European International Journal of Philological Sciences
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TYPE
Original Research
PAGE NO.
32-36
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.
National Literary Tradition
In Uzbek Novel Writing
(On The Example Of
Abdulla Qodiriy’s Novel
“O‘Tkan Kunlar” / “Days
Gone By”)
Soatova Nodira Isomitdinovna
Professor, Doctor of Philological Sciences at Jizzakh State Pedagogical
University, Uzbekistan
Abstract
: This article is dedicated to studying the
innovative literary contributions of Abdulla Qodiriy, who
laid the foundation for Uzbek national novel-writing,
through an exploration of folk oral traditions and the
epic conventions of Alisher Navoi's Khamsa. The
depiction of characters in Qodiriy’s works reflects the
achievements of 20th-century Uzbek literature, which,
in essence, stem from the rich artistic experience
embedded in folk oral creativity. The novel genre in
Uzbek literature emerged by creatively adapting and
utilizing these epic descriptive traditions. Qodiriy’s
novels also originated in this way. The reality portrayed
in O‘tkan kunlar (Days Gone By) reflects a signif
icant
period in Uzbek history
—
namely, the collapse and crisis
of the khanates. Hence, the creation of this novel was
supported by the artistic tools of both oral and written
literary traditions. The article clarifies the significance of
Qodiriy’s literary
experiments in establishing national
artistic thought within Uzbek novel-writing.
Keywords:
Tradition, literary tradition, epic tradition,
literary influence, romanticism, realistic style, fantastic
depiction, creative style.
Introduction:
Masterpieces of literature and art emerge
at specific stages of societal development, often thanks
to the works of classical writers, reflecting the
multifaceted aspects of their times. However, even as
societies decline or enter new historical periods,
genuine works of art do not lose their value; rather, they
continue to live on, serving as a source of spiritual
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wealth and aesthetic education for future generations.
In the process of representing real life, literature and
art constantly enrich and refine their methods, forms,
and techniques of depiction. Accordingly, the concept
of literary tradition refers to the accumulation of
advanced literary experiences that have passed from
generation to generation, born of societal needs. In
essence, tradition is a vast treasure trove of various
gems. From this trove, each individual can take what
they need: mastery in plot construction, creating vivid
characters, depicting the inner world of heroes, and so
on. In this way, the use of tradition becomes, to a
certain extent, an artistic study. Every artist who
courageously and realistically portrays objective reality
and senses modernity will undoubtedly continue the
traditions of their predecessors with dignity. Writers
often master artistic skills by following their literary
mentors and studying their rich experiences.
Respectful yet critical views on mentors are even more
clearly reflected in Alisher Navoi’s Khamsa. Not a single
poem in Khamsa exists in which Navoi does not
mention the blessed names of Nizami Ganjavi,
Khusraw Dehlavi, Ashraf, or Abdurahman Jami,
offering them praise while also pointing out certain
flaws.
Navoi treated the intellectual and literary treasures
created across Greece, India, China, the Arab world,
Iran, and beyond with great reverence. He thoroughly
studied the works of luminaries such as Firdawsi,
Ganjavi, Dehlavi, Jami, and Lutfi, and drew creative
inspiration from them. In his treatise Muhokamat al-
lughatayn, Navoi recounts how extensively he read the
works of earlier masters:
“Among their divans, there are few that this humble
o
ne has not studied in detail,” and wrote of his
inspiration: “I have read many of their works multiple
times, even memorized some, appreciated the beauty
of their odes and ghazals, and even imitated their most
refined and eloquent ones” [1,24].
Observation of Uzbek written literature reveals that
the emergence of the novel in our classical literature is
tied to three major developments: the appearance of
poetic epics, the formation of prose, and the rise and
historical evolution of realism. In some national
literatures, the advent of realism is often associated
with the emergence of satire. In this regard, the second
half of the 19th century marked a significant stage in
Uzbek educational literature, with the satirical works
of writers such as Muqimi, Furqat, Mahmur, Zavqi, and
Avaz O‘tar playing a vital role in the establishment of
realism in Uzbek literature. These developments also
laid the groundwork for future Uzbek novels.
The classical examples of epic poems in our written
literature are the works incl
uded in Alisher Navoi’s
Khamsa. The emergence of realism is linked to the
excellent prose work Baburnama, as well as the literary
legacies of Muqimi, Furqat, Zavqi, and undoubtedly
Fitrat, Cholpon, Qodiriy, and Hamza. Collectively, these
literary efforts created a fertile environment for the rise
of the Uzbek novel.
It is well known that Uzbek written literature boasts
nearly a thousand years of history. Alisher Navoi’s work
represents the culmination of this long historical period
and the pinnacle of literary development. His many
works, especially the epic poems in Khamsa, attract
attention as the synthesis, development, and
refinement of earlier literary traditions and aspirations.
In the past, when there were no novels in Uzbek
literature, the epic works included in Khamsa essentially
fulfilled the function of a novel. Given that Navoi’s
creative style is rooted in romanticism, and that
romanticism preceded the emergence of realism in
Uzbek literature, it becomes clear that, in a way, Navoi’s
poetic epics served as the equivalent of novels in verse
[4, 50
–
51].
While analyzing the poem Farhod and Shirin, N. Mallaev
emphasizes that Farhod has reached the level of a
“perfect epic character” and justly notes: “As a result,
the work resembles a poetic novel”
[3,443].
It is natural for every literary work to draw nourishment
from both oral and written literary traditions. In this
sense, when discussing the literary connections
between Alisher Navoi and Abdulla Qodiriy, the nature
and path of this creative influence become apparent.
Through inspiration and admiration for the great poet's
work, we can observe the stages of development in
Qodiriy’s artistic mastery.
Typically, when comparing the works of two writers,
aspects such as similarities in plot, methods of character
creation, and the authors’ modes of thinking are
examined.
Abdulla
Qodiriy
approached
the
accumulated experience and rich traditions in our
literary history with great respect. At the same time,
through his creative exploration, he elevated these
traditions to a new qualitative level, setting a model of
literary excellence. As a talented and innate artist,
Qodiriy did not limit himself to the knowledge gained
from his predecessors but progressed far beyond them.
When studying a particular work from the perspective
of literary influence, comparing it only with works of the
same genre would be one-sided. Indeed, literary
influence is a broad and multifaceted concept: works
from various genres can influence a single work, and this
is natural. In this
regard, in O‘tkan kunlar (Days Gone
By), we observe not only the influence of prose works or
epically descriptive poems but also that of oral folk
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literature and written works from diverse genres.
Therefore, it is evident that Qodiriy was inspired not
onl
y by the art of epic description found in Navoi’s
poems but also by their lyrical beauty.
The very fact that Abdulla Qodiriy likens Otabek and
Kumush to the Farhod and Shirin of the new era shows
the immense popularity of Navoi’s work among the
people, its cherished status for the author, and,
naturally, its direct and indirect influence on O‘tkan
kunlar. But that's not all. Both Farhod and Shirin and
O‘tkan kunlar occupy a special place in the literary
legacies of Navoi and Qodiriy. Taking into account that
through the characters of Farhod and Otabek, Shirin
and Kumush, the authors created ideal representations
of a young man and woman, we can conclude that
these works shed light on Navoi’s and Qodiriy’s
aesthetic views, their perception of the world and
humanity, their intellectual scope, artistic standards,
and many other issues related to their lives, creativity,
personalities, and worldviews.
There are many shared traits between the images of
Farhod and Otabek, Shirin and Kumush. Both authors
depict their protagonists with particular affection and
love. They embodied in these characters all the noble
qualities they themselves possessed or admired in
others, as well as the ideals they dreamed of. After all,
a literary character never entirely mirrors a real
person
—
they are somewhat idealized.
It becomes evident that Farhod and Shirin as well as
Otabek and Kumush are, to a certain extent, idealized
characters created by Navoi and Qodiriy. However, the
authors employed two distinct creative methods in
crafting their works: Navoi used a romantic method,
while Qodiriy adopted a realistic approach. If Navoi, in
composing Farhod and Shirin, drew upon the heroic
romantic epics of oral and written literature, Abdulla
Qodiriy not only relied on the traditions of oral folk art
and classical Uzbek literature, but also benefitted from
the artistic achievements of both modern Eastern and
Western novel-writing.
In this regard, although there are commonalities
between the protagonists of these two works, it is
natural that there are also significant differences. For
instance, Farhod is portrayed in an elevated romantic
style, imbued with elements of exaggeration and
fantastical imagery, whereas the image of Otabek is
crafted in accordance with the principles of realism. In
N
avoi’s interpretation, Farhod and Shirin are not
merely divine symbols of love and loyalty. They are,
first and foremost, vivid and unique embodiments of
spiritual perfection and inner beauty.
“Just as Navoi did not separate spiritual beauty from
physical beauty, he also believed that knowledge and
skill should be intertwined. In other words, if a spiritually
mature person is also physically beautiful, that is
considered complete perfection. Similarly, if a learned
person is also skilled, or if a craftsman possesses
knowledge and wisdom, this constitutes true
completeness.” All these qualities are embodied in
Farhod: he possesses knowledge of all sciences and is
familiar with all crafts. He is not only spiritually mature,
but also physically strong and handsome, brave and
resolute [5,39].
We can observe these very same qualities in Otabek.
Though he may not have mastered every science of his
time as Farhod had, he is nevertheless sufficiently
educated. Through his engagement in trade, he has
traveled not only within various regions of his own
country but also to Russian cities. He has gained
firsthand insights into the lives of the people and the
workings of state governance, making him worldly,
experienced, broad-minded, and deep in thought and
reflection. He is composed, courteous, courageous,
noble, brave and fearless, considerate, honorable, and
dignified
—
in short, a true son of his era.
In Farhod and Shirin, the portrayal of romantic
adventure takes the lead: setting out in search of Shirin,
Farhod faces numerous adventures
—
he travels to
Greece and meets Suhaylo, defeats a dragon, Ahriman,
and an iron-
bodied warrior, obtains Jamshid’s goblet,
speaks with the sage Socrates, and unlocks the secrets
of Alexander the Great. This constitutes the first stage
of events. The second stage begins when Farhod sees
Shirin’s reflection in a mirror and the trials he endures
on his path to reach her.
Although Otabek, unlike his predecessor, comes to
Margilan not in search of love but for trade, he
nevertheless falls for a girl whose beauty is said to be
“without equal.” His fortunate and unfortunate
adventures begin from that point. The temporary
relegation of the love theme to second place in the
narrative shows that the writer did not merely imitate
folk epics but chose a creative path of his own. Thus, in
mastering tradition, the author did not rely on imitation,
but approached it with innovation.
While Farhod battles dragons, Ahriman, iron warriors,
and rivals like Khisrav in legendary, fantastical
encounters for the sake of his love, Otabek too
overcomes his enemies
—
Homid, Mutal the wrestler,
and Sodiq
—
in an uneven but heroic struggle. This, too,
constitutes an epic, a great act of heroism. Farhod
remains composed even when confronted with
deception and imprisonment by his rival Khisrav,
confidently responding to his challenges, countering his
words with sharp retorts and layered wit that leave
Khisrav speechless.
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“The harsher Khisrav’s accusations, the more calmly
Farhod answered them. Khisrav saw such courage in
him. His words sparkled like scattered pearls. Khisrav
was dazed, feeling as if a fire had ignited within him. ‘A
wretch in chains dares to reply with such defiance to a
king like me, even when the branches of his life’s tree
are broken? Such insolence deserves a death sentence,
so that no beggar from the mountains or valleys dares
speak so boldly before a sultan again!’ he thought.
...They brought him to a place where a gallows was
raised, with wood and fire prepared. ‘Shall such an
innocent die like this?!’ cr
ied the people, and a great
uproar arose.
...Not only Khisrav’s close confidants, but everyone
was astonished by Farhod’s knowledge, bravery, and
fearlessness. The crowd wept, knowing he had no
protector and did not deserve such a fate” [2, 516;
519
–
520]. Fearing both the uproar among the people
and the divine light he perceived on Farhod’s face,
Khisrav cancels his death sentence and orders him
imprisoned in Salosil instead.
Likewise, Otabek is falsely accused by Homid of
rebelling against Khudoyorkhan and is arrested along
with Mirzakarim Qutidor. They are brought for
interrogation before the Margilan governor. “While
Otabek showed nothing but confusion, Qutidor was
visibly frightened, his face pale” [6,71]. Otabek’s
courage, bravery, and heroism are revealed in his
dialogue with Musulmonqul
—
not through authorial
narration, but through the awe and admiration of
other characters. When master craftsman Alim hears
that his friend fought alone against three enemies, he
exclaims in astonishment: “Subhanallah! Wh
at a heart
you have, Otabek!” [6, 253], calling this act “a heroism
that defies belief” [6, 253]. Learning about the lion
-
hearted Otabek from master Alim, Qutidor finds
himself both terrified and amazed at Otabek’s daring
spirit [6, 261]. He and his wife continue to praise
Otabek’s “extraordinary bravery” late into the night,
offering prayers in his name.
Mihinbonu and Shirin are amazed by Farhod’s angelic
manners, profound knowledge, broad worldview,
politeness, and elegance
—
despite his appearance in
the rags of a beggar. They begin to realize that Farhod
is no ordinary man. At the banquet held in honor of
Mihinbonu, Farhod, emboldened by wine, engages in
intellectual exchanges with the princess’s learned and
skilled maidens, demonstrating the depth of his
knowledge and abilities, astonishing everyone once
more.
Similarly, during a gathering at Ziyo Shohichi’s house,
Otabek earns the praise of all those present with his
intellect, broad outlook, deep and meaningful words,
refined manners, humility, and the good education and
upbringing he demonstrates. Another trait that links
Farhod and Otabek is their devotion to the people.
Although Farhod is a prince and Otabek the son of a
high-ranking official from a prosperous family, both
stand out for their patriotism, service to the nation, and
compassion for the public.
From a young age, Farhod is portrayed as someone who:
–
Cares about the people and tries to ease their
suffering;
–
Finds pain in the pain of others;
–
Feels sorrow for the nation’s sorrow;
–
Despite being stronger than an elephant, does not
harm even an ant;
–
Takes upon himself the blows of fate.
These qualities indicate that Farhod belongs to a noble
group of self-sacrificing individuals who live for their
country and people. Otabek’s concern for the Kipchak
massacre, his reproach to his own father
—
an advisor to
the governor of Tashkent
—
whom he also holds
responsible for this tragedy, shows that he too is a
person deeply invested in the people’s pain
and
struggle.
Both Farhod and Otabek are brave, courageous, and
noble. They possess the heroism to defeat enemies far
stronger than themselves. Both friends and foes
acknowledge their valor. However, both are powerless
in the face of deceit and trickery
—
this stems from their
deep trust in human nature. As a result, both fall into
skillfully plotted traps of betrayal. Farhod is misled by
the false news of Shirin’s death, which ultimately leads
to his own demise. Similarly, a forged divorce letter
temporarily separates Otabek and Kumush.
The depiction of the two elderly women
—
Yosuman and
the treacherous Jannat, whose name ironically contrasts
her evil nature
—
evokes horror in the reader. These
characters are not just traditional representations of
wicked old women; one has enough cunning to deceive
even wise men like Buqro Hakim and to cause Farhod’s
death. The second, Jannat, is likewise endlessly
deceitful. These malicious elements in Navoi’s epic
serve specific artistic purposes
—
and the same roles are
mirrore
d in O‘tkan kunlar, illustrating Navoi’s influence
on Qodiriy.
There are also many similarities between Shirin and
Kumush. Both are highly accomplished women of their
time: intelligent, virtuous, uniquely beautiful, refined in
manners, loyal in love, faithful in their vows, determined
in affection, courageous, and dignified. In short, they
emdiv all the finest qualities of the ideal woman.
Shirin and Kumush are the kinds of women that any man
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of any era might dream of.
Abdulla Qodiriy’s literary success an
d authorial skill lie
in the fact that he not only admired the creation of
idealized heroes like Farhod and Shirin, who emdiv
the dreams and hopes of the people, but he also
succeeded in creating Otabek and Kumush
—
equally
refined characters
—
crafted with such talent that they
could stand as counterparts to these legendary figures.
The fact that Otabek and Kumush became widely
celebrated, inspiring poets and songs, shows that
Qodiriy enriched the gallery of beloved and immortal
characters like Farhod and Shirin, Layli and Majnun,
Bahrom and Gulandom, Vomiq and Uzro, Ashiq Gharib
and Shahsanam, Alpomysh and Barchin.
These character traits and narrative techniques,
rooted in the oral and written literary tradition of the
Uzbek people and integral to epic-style prose, were
reworked by Qodiriy through the lens of realism. As he
himself stated, he always kept the reading public in
mind while writing. With this novel, he aimed to draw
the people toward innovation, while also taking into
account the taste and intellectual level of a readership
still nourished by medieval epic and storytelling
traditions. Thus, he consciously employed classical
literary methods.
In short, O‘tkan kunlar, in terms of language and
expression, serves as a golden bridge between old
prose and new realistic prose
—
between the classical
literature of the past and the emerging Uzbek
literature of the modern era.
CONCLUSION
In conclusion, Abdulla Qodiriy did not merely transfer
Alisher Navoi’s traditions into prose; rather, through a
creative and innovative approach, he built upon them
to produce a new and elevated example of the realistic
novel genre grounded in epic imagery.
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