couplet: "A just king builds with justice,
Justice makes even a ruined land flourish" [9; 227
–
236],
Hamid Olimjon substantiates his view. In doing so, he
reveals, through the example of Navoi’s work, the
ideals that have been celebrated in Uzbek literature for
centuries. By analyzing Navoi’s literary
-aesthetic
ideals, he does not deny, but rather affirms, that his
own ideals are in harmony with those of Navoi.
Olimjon’s literary
-aesthetic ideals are rooted in the rich
oral traditions of Turkic peoples, a continuity that is
evident in his article The Epic of Courage, Love, and
Friendship. In this article, he emphasizes that the epic
Alpomish expresses the ideals of unity and solidarity
among Turkic peoples such as Uzbeks, Karakalpaks,
Kazakhs, and Turkmens. Alongside this, he notes that
the Gorogly epic cycle also possesses similar
characteristics.
In particular, he writes: “The people always create. Even
during the darkest periods of their history, the people
continue to create
—
they compose... The people sing of
heroes, brave warriors, of those who make the distant
seem near, and the difficult seem easy. From these
songs, true epics are born. These epics reflect the
genuine life and struggle of the people far more
realistically and truthfully than dozens of official
historical books” [2; 166–
167].
The poet’s ideals concerning love, as praised by his
ancestors over the centuries, are reflected in the poem
Zaynab and Omon. According to N. Karimov, "Zaynab
and Omon was the Farhod and Shirin of the new Soviet
era” [3; 91].
The work is based on the life story of Zaynab Omonova,
who was then widely known as a celebrated cotton
grower. Through this poem, Hamid Olimjon presents a
modern interpretation of his ideals concerning love.
In this love, loyalty leads the way,
And no cruelty can ever wear it away;
No dark day shall ever descend on it,
No mourning shadow shall ever dim its light.
In these lines, the poet responds to the question of what
the highest form of love should be
—
using the example
of Zaynab and Omon’s love—
by presenting his own
ideals. Indeed, such an enduring, unwavering image of
love has always been desired both by writers of every
era and by their readers. The idealization of love and the
views of writers on this subject often
reach the reader’s
perception more effectively and are more readily
accepted when the literary character is based on a real-
life prototype
—
an approach frequently found
throughout the history of our literature.
In Eastern literary tradition, the famous love stories of
Layli and Majnun and Yusuf and Zulaykha serve as classic
examples of this phenomenon.
Layli and Majnun is a story with centuries of history, its
origins tracing back to the second half of the 7th
century. According to tradition, Majnun was a historical
figure whose real name was Qays. Sources mention that
his love for a girl named Layli became widely known
among Arab tribes [4;31
–
67].
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The story of Yusuf and Zulaykha is based on the Surah
Yusuf from the Holy Qur’an. In Alisher Navoi’s Tarixi
anbiyo va hukamo (The History of Prophets and Sages),
the story of Prophet Yusuf (a.s.) is also recounted. At
the beginning of the tale, the influence of this narrative
on Eastern literature is described as follows:
“The story of Yusuf (a.s.) is so famous that there is no
need to elaborate on it in detail. Because of its
uniqueness and beauty, prominent writers have
composed poetic and prose commentaries on it,
showcasing its enchantment through their narratives”
[5;553].
These two love stories have found expression in
different interpretations by authors of various periods.
Hamid Olimjon’s poem Zaynab and Omon can likewise
be placed among such legendary tales. However,
unlike his literary predecessors, Olimjon based his
work on the real life of a contemporary figure. In
addition, the spirit of the era is also perceptible
throughout the poem.
The mountains were crossed with firm intent,
Old ways of life began to relent.
From their foundations, values fell apart,
As kolkhozes formed across the heart
Of every valley wide and far
—
Even Anor’s kin joined the new star.
Although the poet strives to reflect the spirit of his time
in the poem, at its core lies the human element
—
human emotion
—and the author’s ideals concerning
love and devotion. In his poem Childhood, Hamid
Olimjon attempts to answer questions regarding the
traits that should define the ideal person of his era.
…We were children,
Nights
—
like fire,
Hearts
—
ablaze,
Eyes
—
sharp with desire,
Souls
—
pure and bright,
We played so free, so light…
Life itself
Would throb and sing
With the village’s every spring.
Mountains stood on one side proud,
Gardens bloomed on the other side loud…
Waters splashed,
Flowers flashed,
Wide streets winding,
Endless roads shining…
And glowing bright
Were candles of light. [10;18]
Through these lines, the poet expresses that while life
may begin in serenity, it inevitably evolves and
intensifies over time. The subsequent verses convey the
increasing dynamism of life and its call toward new
destinations. This is, of course, not merely a lyrical
reflection of the protagonist’s inner experiences.
Rather, it presents a portrayal of the ideal person
—
one
who must be in harmony with the spirit of the age. At
the conclusion of the poem, the poet advances the
thesis that to become an ideal individual, one must be
able to overcome any circumstance with joy and
resilience.
For a moment,
I fall silent
—
But then again
I stretch my arms to the noise.
I play in the waves,
Boil in their roar,
And with full force,
I laugh once more. [10;20]
In the poems “Siyob” and “Valley of Happiness”, the
imprint of the era upon Hamid Olimjon’s creative work
is also evident. Although the poet expresses a deep
desire for his homeland to flourish and become even
more prosperous, he was compelled to intertwine these
aspirations and ideals with the ideological narratives of
the Soviet regime. In one stanza of the poem “Siyob”:
We are joyful,
Cheerful
—
We flow toward Siyob,
Gazing with delight
In every direction.
On one side:
Lambs and sheep
Roam far and wide.
In another place:
On a high hill,
In a great tomb,
A prophet lies at rest
—
But the new generation
Now looks upon him
Onl
y with disdain… [10;22–
24]
In the poem “Valley of Happiness”, the poet glorifies the
lush greenness and the flourishing beauty of the
surrounding landscape. Toward the end of the poem, he
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addresses the people living amidst this greenery with
the exclamatio
n: “O Bolsheviks of the happy valley!”
Hamid Olimjon’s conception of happiness—
his ideal of
supreme human contentment
—
is presented in a
distinct manner in his poem “On Happiness”, where he
portrays the defining traits of a truly happy person.
Everyone seeks their destined bread
—
Even the birds cry out for their share.
In this world, aged and full of trials,
Many have passed, chasing happiness, unaware.
He continues:
Happiness is never truly found
While the people are enslaved and bare.
If one creates a paradise on earth
—
Yet in the end remains in hunger and despair. [10;88]
Based on the analysis presented in this article, the
following conclusions can be drawn:
A number of Hamid Olimjon’s articles
dedicated to
promoting the ideals of the Soviet regime were created
under the influence of the political demands of the
time. These poems should not be evaluated solely on
the basis of superficial interpretations.
In Hamid Olimjon’s poetry, there are also
instances
shaped by the political requirements of the era.
Although he critiques classical literary traditions and
writers who focused on historical themes in several of
his articles, his analyses of Navoi’s works, and the epics
Alpomish
and
Gorogly,
demonstrate
his
acknowledgment of the deep connection between his
own literary-aesthetic ideals and those traditional
sources.
The analysis of Hamid Olimjon’s articles and poems
reveals that he did not abandon the great hopes and
ideals of the Uzbek people; instead, he presented them
through new perspectives.
The roots of Hamid Olimjon’s literary
-aesthetic
ideals
—
especially those connected to concepts such as
homeland, freedom, justice, and happiness
—
are
closely linked to the sources of both the oral and
written literary traditions of the Uzbek people.
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