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INNOVATIVE ASPECTS OF OYDIN HOJIYEVA'S CREATIVITY
Egamberdiyeva Gulchiroy Esan Qizi
PhD Candidate at NSU
Tel: 88 085-45-48
E-mail: egamberdiyevagulchiroy330@gmail.com
Abstract:
This article discusses the uniqueness and innovative aspects of Oydin Hojiyeva’s
poetry. In particular, her poetic style is compared with the works of Alisher Navoi, Ogahiy,
Usmon Nosir, and Muhammad Yusuf, highlighting Hojiyeva’s distinctive path, style, tone, and
exquisite metaphors through various examples.
Keywords:
poetry, uniqueness, innovation, tradition, style, metaphor, world of secrets, loyalty,
betrayal, youth, Baytulmakon, rain, mother.
Just as in life, literature also operates based on dialectical principles. The issues of tradition and
innovation in literature exist in a dialectical unity, where one cannot exist without the other; they
complement each other. Inspiration from past works and the assimilation of literary experience
shape literary tradition, while the individual uniqueness introduced by each author during this
process gives rise to innovation. Literary innovation should not be seen as a discovery but rather
as a distinct approach by a writer to a particular issue. For this reason, tradition and innovation in
literature are often studied together. Many literary scholars have addressed this subject, including
D. Quronov in his book "Introduction to Literary Studies" [5], D. Toshboyeva in "Tradition and
Innovation in Uzbek Poetry of the Early 20th Century" [6], Ch. Kurbanova in "Poetic Content
and Innovation in Abdulla Oripov’s Poetry" [7], and A. Nizomiddinov in "Tradition and
Uniqueness in Erkin Vohidov’s Poetry" [8].
D. Quronov, in the "Dictionary of Literary Studies," states: "All talented writers possess a certain
degree of innovation." In this sense, relying on the creative experience of predecessors while
continuing literary traditions in a folk-inspired spirit, Oydin Hojiyeva’s poetry exhibits both
formal and artistic-ideological innovations. Notably, in her poetry about poetry itself, we
encounter unique artistic discoveries:
"My
notebook,
my
white
pigeon,
My
journey
into
the
world
of
secrets.
I
whispered
to
you
like
a
virgin
girl,
The words I kept from all." [2, p.10]
In this excerpt, the poet describes the verses born from the depths of her heart, comparing her
poetry notebook to a white pigeon and the world of poetry to a world of secrets. This original
metaphor carries a deep logic. Just as a pure heart belongs to the divine, only God knows what
secrets are hidden within it. More precisely, the human heart is a sacred place filled with the
virtues, characteristics, and wisdom that God has intended. In this regard, poets’ hearts are even
broader and richer. Inspiration is the process through which the wisdom hidden in poets' hearts
by God is transferred onto paper through their pens. For this reason, poets are sometimes
regarded as saints or seers. Poems born from such inspiration serve as a balm, a healing mirror to
thousands and millions of hearts, revealing truth and reality. The process of composing a poem
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has often been likened to the birth of a child. Oydin Hojiyeva, however, expresses the creative
process in a unique metaphor: "a journey into the world of secrets."
She also likens her poems to "a virgin girl guarded from everyone." A young, beautiful virgin
girl attracts the attention of many, and her parents seek to protect and cherish her. Similarly, for
the poet, the poems born amidst the storms of her heart and emotions, taking on a beautiful form
and expression, are as dear and precious as a virgin girl. The Uzbek People's Poet Muhammad
Yusuf, on the other hand, compared poetry to a "faithless idol":
"Poetry,
oh
faithless
idol,
I
hold
tightly
to
your
hands.
I
expect
anything
from
you,
You are both a balm and a sweet sorrow…" [p.30]
Muhammad Yusuf was justified in likening poetry to a "faithless idol." A poem belongs to the
poet only at the moment of its creation, but once read by others, it becomes the property of many
hearts. In this sense, poetry "betrays" the poet. Therefore, a poem is worthy of being guarded like
a virgin girl, as Oydin Hojiyeva writes, yet no matter how much it is protected, it ultimately
becomes, as Muhammad Yusuf asserts, a "faithless idol," living in the hearts and tongues of
others. After all, that is its purpose—it is created to be shared.
Usmon Nosir likened poetry to a flower in his sonnet:
"My
poem!
You
alone
are
beautiful,
When
you
enter
the
garden,
flowers
are
ashamed.
Not
just
mine,
you
are
life
itself,
You live in me like my soul."
According to Usmon Nosir, his poetry is so exquisite that when it enters the garden, even the
most beautiful, fragrant flowers feel embarrassed. The flower (poem) blossoming in his heart’s
garden is not just his own but belongs to the entire world, enhancing its beauty. His deep love for
the poetic gems born from his heart continues to bind us to him, immortalizing his name. Oydin
Hojiyeva’s love for her poetry is equally immense. She, too, compares her poems to flowers
nurtured by the blood of her heart:
"My
flower
sprouted
from
my
heart’s
blood,
Seeking
the
springs
of
paradise.
Like
a
child
nourished
with
white
milk,
It has honored my bread and salt."
Hojiyeva’s poetry demonstrates an ability to incorporate simple and folk-like tones while
embedding profound and delicate metaphors, showcasing a great heart and mastery. Her poetic
imagery conveys powerful messages, urging readers to reflect on life’s fleeting nature and the
eternal truths within human experience. Her works resonate not only with national literary
traditions but also hold significance in the broader realm of world poetry.
The poet cherishes the gems that have poured from the core of his heart so much that this love
has connected us with him to this day, engraving his name into eternity. Oydin Hojiyeva shares
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the same deep love for her poetry. She, too, compares the lines that have fallen onto paper like
the jewels of her heart to a flower nourished with the blood of her heart:
**"My
flower
sprouted
from
my
heart’s
blood,
Seeking
the
springs
of
paradise.
Like
a
child
nourished
with
white
milk,
It has honored my bread and salt.
A
delicate
fragrance
in
the
garden
of
life,
As
pure
and
innocent
as
a
child’s
laughter.
Like
an
angel,
you
have
opened
the
door,
To which sanctuary shall I send my poem?"** [2, p.10]
By likening her poem to a flower that has grown from the blood of her heart, the poet employs a
traditional metaphor. The expression "a flower in the garden of life" is a well-established literary
motif, also found in Usmon Nosir’s poetry. However, the phrase "like an angel opening the
heart’s door, sent as a messenger to another realm" is a unique and original expression.
Youth is one of the most cherished phases of a person’s life, longed for and deeply missed.
Everyone describes it differently, and writers portray it in various ways. Our beloved poet
Muhammad Yusuf depicted youth as follows:
"My
youth
was
taken
away,
My
heart
grew
accustomed
to
it
and
let
it
go.
My
youth
remains
in
my
memory,
Like a bird that landed on a tree and flew away."
Birds, by nature, do not stay in one place for long. Their lives are centered around flying—this is
their way of existence and survival. If flying were not essential, then only birds would have been
given wings among living beings. The ability to fly is crucial for both their survival and
sustenance. Thus, when a bird perches on a tree, it does so only briefly, for a fleeting moment. In
the same way, Muhammad Yusuf likens youth to a fleeting moment in the grand book of life.
Oydin Hojiyeva conveys a similar sentiment:
"The
cranes
of
my
youth
are
preparing,
To fly high to the land of no return." [17, p.]
Although it is unclear which poem was written first, the messages that these contemporary poets
seek to convey are strikingly similar. However, each expresses it in their own style, following
their own creative path. Oydin Hojiyeva employs the ghazal form to describe the years of youth,
comparing them to the flight of cranes.
A natural question arises: why cranes? We can easily observe the flight of pigeons, sparrows, or
crows, yet cranes fly far away, beyond our reach, to distant lands. This is perhaps why the poet
envisions the cranes of youth flying to a land of no return. Just as youth fades away, becoming
something distant and irretrievable, the image of cranes disappearing into the horizon serves as a
profound metaphor. The phrase "the cranes of youth preparing to depart for the land of no
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return" carries a unique poetic intensity, stirring deep emotions and prompting contemplation on
the passage of time.
When discussing human life, one inevitably reflects on its transience and the fickleness of the
world and its material possessions. This theme is eloquently expressed in the following verse by
Alisher Navoi:
"Do
not
place
your
trust
in
the
world’s
promises,
For the world itself is as faithless as its deceivers." [Shohbaytlar, p.36]
In essence, Navoi warns against seeking loyalty from the world’s fleeting pleasures, for they are
as unfaithful as the transient world itself. More specifically, a person may face betrayal not only
from friends, siblings, or close relatives but also from their beloved and, regrettably, even their
own children.
However, as Oydin Hojiyeva states:
"The people have long known: for orphans, God is the truest companion.
From humans, I have seen cruelty; from You, only loyalty." [19, p.]
Indeed, nothing in this world is eternally faithful to humankind. The only being that never
abandons us is the Almighty. People build relationships based on mutual benefit, forming
friendships and alliances when it suits their interests. Yet, God, without expecting anything in
return, accepts His servants as they are. He loves those with faith unconditionally, forgives their
sins, and protects them from temptations. He alone is capable of such unwavering loyalty.
The phrase "From humans, I have seen cruelty; from You, only loyalty" may seem simple at first
glance, but for those who carry faith in their hearts, it holds profound meaning. To reach such a
realization, the poet must have traversed many thorny and rocky paths, known only to herself
and her Creator.
This poem reveals Hojiyeva’s distinct poetic style—one that distills deep philosophical and
spiritual wisdom into simple, universally understood words. While Alisher Navoi and Oydin
Hojiyeva convey the same idea about the world's fleeting nature, their poetic styles differ
significantly. Hojiyeva follows the rhythmic patterns of the Jadid poets of the 20th century,
blending the tones of oral folk poetry with classical forms.
Humans, knowingly or unknowingly, often become ensnared by the temptations and deceptions
of this world. Because of this, many poets have described the world’s transience and
unfaithfulness in different ways. For instance, Ogahiy, in his poem that begins with “Dahr uyi
bunyodkim…”, compares the world to a temporary structure and a faithless woman. Meanwhile,
Oydin Hojiyeva likens the world to a spider weaving its web:
"This
world
spins
a
thousand
webs,
Wrapping
around
us
like
a
spider.
Cunning
fate,
the
sorrow
of
tears,
Turns rosy cheeks pale." [21, p.]
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If we pay close attention, we see that a spider tries to trap any insect—be it a fly, mosquito, or
any other creature—by ensnaring it in its web. Likewise, the material temptations of this
transient world seek to lure and entangle humans. Becoming attached to them drains the joy from
our lives, turning happiness into sorrow. To avoid falling into this trap, one must possess strong
faith, willpower, patience, and resilience. This metaphor is both original and deeply impactful.
The word “tortanak” (spider) used in the poem is a dialectal term, adding to the intensity of its
negative connotation.
This poem transcends time and space—it is universal, as it conveys an eternal message: the
importance of staying vigilant, valuing human dignity, and resisting the temptations of material
wealth. The poem serves as a warning against deception and emphasizes gratitude for the
blessings bestowed by God.
As we read Hojiyeva’s poetry, we notice that her poems share a common spiritual and
philosophical essence. The themes remain consistent, but the imagery, forms, and tones vary.
Her poems resonate as heartfelt laments of a soul deeply connected to faith and the Divine. The
following poem continues the same line of thought:
"A
div
like
a
house
without
a
roof,
Can
it
endure
storms
and
hail?
When
dark
clouds
suddenly
gather,
The heart turns into a flooded lake." [25, p.]
To compare the human div to a roofless house is an unconventional metaphor. Over the years,
people face countless storms and hail—symbolizing hardships and struggles. The marks left by
these challenges can be seen in the wrinkles on our faces and the lines on our hands. But even
deeper scars remain within the heart, accumulating as pools of sorrow.
**"A
mere
drop
does
not
fall—it
strikes
like
a
dagger,
Piercing
deep
into
the
heart’s
veins.
It
crushes
the
grains
of
joy
like
a
thief,
Leaving the helpless eyes in silent tears.
Do
not
remain
heedless
in
the
season
of
storms,
Do
not
sell
your
soul’s
sanctuary
to
another.
Your
div
is
a
gift
from
God,
Guard this sacred temple in secrecy!"** [26, p.]
The poet compares the sound of raindrops falling to a dagger piercing the heart. She introduces
another striking image: the “tiq-tiq” sound of rain crushing grains of joy like a thief. Here, rain
symbolizes the hardships and trials of life.
Hojiyeva conveys a profound spiritual lesson: in the stormy seasons of life, one must not betray
oneself, one’s faith, or one’s conscience. She emphasizes that the human div is a sacred trust
from God, urging us to protect and preserve it with purity and dignity.
A Poet of Rural Sensibility and Deep Faith
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Uzbek
writer
O‘tkir
Hoshimov
once
said:
"A writer should have the heart of a village and the wisdom of a city."
Oydin Hojiyeva embodies this sentiment perfectly. Having spent her childhood and youth in the
countryside—among hardworking people and close to nature and the earth—she has a poet’s
heart deeply rooted in rural life. This is why she frequently turns to nature and its marvels in her
poetry.
For Hojiyeva, the concept of love and affection is inseparable from the warmth of her village and
its people. Just as each person has their own definition of happiness, every poet describes spring
in their own unique way. Hojiyeva envisions it as a grand celebration:
"Spring
has
set
a
feast
across
the
fields,
Laughter
blossoms
on
rosy
cheeks.
Golden
flowers
turn
into
fields
of
tulips,
Excitement flies like a child’s kite." [32, p.]
Just as we decorate our homes for festivals, spring adorns the entire world—clothing the earth in
green, filling the air with the fragrance of blooming flowers. But spring is not only a
transformation in nature—it is a festival of the heart.
Scientifically, sunlight increases serotonin (the happiness hormone) in the human div. As
spring arrives and the sun shines more brightly, not only does the world become more vibrant,
but so does the human spirit. This is why spring and celebration are deeply intertwined.
Hojiyeva’s phrase "Spring has set a feast" encapsulates all these meanings. Another remarkable
metaphor is "Laughter blossoms"—while trees bear flowers, here, smiles bloom like petals on
people’s faces.
The poet also describes excitement as something weightless and fleeting, comparing it to a
child’s kite dancing in the wind.
This vivid imagery makes the poem timeless—regardless of the actual season, it brings the spirit
of spring to life, filling readers with joy and renewal. This illustrates the power of poetry: words
born from one heart can breathe life into another.
Oydin Hojiyeva’s poem “Tashrif” (Arrival) also reflects the changes that take place in nature
with the arrival of spring. This poem contains unique and vivid metaphors:
**"With
a
crack
of
the
whip,
the
galloping
steed,
Thunder
rumbles
and
rushes
past.
Cranes
stretch
their
reins
in
flight,
A bold lightning strikes the heart.
The
needle-tongues
of
the
grass,
a
bard,
Singing
a
song
in
harmony
with
the
rain.
Oh,
life—a
miracle,
existence—a
gift,
As light pours into the depths of the soul."** [44, p.]
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The poet compares the clash of clouds and the rumble of thunder to a horse being whipped into a
gallop. She likens the cranes in flight to reins stretched in motion. The fine blades of newly
sprouting grass are compared to needles, and the sound of the rain is described as if the grass
itself were singing along.
This is a miraculous scene—for those who have the ability to see. Indeed, from the breaths we
take to the transformations in nature, there exists a mystery beyond human intervention. In
another poem, Hojiyeva likened rain to the trials and hardships of life, but here she calls it a light
pouring into the heart.
This metaphor is meaningful: spring rain can be seen as light, as it symbolizes blessings, beauty,
warmth, and renewal. Only those whose hearts are filled with light can perceive this delicate
connection between natural elements and convey it to others.
Spring and the Symbolism of Motherhood
When speaking of spring, the image of women and mothers naturally comes to mind. Like spring,
mothers emdiv beauty, warmth, and love.
For each person, their mother possesses a unique and irreplaceable presence. Whether it is in her
words, laughter, gestures, or heartbeat, a mother carries an unparalleled warmth. Yet, sometimes,
this depth of emotion cannot be fully captured in words.
Unlike ordinary people, poets possess the ability to express the inexpressible. When writing
about mothers, poets often draw upon their own experiences and memories. Oydin Hojiyeva
dedicated the following lines to her mother:
**"Mother,
in
your
eyes,
Breathed
the
whispers
of
the
sun.
Mother,
upon
your
face,
Shimmered the dreams of the moon.
Mother,
with
you,
the
world
Was
scented
like
quince
blossoms.
Nights
were
radiant,
days
were
joyous,
The breezes played like a dutar’s tune."** [78, p.]
There are countless heartfelt poems written about mothers. However, Hojiyeva’s poem stands
out for its fluidity, elegance, and unique metaphors.
Literature enthusiasts and scholars alike would agree—while comparing a mother to the sun and
the moon is a common poetic motif, it is Hojiyeva who distinguished herself by stating that "her
mother’s eyes held the breath of the sun, and her face reflected the dreams of the moon."
Many poets have likened mothers to flowers, but comparing her to the soft, delicate fragrance of
the quince blossom is an entirely original and novel expression.
Only a poet with a profound connection to her mother could perceive and describe the joy of
those days as a breeze infused with the melodies of the dutar.
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The poem’s melodic structure makes it instantly memorable, allowing it to linger in the heart and
mind.
Conclusion
In short, Hojiyeva’s poetic style is marked by simplicity and folk-like melodies, enriched with
profound and delicate metaphors.
Her poetry is a testament to a great heart and extraordinary mastery—one that captures the
deepest emotions and transforms them into timeless literary beauty.
References:
1. Oydin Hojiyeva – Nazokat. – Tashkent: Sharq, 2007. – 160 pages.
2. Oydin Hojiyeva – Shom Shu’lasi. – Tashkent: Sharq, 2010. – 446 pages.
3. Alisher Navoi – Shohbaytlar. – Tashkent: Tamaddun, 2016. – 184 pages.
4. Quronov D., Mamajonov Z., Sheralieva M. – Dictionary of Literary Studies. – Tashkent:
Akademnashr, 2010. – 406 pages.
5. Quronov D. – Introduction to Literary Studies. https://n.ziyouz.com
6. Toshboyeva D. – Tradition and Innovation in Early 20th Century Uzbek Poetry. – in-
academy.uz/index.php/si
7. Kurbanova Ch. – Poetic Content and Innovation in Abdulla Oripov’s Poetry. – Scientific
Bulletin (Samarkand), 2022, Issue 6, pp. 39-44.
8. Nizomiddinov A. – Tradition and Uniqueness in Erkin Vohidov’s Poetry. – Oriental
Renaissance, May 2022. www.oriens.uz
