Volume 04 Issue 12-2024
60
International Journal Of Literature And Languages
(ISSN
–
2771-2834)
VOLUME
04
ISSUE
12
P
AGES
:
60-66
OCLC
–
1121105677
Publisher:
Oscar Publishing Services
Servi
ABSTRACT
The article explores the interpretation of the universal human values characteristic of our nation expressed artistically
in the works of Gafur Ghulam, the expression of the qualities of humanity, tolerance, generosity and nobility in his
poetic and prose works, as well as the image characteristic of folklore traditions.
KEYWORDS
Ghafur Ghulam's work, universal values, method of dialogue, eastern way of thinking, folklore traditions.
INTRODUCTION
At a certain stage of the social development of every
nation, there are artists of the word who sing its
sorrows and longings, shout its joys and happiness, and
defend its honor with their honorable newness.
Academician Gafur Gulom is such a significant creator
of 20th century Uzbek literature. He is a great creator
of 20th century Uzbek literature, who was able to
create significant works in both prose and verse, and
who was able to express the centuries-old customs and
traditions, national values, and pure, sincere feelings of
our people with extraordinary skill.
METHODOLOGY
Uzbek literary criticism has achieved a number of
achievements in studying the creative heritage of
Gafur Gulom. Already, the poet's classic and timeless
poetry, immortal prose works still attract the attention
of readers and critics. It can be said that the study of
the poet's work began during his lifetime. In different
years, a number of scientific works were created
devoted to the analysis of the writer's prose, poetic
skills, style, artistry and other features. In particular,
Research Article
NATIONAL VALUES AND FOLKLORE TRADITIONS IN THE WORK OF
GHAFUR GHULAM
Submission Date:
December 14, 2024,
Accepted Date:
December 19, 2024,
Published Date:
December 30, 2024
Crossref doi:
https://doi.org/10.37547/ijll/Volume04Issue12-11
Allambergenov Hamza Kamalovich
Department of Uzbek literature of Nukus State Pedagogical Institute, doctor of philosophy in philological
Sciences, associate professor, Uzbekistan
Journal
Website:
https://theusajournals.
com/index.php/ijll
Copyright:
Original
content from this work
may be used under the
terms of the creative
commons
attributes
4.0 licence.
Volume 04 Issue 12-2024
61
International Journal Of Literature And Languages
(ISSN
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2771-2834)
VOLUME
04
ISSUE
12
P
AGES
:
60-66
OCLC
–
1121105677
Publisher:
Oscar Publishing Services
Servi
H.Yakubov's "Gafur Ghulom. Life and Work”, S.
Mamajonov’s “Gafur Ghulom’s Prose”, N. Shukurov’s
“Gafur Ghulom’s Mastery in Lyrical Poetry”, A.
Akbarov’s “Gafur Ghulom’s Poetry”, S. Mamajonov’s
“Stylish Glosses”, N. Karimov’s “Gafur Ghulom: A Look
at the Poet’s Life and Poetic Work”, “Drawings on the
Poetic Mastery of Gafur Ghulom”, B. Nazarov’s “G
afur
Ghulom’s World”, T. Matyokubova’s “Gafur Ghulom’s
Art” are among these studies.
Comparative historical, biographical and textual
analysis methods were used in the development of the
study.
DISCUSSION AND RESULTS
Gafur Ghulom’s creative heritage is a
n example that
reflects the national values and folklore traditions of
the people with all its grace and grace. This situation is
especially evident in his attitude to every event related
to the fate of the people and the nation. In particular,
the writer expresses his sharp objection to the terrible
events of the Second World War, which threatened
peace, with his poetic and prose works. Because living
with the love of parents and loved ones, living a
peaceful, calm life in a free and prosperous homeland,
raising children, and seeing their perfection is the wish
and dream of every person and nation. If any of these
aspects is violated, a person's heart hurts, and a sense
of rebellion against this situation flares up. In
particular, the poet's poems, which are considered
classic works today, such as "You are not an orphan",
"Golden medal", "Time", "There will be a holiday even
on our street", "I am a Jew", "Observation",
"Longing", are a vivid proof of our thoughts. The image
brought to life in the poet's lines trembles the reader's
heart. The difficult moments on the battlefields, the
cries of innocent children dying, the pain of losing their
children and husbands, the lamentations of mothers
who have lost their fathers flood the hearts. The
creative genius of Gafur Ghulam poured these painful
images on paper. It became the cry of the entire people
and the country:
Sut ko‘r qilgur haromi
Gitler oqpadar
Farzandning qadrini
Qayerdan bilsin?
Bir qo‘ng‘iz mo‘ylovli,
Baroq soch mal’un,
Jigar rang bir mundir
Istagi uchun,
Nahotki yerimiz
Chappa aylanib,
Nahotki daryolar
Oqar teskari,
Nahotki odamlar
Kezar darbadar?! [8; 42-b.].
The poet's artistic thought moves from the field of
terrible war scenes to Uzbekistan. The condition of
children of different ages brought in wagons from
countries where battles are ongoing, and the sadness
in their eyes, break the poet's heart. Remembering his
childhood, he can repeatedly shout to the children left
without parents, "You are not an orphan!" He
courageously emphasizes that the children of this land
Volume 04 Issue 12-2024
62
International Journal Of Literature And Languages
(ISSN
–
2771-2834)
VOLUME
04
ISSUE
12
P
AGES
:
60-66
OCLC
–
1121105677
Publisher:
Oscar Publishing Services
Servi
will never abandon anyone. After all, for the peoples of
the East, stroking the head of an orphan is also a high
value:
Sen yetim emassan,
Tinchlan, jigarim.
Quyoshday mehribon
Vataning
–
onang,
Zaminday vazmin-u
Mehnatkash, mushfiq
Istagan narsangni tayyorlaguvchi
Xalq bor
–
otang bor.
Cho‘chima, jigarim,
O‘z uyingdasan… [8; 42
-b.]
Indeed, since ancient times, patting the head of a
family member when a tragedy occurs is a great virtue
inherited from our ancestors, a sign of humanity,
tolerance, generosity and nobility. There are many
hadiths about this. For example, in Imam Bukhari’s
book “Al
-
Jami’ as
-
Sahih” it is mentioned as follows:
“Sahl ibn Sa’d narrated: “The Messenger of Allah, may
Allah bless him and grant
him peace, said: “I and the
one who takes the responsibility of an orphan will live
side by side in Paradise,” and he showed his index and
middle fingers in pairs” [5; 24
-p.]. That is, the Prophet
Muhammad (peace be upon him) said that the person
who takes the responsibility of an orphan and his needs
upon himself will live side by side with him in Paradise,
just like our index and middle fingers are joined
together. It is not for nothing that the sources say that
“stroke the head of an orphan, and your sin
s will be
washed away as much as his hair.” Gafur Ghulam was
able to reflect such principles of tolerance of our
people in very deep and touching scenes. As the
literary critic Naim Karimov noted: “the poem ...
reminds us of a mother who is putting her child to sleep
after waking up from a fright. The poet speaks this
monologue of the goddess in a monologue in a
monologue of the goddess After this poem, it became
clear as day that he was a person and a poet with a
wide heart, whose door was open to everyone
” [2; p.
26-27].
Gafur Ghulam is a masterful creator in the world poetry
of the 20th century, who was able to write both in
verse and prose and had his own unique style. The
events and incidents depicted, the national pain and
anxieties, and the national spiritual values are
expressed in the creative pen sometimes humorously,
sometimes painfully, and sometimes, on a certain level,
with forgiveness. The writer's stories „Netay“,
„Yodgor“, „Shum bola“, „Tirilgan murda“ qissalari,
„Mening o‘g‘rigina bolam“, „Kim aybdor?“ published in
different years are a mirror world of the social life, way
of thinking and spiritual worldview of the people living
in the early 20th century.
In this regard, the story „Mening o‘g‘rigina bolam“is
especially noteworthy. It clearly demonstrates the
universal values, oriental culture of communication,
and the spiritual world of a person that are inherent in
our simple-minded and childish people. In the story,
the common features of all our mothers are
impressively expressed by the magic of the writer's
poetic pen, using the example of the old woman - the
Black Grandmother: kindness and generosity, patience
and endurance in difficult circumstances. In this case,
the dialogue method used by Gafur Ghulom to
illuminate the hero's psyche was extremely useful in
Volume 04 Issue 12-2024
63
International Journal Of Literature And Languages
(ISSN
–
2771-2834)
VOLUME
04
ISSUE
12
P
AGES
:
60-66
OCLC
–
1121105677
Publisher:
Oscar Publishing Services
Servi
realizing the author's artistic intention. Dialogue is a
unique form that helps to get rid of unnecessary details
in the text and easily understand reality through the
dialogue of characters. In it, the writer expresses the
goal directly through the hero's speech. There is no
need to describe the process leading up to the reality
in question. The reader continues reading in the world
of artistic and aesthetic pleasure that he unwittingly
seeks from the book:
“–
My little thief, my little thief, you seem to have
climbed onto the roof in search of some kind of
livelihood, after all, your profession is delicate, can’t
you write down your slander?.. Slip down from the
mulberry tree near the kitchen... I’ll put on a blanket...
we’ll drink te
a together.
–
No, grandma... I can’t drink tea, because when the
sun comes out, you’ll recognize me. I haven’t really
rubbed my face, I’m afraid, I’m ashamed.
–
Oh, my God, are you going to leave the blessed house
empty-handed, my little one? Take something... yes, by
the way, there’s a half
-pound pot in the kitchen... Take
this. You can sell it and make a living for one day, my
little thief...“ [7; 150
-153-p.] Gafur Ghulam made a
worthy contribution to the improvement and elevation
of the short story genre in Uzbek literature. His short
story "Netay" is also dedicated to the depiction of the
tragic realities of our people at the beginning of the
20th century.
One of the works that made the writer's works
readable and introduced his name to the literature of
fraternal peoples is undoubtedly the story "Shum
Bola". This work, narrated in the language of a 13-year-
old boy, is distinguished by its interpretation of
universal human values, childish joys and sorrows,
scenes of difficult fate, and an interesting method of
depiction typical of the language of folk oral art. The
forgiving humor in it also determines the aesthetic
pleasure derived from the work. Therefore, the reader
who begins to read the book will not feel bored. After
all, the depiction of realities that came into being from
the combination of the truth of life and artistic texture
is expressed with relevance and interest, "like an axe
falling into its place." It is precisely these aspects that
created the basis for the work to clearly reflect the
scope of moral and educational values characteristic of
the way of thinking of the Turkic peoples.
The story skillfully depicts the peculiarities of our
people, who can face any sorrow with a smile even in
difficult times. It is as if the author's experiences, who
has "tasted" the blessings of orphanhood since
childhood, are absorbed into the work. After all, during
the First World War, when the people were starving, he
lost his parents and raised his sisters with the help of
his brother. In the author's own words, "there is no
service that he has not done, no work that he has not
done [6; p. 15] ".
The conversation between Sariboy and the boy is in
harmony with the events of the fairy tales "Sixty-
Laughed Lies", "Forty Lies", "Forty Lies in Three Lies",
which are reminiscent of one of the traditional motifs
in the folklore of the Turkic peoples - the story of
achieving a certain intention or goal by telling forty or
more lies at once in order to fulfill a certain demand of
the king. This shows the author's deep knowledge of
the examples of oral creativity. The events of the fairy
tales
mentioned
above
also
glorify
the
resourcefulness, responsiveness, and ability of our
people to get out of difficult situations. In particular,
the hero of the fairy tale "Forty Lies in Three Lies"
fulfills the condition set by the king in order to save the
Volume 04 Issue 12-2024
64
International Journal Of Literature And Languages
(ISSN
–
2771-2834)
VOLUME
04
ISSUE
12
P
AGES
:
60-66
OCLC
–
1121105677
Publisher:
Oscar Publishing Services
Servi
people from a difficult situation. The centuries-old art
of oratory and skillful use of words by our ancestors
have brought to life their resourcefulness that leads to
a goal:
“Master, I am poor, an orphan. I was the only
son of my father, and now we are three… When I
looked at it like this, one of us had no collar, one had
no sleeves, one had no skirt… When I looked into the
stream, I saw three fish, two of them dead, one of
them had no soul. We took the soul and put it in the
one that had no skirt… In one place, under a clump of
ungrown grass, lay a young rabbit that had not given
birth. We made a wet gavron from the uncut stem of
an unplanted willow and made a sab, it fell down in
three rolls, we held it and slaughtered it, it took six
batons of oil... Saying, "The oil is for me," I took off my
shoe and anointed it with six batons of oil, one was
enough, one was not enough. I was tired, I fell asleep,
At one point, there was a loud commotion. When I
jumped up, my oiled shoe and my unoiled shoe were
fighting and fighting. I slapped both of them on the
jaws and lay down again to sleep. At one point, I woke
up and looked. My oiled shoe had pulled my cloak off
me, covered itself with a moon-like blackness, and had
fallen asleep, while my unoiled shoe had
disappeared..." [5; 245-p.]. In "Shum Bola", Karavoy
sets out to rescue the servants, who are afraid of facing
Sariboy and are tired of his "innaikein?" that are
repeated after every word. But it is not easy to defeat
the rich man with a few words. It is necessary to make
sure that the master can no longer ask the question
"innaikein?". To do this, it is necessary to reveal his
most sensitive aspects - his property and family. And so
it happens. The lie, which begins with the breaking of a
sharp-edged knife, ends with the death of the rich
man's youngest son, Borboyvachcha, who, while
thinking that he was catching a sparrow, falls from a
tree and dies. The news that the boy's unmarried
daughter, "Adol opa", gave birth to a wonderful little
boy who looked like he had "poured" a cart driver
completely upsets Sariboy. His usual "what if?" is no
longer enough. In general, Gafur Gulom's creative
imagination proves that he can find a way out of
difficult situations with resourcefulness and use comic
elements purposefully even in tragic scenes. As the
literary critic Saidulla Mirzayev rightly noted: "The main
features that define Gafur Gulom's poetic style are
philosophical and innovative, promptness and
responsiveness, historical accuracy, harmony of
nationalism and internationalism, popularism and
artistic perfection." [3; 177-p.]
The respect for bread, which is typical of the peoples
of the East, and the need to respect and cherish
everything - if it is a necessary item - in the story "Shum
Bola" can be said to have been absorbed by the author
based on his life observations, the influence of the
family environment, and his experiences: "Gafur
Ghulam, speaking about the character of Haji Baba in
the story "Shum Bola", said: "I wrote down many
interesting features and words of my late father for
Haji Baba. When my father walked down the street, he
would also feel the papers on the road with the tip of
his cane, if bread fell, he would pick it up, rub it on his
eyes, and then put it in a hole in the wall or in a higher
place. Haji Baba also does the same," [4].
The artistic interpretation of the national values
described in this story has not lost its value today, but
has taken a firm place in the hearts of the Uzbek and
fraternal peoples, both as a work of art and as a film.
In the story "Monument" by Gafur Ghulam, such
qualities as human patience, perseverance, and the
generosity in his spirit are glorified. The reader who is
engaged in reading the book will read it without
Volume 04 Issue 12-2024
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International Journal Of Literature And Languages
(ISSN
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2771-2834)
VOLUME
04
ISSUE
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P
AGES
:
60-66
OCLC
–
1121105677
Publisher:
Oscar Publishing Services
Servi
stopping, with pleasure. It calls for impartial support to
those around him, for acquiring qualities such as
generosity and nobility. The spirit of the hero of the
work, Jora, also embodies the generosity and simplicity
inherent in the nature of all fraternal peoples.
However, the author's main ideological and artistic
intention is not only to describe the shugin. The story,
using the image of Saodat as an example, evokes in the
reader the image of a person who has lost his way in
life, has lost his way, and suffers from regret, remorse,
and the pain of memory throughout his life, and
encourages him not to follow such a path, not to give
in to fleeting desires.
CONCLUSION
The poet Maqsud Shaykhzoda, reflecting on the style
of his colleague Gafur Ghulam, noted the following:
“Oratory techniques dominate in the style of Hamid
Olimjon, heavy (deep) philosophical thought in the
style of Oybek, and poetic publicistic motifs in the style
of Gayratiy. These features are also present in Gafur
Ghulam’s work. However, in the process of growing
up, his own bright style is formed, which makes it
possible to immediately recognize his poems, even if
you do not see his signature. "It is not difficult to notice
in his lyrics a synthesis of genuine excitement and
thoughtful reflections, passion and tender spiritual
experiences, anger and compassion, humor and pain,
eloquence and artistry."
The writer, who understood the pains and anxieties,
joys and happiness of the people and skillfully reflected
them in his creative works, is today appreciated by his
people and country. Various streets, parks, metro
stations,
publishing
houses,
and
educational
institutions are named after the writer. In 1999, Gafur
Gulom was awarded the Order "For Great Services" by
the decree of the President of the Republic of
Uzbekistan for his contribution to the development of
Uzbek literature. In 2003, the celebrations of the
writer's 100th anniversary were widely celebrated.
Gafur Gulom's creative heritage will not lose its place
as a great spiritual monument for future generations.
After all, as Naim Karimov noted, the poet "by his
nature is an optimistic and universal embodiment of
ideas, views, and values" [2; p. 31].
In general, Gafur Gulom, during his extensive creative
career, was able to become an example for everyone
in terms of deep respect and reverence for our classical
literature. The first prose version of Alisher Navoi's epic
poem "Farhod and Shirin" in Uzbek was made by Gafur
Gulom in 1940. In this sense, G. Gulom is a great poet
and a skilled prose writer and translator. The
educational and aesthetic significance of the writer's
works is extremely great and occupies a worthy place
in the history of Uzbek literature of the 20th century.
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International Journal Of Literature And Languages
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VOLUME
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AGES
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60-66
OCLC
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Publisher:
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