Life and work of Abdullah Qadiri

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Of Abdullah Qadiri

      Life and work.

PLAN:

1. A. Kadyri's childhood and youth.

2. The first work of A.Qodiri.

3. A. Qodiriy is a journalist.

4. A. Qodiriy is a critic.

          

STATEMENT:

Abdullah Qadiri was born on April 1894, 10 in a gardener's family. "In the beginning, I didn't know if I was born into a rich family or a poor family," writes A. Kadyri, "but when I was 7-8 years old, I knew for sure that my stomach was full of soup and I didn't have better clothes." the throat of the soul came only from the labor of my 80-year-old father, from the summer harvest of 1300 sarjin. If spring comes badly and the orchards are in trouble, we will also face hunger and winter. ”

As a child, Abdullah had a sharp mind and a passion for learning. But due to the financial need of the family, he goes to school at the age of 9-10, a little late. After studying in the old school for two or three years, at the age of 12 he was given to the service of a rich man out of the extreme poverty of the family. The master was a merchant and needed someone who knew Russian writing. Sensing Abdullah's intelligence and desire to study, the merchant sent him to a Russian-style school. Both studying and working in the hands of the boss after school is a burden for Abdullah, who does not get a good education in school. This situation lasts for two. Then, unable to bear it, he begged his parents to return home, where he stood and went to study. In his spare time, he goes to his brother's house to learn the art of weaving. For two or three years he will be engaged in this weaving and gardening. He will not be able to leave these trades, which he acquired as a child, especially gardening, for a lifetime.

Abdullah successfully graduated from the Russian school in 1912. Studying at this school played an important role in the creative destiny of the writer, who became fluent in the Russian language from an early age, and opened a direct path for him to get acquainted with Russian and world literature and culture. Two years later, Abdullah entered the Abulqasim Madrasa in Tashkent. His brief education at the madrasa laid the groundwork for his mastery of Islamic studies, Arabic and Persian, and later for his independent mastery of these fields.

In 1912, Rasulmuhammadboy joined the cavalry as a clerk. This merchant was a rich honest man, open-minded, a mullah, a man who respected intellectuals. This man lived in his house, worked in his shop, and met many progressive, educated men of Abdullah’s time. In 1914, he married Rahbaroy, the rich man's eldest daughter. Abdullah's later peaceful and troubled life was spent with his wife, Rahbaroi, and the two sons and two daughters he later gifted, Nafiza, Habibullah, Adiba, and Mas'ud.

The beginning of Abdullah's creative activity dates back to that period. "In those days," recalls A. Kadyri, "reading the newspapers published by the Tatars through the market, I came to believe that there is a newspaper in the world." In 1913, when the Uzbek newspapers Sadoyi Turkiston, Samarkand, and Oina began to appear, I had the idea to write about them. In the April 1914, 1 issue of the newspaper "Sadoyi Turkiston" was published a report entitled "New Mosque and School". The message is signed as Abdullah Qadiri. In this way, the name of Abdullah Qadiri appeared in the press. Shortly afterwards, the poems "To my nation", "Our condition", the drama "Unhappy groom" and the story "Juvonboz" were published under this name. These works were the first researches in Qadiri's work, which were written under the influence of Jadid literature, imbued with the progressive movement of that time - the ideas of Jadidism. In these works, Qadiri criticizes backward habits, encourages people to understand themselves and innovate.

The author's work "Juvonboz" is a direct imitation of Behbudi's drama "Padarkush". Leaving reading the story, the rich man, who has fallen into perverted, sloppy ways, squanders and breaks his father's property; leaving his parents in the lurch and eventually committing the crime, imprisoned. In "The Unhappy Bridegroom", the author raises the issue of one of the most backward habits - a luxury wedding, excessive costs and their unpleasant consequences. On the advice of his uncle, an orphan named Salih takes on a huge debt, has a luxurious wedding and marries a rich housewife. He commits suicide out of embarrassment in the face of leaving his mortgaged yard without paying his debt in time.

Qadiri's activities after the October Revolution were largely linked to the press. In 1919 he was appointed editor of the newspaper "Food Affairs"; He later worked as a correspondent for the Rosta newspaper, an employee of the Ishtirokiyun and Qizil Bayroq newspapers, and a sergeant and employee of the Inqilob and Kommunist Yuldosh complexes.

As a journalist, journalist and publicist, Kadyri played an important role in the birth and formation of a new type of Soviet press in Uzbekistan. He was especially active in the formation and establishment of the magazine "Mushtum".

Kadyri studied at the Higher Institute of Journalism in Moscow from 1924 to 1925 in order to improve his knowledge and skills in the field of journalism. Even while studying in Moscow, he kept in touch with the republican press.

From 1919 to 1925, Qadiri participated in hundreds of articles and comedies in the press. He published these works under various pseudonyms - Kadyri, Julqunboy, Kalvak Mahzum, Toshpolat, Ovsar, Dumbul, Shigoy.

Qodiri's journalism has a wide range of topics and problems. Among them are those who applaud, support and promote important events and news in life ("Press Day", "Father and Bolshevik", "Monument of 1918", "Like Mallaboy aka Girvan"), we come across articles exposing various vices in life as well as a series of literary-critical works. Qodiri's articles "We have theatrical progress", "Wolves of Ravot", "Last days" and "Some comments on the criticism of the past days" are among the best examples of Uzbek criticism of the 20s. They put forward important ideas about serious issues of realist literature - authenticity, nationality, artistic form.

Qadiri was glad that we had gained freedom of speech and courage because of the October Revolution. Now he is trying to tell and write the truth in a loud voice. Along with applauding and defending the revolution and the new life, he was determined to expose the various obstacles in this way of life, to objectively point out the contradictions inherent in Soviet events, the mistakes and shortcomings in politics. He knew that the obstacles in the path of a new life were not only the resistance of class enemies - the rich, the teachers, the priests. The consciousness and behavior of the builders of the new world were themselves full of internal contradictions and contradictions. In a number of articles and comedies, the author tried to show this contradiction and shortcomings. But his aspirations began to falter one after another. In 1926, in the comedy "Summary", published in the magazine "Mushtum", he was arrested on charges of shortcomings in life, careless laughter about government officials, counter-revolutionary actions for humor. Qadiri categorically denies the baseless allegations against him. He goes on a hunger strike in protest of injustice in prison. In a long investigation, he finally bravely exposes the slanderer, the inferior, valiantly in court, never fears political accusations and threats, never hesitates to tell the truth, and stands firm in defending his honor. "I'm not the kind of guy who would say 'ix' if he lost his temper," he said.

Family Court

Basic expressions.

         Ideas of Jadidism, independence, political system, conflict, reality, Soviet era, politics, injustice.

Questions and assignments:

1. What is the role of A. Kadyri in the development of Uzbek literature and culture?

2. How were Qadir's childhood and youth?

3. What are the features of Qadiri's first works?

4. On the social activity of literature in the period of revolutionary changes.

5. What did Qadiri do as a journalist?

6. Are you unfamiliar with any of the comics that introduced Qadiri to the world as a writer?

TOPIC 8: “THE PAST DAYS” AND “THE SCORPION FROM THE MEHROB”

CHOLPAN'S LIFE AND CREATIVITY. THE STORY OF "OYDIN KECHALARDA".

PLAN:

1. Cholpon's life and work.

2. Cholpon's first work.

3. Cholpon is a publicist and playwright.

4. Cholpon's prose works.

5. The main idea of ​​the story "On moonlit nights".

         Abdulhamid Sulaymon oglu Cholpon was born in 1897 in Andijan. His father, Suleiman Muhammad Yunus oglu, was known among the people of Andijan as Suleiman Bazzoz for his bazzoz. He also had a passion for literature and even wrote poems under the pseudonym "Shame". But Suleiman Bazzoz, in spite of this literary taste in himself, wanted his son to be a teacher, not a writer. While studying at madrassas in Andijan and Tashkent, Cholpon became acquainted with the progressive views of his time and decided to take a different path.

V. Yan, who had a close creative relationship with Cholpon, wrote that the Uzbek poet told him about his life: “When I was young, I used to sell cloth in Fergana. my father was overly devoted to Islam and befriended the mullahs. He sent me to a madrassa to study with the intention of raising me as a mullah as well. I met a man there and that man impressed me. He was awarded the prestigious title of Mudarris because he was a mullah who memorized the Qur'an from beginning to end. He was a Turk who was sent from the Panturkist Center in Istanbul to Chinese Turkestan to spread the teachings of Pan-Turkists and Pan-Islamists and stopped for propaganda in Fergana. He introduced me to various problems for the first time and aroused in me a keen interest in political and literary work. I would forget everything, run to the streets and buy new newspapers after memorizing the Qur'an. But instead of teaching, I decided to become a national Uzbek writer. I ran away from my father and mullahs and went to Tashkent, where I wrote poems, stories and sent them to magazines. ”

First of all, Cholpon, who read Gaspirali Ismailbek's Tarjumon newspaper, got acquainted with the ideas of Jadidism and began to write works that serve these ideas. One of his first works, published in 1914 in the newspaper "Sadoyi Turkiston" - the story "Doctor Muhammadyor" is particularly noteworthy in this regard.

… When the only child born to a Haji barber's family reaches the age of ten, a teacher who graduated from the Madrasai Oliya in Ufa arrives. He heard the fame of a pilgrim barber who read a newspaper and "knew seventy-two languages," and decided to meet him. When the teacher came to the barber shop, Muhammadyar was also with his father. In the meantime, Haji Ahmad talks about his only son and asks his teacher to teach him. For a year, the teacher gives Muhammadyar a thorough knowledge of Islam, history and geography. As the parent-teacher takes the teacher on the train and returns from the train station, they encounter thugs punching each other behind the gambling machine. When the pilgrim tried to exhort them to pandu, one of the gamblers strangled him. A dying father bequeaths to his son.

"Doctor Muhammadyor" begins with such a tragic knot. Cholpon, following the will of his father with the help of good people, first studied in Baku, then in St. Petersburg and Swiss medicine, and became a famous doctor, writer and publisher in the person of Muhammadyar, and became related to Olimjon in Hamza's story "New Happiness". created the image of the ideal hero. This hero sees science as the only weapon in the fight against ignorance, a weapon that fights for the health of the people. Everyone is as happy as he is and believes in delivering work that is beneficial to society.

The February Revolution of 1917 The overthrow of the White King gave hope to the Jadid movement to establish an independent Uzbek state. But this movement did not wake up the people, it did not prepare the armed forces for the national revolution. Therefore, the idea of ​​building a nation-state until the October coup remains a raw fantasy.

However, the Bolsheviks, who did not even want to give Uzbekistan the right of an autonomous republic, crushed the autonomous state of Turkestan in February 1918, and its initiators were persecuted. Cholpon escaped persecution at the time and went to Orenburg, where he worked as a secretary to the Prime Minister of Bashkortostan.

After the turmoil in Uzbekistan calmed down, he returned to Tashkent and in the fall of 1919 began working for the Yangi Sharq newspaper. The newspaper is a body of the Fergana regional department of national affairs, with the slogan "Unite, workers of the world" and the words "Long live the freedom of the East." Cholpon published articles in the newspaper imbued with the spirit of this last slogan.

In 1923, another colleague of Cholpon's, Abdulkhay Tadjiev, was sent to Andijan to work on the Darkhun newspaper. During this period, the “invaders”, who did not receive financial support from anywhere else, periodically attacked and oppressed the population in the villages of the Fergana Valley in order to replenish their ranks and earn money for food and weapons. they were. "Darhun" intervened in these events and set a goal to bring peace to the valley. At the suggestion of A. Tadjiev, Cholpon also went to serve in the valley.

While working for the Yangi Sharq newspaper, Cholpon wrote a fairy-tale play, Yorqinoy, in 1920, which was staged in 1921 by the Mannon Uyghur troupe. In 1924, when the newspaper "Darhun" was closed and moved back to Tashkent, serious work was being done to establish a national Uzbek theater. He played an unprecedented role in the formation of qualified Uzbek artists in Moscow in 1924-1926 and in the formation of the future Hamza Theater. According to some sources, he studied at the V. Bryusov Institute in Moscow in those years.

In the mid-20s, Cholpon was actively involved in both poetic, prose and dramatic work. Poetry collections “Springs” (1922), “Awakening” (1923), “Secrets of Dawn” (1926), “Moonlit Nights”, “Tulip in the Snow”, “Baker Girl”, “White The King's Gift. ” However, in the face of growing criticism and threats in the 30s, his works remained unpublished. After that, Cholpon was forced to engage in more artistic translation.

Translating Shakespeare's Hamlet, Pushkin's Boris Godunov and Dubrovsky, Gogol's The Investigator, Franco's Feruza, Gorky's Mother, Andreev's The Story of the Hanging Seven, and many others into Uzbek. founded a modern Uzbek school of translation.

At the same time, in the 30s he published the dilogy "Night and Day", a collection of poems "Soz", participated in the newspaper "Teatru" and the magazine "Mushtum".

Cholpon, a great enlightener and multifaceted activist, was arrested in 1937 and shot dead on October 1938, 4, along with other colleagues.

In addition to the novel "Night and Day", Cholpon's literary heritage includes a number of other stories, which are notable not only for their ideological content, but also for their artistic qualities. One such story is called "Moonlit Nights." This story, written in 1922, raises one of the main themes of Cholpon's work - the issue of women.

         The story begins with the following image:

         "The old woman woke up scared of something. The white moon, the moon, was rushing through the middle of the old woman's bed, breaking through the occasional white cloud.

The old woman took a good look at the oil and decided to be there again after not seeing any black spots on the moon. ”

After such an introduction, it is natural for the reader to think of Zainab the old woman as the protagonist of the story and to observe her behavior closely. The writer wakes up the reader and feels the same impression, describing everything from the old woman's imagination to the "cocoon basket, from the bed thread to the silk that will come out of the cocoon this year." He then says that the old woman had barely fallen asleep and, soon after, heard the sound of sleep mixed crying.

This is where the knot of the story begins.

"Who is this? Who cries at night without sleeping? How unhappy is it to weep at a time when everyone is sleeping peacefully and comfortably? ”

The old woman called the crying woman Khadija's daughter-in-law, and today her friends came and had fun "until two o'clock." Maybe it's a neighbor's bride…

"Look, the old woman's own bride, her house, her clothes - everything is ready… Next to the groom like Novda d"

The old woman walked slowly in the direction of the weeping with such thoughts, and with what eyes she saw that the weeping woman was her bride.

Until that moment, Cholpon was unfolding the story by depicting natural landscapes and enlivening the old woman’s imagination. Now, when the mother-in-law and the bride come face to face, the story comes with a question-and-answer method:

  “- lan Come on, boy, where is Kadyrjan?

 "Don't ask Kadyrjan, mother." "It's been more than a month and a half since I've been a bride, and we've only been together for two nights in a month and a half. On other days, I wake up every night." I endured so many days, and this day I cried for my dignity. How do I do that? Am I human? ”

The old woman, who understands the situation, does not even know what to say.

"Her father was like that, my daughter."

Two drops from far away come to the old woman's dry eyes. The old woman says that these two drops, which have been pressing, crushing and rubbing all over her body and all her limbs, have been wiped away by the sleeves.

So why did Kadyrjan's father come home late? What about Kadyrjan himself? What worries are they busy with? Because of which intractable knots of marriage do they not live in the bosom of their families? .. Such questions include the situation of Kadyrjan, who came home drunk at the time and fell into a trance and asked, "Where, where is Maya Anna, where is Maya Annushka?" the insanely inverted song answers.

At the end of the story, Kadyrjan, who continued his father's filthy habit, trampling on the value of chastity, delicacy and kindness, "the red king's shirt, his black hair dragged on the ground," is portrayed as a vile and lowly person. appears as a despised goddess of goodness. No, he does not rise like a proud rock in the face of contempt and contempt. Perhaps it draws our attention as a woman who suffers from stigma, who is not ready to fight against stigma, and therefore in need of love and support.

In this story of Cholpon we see two cases. Cholpon wanted to draw public attention to the plight of women because of the lack of treatment for women and the discrimination against them. Second, with the onset of the colonial era, discrimination against women intensified as a result of vices such as alcoholism and immorality.

In the story "On Moonlit Nights", Cholpon puts forward the idea of ​​overcoming these vices, appreciating the fidelity, chastity, beauty and spiritual wealth of Uzbek women, and radically changing the attitude towards them. Although the story is small in terms of volume, in it the writer skillfully reveals the mental state of both the old woman and the bride. The abundance and precision of the artistic details created a great opportunity for a vivid and realistic depiction of the realities of life in the story. Overall, the author demonstrated with this story that he is approaching the level of writing a great epic in the future.

Basic expressions.

         Artistic, creative, poet, activity, article, formation, event, Uzbek, works, collection of poems, story, ideological content, image, law, epic.

                            Questions and assignments:

1. What do you know about Cholpon’s way into the world of literature?

2. What works did Cholpon write as a Jadid writer?

3. Cholpon was in close contact with which representatives of the Jadid movement?

4. What is the difference between Cholpon's poetry and Hamza's poetry?

5. What poems do you know that Cholpon sang?

6. On the basis of which works of Cholpon were theatrical performances, movies or TV films created?

7. What stories do you know of Cholpon?

8. What is the author's purpose in writing the story "On Moonlit Nights"?

9. Compare the images of the bride and old woman in the story and try to draw certain conclusions from this comparison.

TOPIC 9: CHOLPON'S "BRIGHT"

DRAMA.

PLAN:

1. History of the writing of the drama.

2. The events depicted in the drama.

3. Artistic features of the work.

STATEMENT:

         Although Cholpon's first plays in the field of drama appeared on the eve of the 20s, they were also small stage productions of the 1920 drama Yorqinoy. That is why Cholpon reworked the play and published it in 1926 as a book, as there was a need for works on local themes to be staged at the Uzbek Drama Studio in Moscow.

         The play adds Cholpon's words of dedication: "I pay tribute to the CAMPY MOTHER who told the story in a sweet and rich language, which led to the writing of this work."

         According to these words, on the basis of the play "Bright" lies a folk tale heard from Cholpon's "old mother". According to some sources, the play "Bright" reflects the events related to the Polatkhan uprising in Andijan. In our opinion, Cholpon may have heard a fairy tale about the Polatkhan uprising from his "old mother" in his youth and used this fairy tale in the creation of this work.

         The wind of love begins between Polat, who was gardening at the residence of an immortal commander named Botir, and his Yorqinoy. Steel is an ordinary servant of this house, and Yorqinoy is a suitable bride for the princes, so the gardener wants to leave the house of the Immortal Hero, not believing that his love can end in a happy outcome. At that moment, Botir met Polat in private with Yorqinoy and accused him of dishonesty. Bright also forgets his honor and says he is ready to kill him for meeting a poor servant. Yorqinoy is also ready to die in the way of truth.

         For the Immortal Hero and those like him, the truth was of two kinds: for themselves and for others. The truth that exists for them does not allow him to punish his only daughter, but the notion of truth for others opens the way for him to execute Steel at this very moment. It is clear that the Immortal Hero, who lived with such a belief, was not an honest man, but a tyrant and a bloodthirsty commander. Steel, who first confronts him and is forced to face him, wants to ask him who he and his father are, to find out about the fate of his ancestors. But suddenly it becomes clear that this is the most terrible secret of the Immortal Hero.

         If we look at the basics of Cholpon’s creativity and social activities, we see that there is only one place of worship for him. This is the people. Where the people are, there is truth. That is why Cholpon did not choose the teaching profession that his father dreamed of, but devoted himself to the struggle full of hardships and sufferings for the happiness of the people. The meaning of life that Cholpon understood lies in Yorqinoy's renunciation of his father, whose "profession is worse than that of Gorkov" and his embrace of the people as the Commander of the Steel.

         She loves him because he is spiritually close to Bright Steel, not only because he is an honorable, strong-willed young man, but also because he is ready to fight for the truth. Upon learning of the bloody deeds of his bright father, he abandons him and joins the struggle waged by Steel, making sure that the blood of Tomaris is stirring in his body.

         Steel, together with his friends - the representatives of the poor people, and with the help of Yorqinoy, who was brought up in the traditions of war from a young age, defeated the khan's army and came to the top of the kingdom. But for Yorqinoy, the crown was not a throne, he needed Steel, who loved him and devoted his whole life to him. He is furious to see that Polat is spending the rest of his royal days in the presence of him, exhausted again, and hates the crown as well. Then Polat answers to Yorqinoy: "Behind the crown throne, there is a country, a hand, a people behind the throne, it is necessary to think about it, it is necessary to eat its grief"

         These fiery words are a logical conclusion to be drawn from the events described in the play. We see that in this work, Cholpon created a work imbued with a modern important idea, using the traditions of folk-heroic epics.

Basic phrases:

         Dramaturgy, play, staging, image, dialogue, monologue, dramatic film, story, folk heroic epics, crown, throne, idea.

Questions and assignments:

1. What do you know about the history of the drama "Bright"?

2. Describe the images of Steel and Shiny.

3. Who would steel work for?

4. Why does he ask the Immortal Hero about his father?

5. Why does Polat, who loves Yorqinoy, seem to move away from him when he becomes the leader of the country?

6. Make a small play based on the play "Bright".

REFERENCES

N.Karimov “Uzbek literature”, Behbudi Selected works, A.Avloni Selected works, A.Fitrat “Abulfayzkhan”, HHNiyazi “The work of Maysara”, H.Qodiriy “About my father”, A.Qodiriy Kalvak From Mahzum's memoirs ”, A.Qodiriy“ What does Toshpolat tajang say? ”, A.Qodiriy“ Last days ”, A.Qodiriy“ Scorpion from the altar ”, Cholpon“ Collection of stories ”, Cholpon Bright ”drama

TOPIC 1: LIFE AND WORK OF GHAFUR GHULAM.

POET'S LYRICS

Plan:

         STATEMENT:

Ghafur Ghulam was born on May 1903, 10 in Tashkent to a poor family. His parents Gulom aka and Toshbibi received the first education. But the cruel fate did not rub his head much in his youth.

Ghafur, who was separated from his father (1912) and mother (1918), was orphaned as a child. The so-called "poverty and deprivation" embraced thousands of children, including the great poet of the future - the "wanderer of the decades." Etikdoz looked after the carpenter, looked after his sisters during the day, and guarded the mill in the neighboring neighborhood in the evening. He guarded the garden of a rich man named Sariboy. Many years later, Ghafur Ghulam masterfully incorporated the services of this rich man into his story “Shum bola”.

The beginning of the First World War (1914), the hardships and tragedies that befell the people due to forced labor (1916), saw with their own eyes, experienced for themselves.

In 1916 he entered the Russian-language school. This scholarship helped Ghafyr Ghulam later, after the October coup, to work as a typist in a printing house and to attend an 8-month teacher's course.

The Komsomol of the 20s did a great job in instilling a Soviet and revolutionary spirit in the youth, giving them opportunities and privileges. He worked as a teacher, principal in new schools, and headed a boarding school.

The boarding school became a sanctuary that played a major role in the fate of Ghafir Ghulam. The work and life here intensified his personal and social feelings. One day, the orphan without a caregiver looked at the children, felt sorry for them, felt humiliated, and remembered his life in the orphanage. His emotions were aroused, and the necklace was poured on paper, not on his eyes, as tears. This was Ghafur Ghulam's first poem. A new poet was born in Uzbek and world literature.

Thus, during his almost 45 years of work, Ghafur Ghulam published many poems, epics, essays, feuilletons, comics, short stories, short stories, articles, and translations. They have been compiled and published in more than a hundred collections and books.

Working as a literary worker and special correspondent for “Mushtum”, “Yer Yuzi”, “Sharq Haqiqati” and “Kizil O'zbekiston” newspapers gave Gafur Gulam a deep understanding of the hot spots of public life and the pure climate of his contemporaries. created opportunities to feel.

In his poems of the 20s, Ghafur Ghulam focused on singing about the new attitudes, demands, and notions of the new society. In the poems of this period, there were many poems that were more narrative than artistic, and confession was more important than passion.

Reflection of the life of the people and the state has become a leading feature of the poet's works since the 30s. This feature is especially noticeable in the poem "On the roads of Turksib" and the epic "Kokan".

The epic "Kokan" artistically reflects the life of the people in the late 20s and early 30s. At the same time, it plays an important ideological role in strengthening and consolidating this principle. True, coercion in the transition to and transfer to the collective farm, as well as the destruction of many middle-class homes, has also occurred. But along with these shortcomings, mistakes and limitations, given that the collective farm also played a positive role in the fate of a certain layer of the Uzbek farmer, his recovery, the recovery of the farm, the epic Uzbek peasant thinking, worldview and is important as an artistic document of abrupt changes in lifestyle.

Ghafir Ghulam wrote many poems and epics throughout his life. Influenced by Soviet policy and the ideology of the Communist Party, he called on the people to live and work in a spirit of high ideals. He glorified goodness, kindness, brotherhood, friendship. He called on the people to mobilize in the path of great purpose and thought. It encourages us to look to the future with high hopes. These are important features inherent in his works.

It is the profound observations of the lyrical protagonist in the artistic chanting of these qualities, and the diversity, richness, ambiguity, wisdom, in a word, the philosophical poet, through his wisdom and the images that embody this wisdom. appears as an important sign of creativity.

Dear moments of our dear age

Dear people ask dear

Opportunity is a trophy, with royal lines

It is time to decorate the notebook of life.

(From the poem "Time")

Some of Ghafur Ghulam's poems are based on historical events, information and personal images. Such works are as accurate as the artistic chronicle of history, the destiny of the historical figure, the reflection of his image. Such poems are characteristic of the poems "On the roads of Turksib", "Memory of Hamza", "The first cosmonaut in the history of mankind."

Ghafur Ghulam was a scholar who knew the history, philosophy and culture of the East and the West with extraordinary depth. Therefore, in most of his poems, from the Bible to the Babylonian, Gothic patterns - large and small historical events, information, this or that person, the facts associated with them, the lines of the traditions of the peoples of the world, the names of historical places absorbed into the artistic texture.

Ghafur Ghulam wrote many poems in the form of a calendar throughout his career. Such poems dedicated to everyday, transient events and happenings, such as May 1, October 7, Constitution Day, party and Komsomol congresses, literary decades, socialist competitions, the implementation of the cotton plan, are in the history of literature and in the author's work. also left no noticeable mark. This was no secret to the poet himself. After all, many of these poems were not included not only in the "Selected Works" of self-respecting poets, but also in their regularly published collections. Ghulam is no exception. However, it should also be noted that philosophical images imbued with forgiving greatness and wisdom are also found in his calendar poems.

Ghafur Ghulam created and worked until his last breath. For many years he worked as a researcher at the Institute of Language and Literature of the Academy of Sciences of Uzbekistan. He wrote many scientific articles and translations, as well as works of art. His works have also been translated into dozens of languages.

In return for his work, he was elected a full member of the Academy of Sciences of Uzbekistan. He became a deputy of the Supreme Council of the Republic. He was awarded the high title of "People's Poet of Uzbekistan." His works of art won the highest awards of the Soviet country. His perfect collection of twelve volumes has been published.

TOPIC 2: GHAFUR GHULAM'S PROSE WORKS

STORIES "SHUM BOLA", "YODGOR"

TOPIC 3: LIFE AND WORK OF OYBEK.

Plan:

         STATEMENT:

Musa Tashmuhammad oglu Oybek was born on January 1905, 10 in Gavkush mahalla of Tashkent. Once upon a time, when the Russian manufactory had not yet squeezed out the local weavers and their goods, most of the people living in this neighborhood were engaged in looting. Tashmuhammad aka, the father of the future writer, was also a spoiler. But when the profession lost its vitality, he went to the villages around Tashkent to work as a grocer.

Oybek received his primary education at a Muslim school. Although such subjects as history, geography, and mathematics were not taught at the school, Oybek got acquainted with the works of classical Uzbek and Persian-Tajik poets such as Sufi Olloyar, Navoi, Khoja Hafiz, and Bedil. After the October change, in 1919, he continued his education at the elementary Soviet school called Namuna. In 1921, after graduating from the "Namuna" school, he entered the Navoi College of Education, which was established in the same year in Khadra. Here he became acquainted with the works of Navoi, Fuzuli, Pushkin, Lermontov, Tolstoy and other classical writers.

Remembering this spring season of his life, Oybek said, “The river of dreams was wide for me. Every now and then, I would practice on my own and write one and a half poems. I remember that my first poem was published in the poster of the college "Dawn Star". Then I became the editor-in-chief of this newspaper. Gradually, my poems began to be published in national newspapers.

After graduating from the College of Education in 1925, Oybek entered the Central Asian State University, Department of Economics, Faculty of Social Sciences. The period required young people to have a thorough knowledge of the Russian language, to become highly qualified specialists in their chosen field. Due to this demand, in 1927, Oybek transferred to the Institute of National Economy in Leningrad (now St. Petersburg). But the cold and damp weather here did not allow him to finish his studies. Oybek returned to Tashkent in 1929, and a year later received a degree in economics. After that, he served as an assistant professor of economics at the dorilfun, where he graduated until 1935.

Over the years, political economy and art began to demand that Oybek devote all his time. But in his heart the love of creation was stronger. Therefore, in 1935, Oybek left teaching political economy and Marxism-Leninism and became a researcher at the Institute of Language and Literature under the Committee of Sciences of Uzbekistan. During this time his collections of poetry "Emotions" (1926), "Fires of the Heart" (1929), "Torch" (1932), "Happiness and Missing" (1933) were published. and Oybek as a poet had a strong place in Uzbek literature.

When Oybek chose literature and creativity, the storm of 1937 was still asleep. But two years later, the storm woke up and tore off the plane trees of Uzbek literature. This storm did not bypass Oybek either. He was expelled from both the institute and the Writers' Union. But because nature gave him an iron will, he wrote the novel "Blood of Remembrance" (1916), dedicated to the 1938 uprising in these difficult times of life. Although the novel was published with great difficulty in 1940, Oybek, inspired by the fact that it was a major event in Uzbek literature and won the attention of readers, began to write the novel "Navoi" and finished it in 1942.

It is no coincidence that Oybek wrote a novel about Navoi. Oybek, who devoted his life to the study of classical Uzbek literature and its culmination - the work of Alisher Navoi, wrote a number of scientific articles on the life and work of the great poet before writing this novel. In 1937, he created the lyrical epic "Navoi", a unique poetic sketch of this novel. Oybek's scientific work on the culture and history of the Timurid period, in particular, the study of Navoi's work, gave him the right to be elected a full member of the newly established Academy of Sciences of Uzbekistan in 1943. Since 1945 Oybek has been a chairman of the Presidium of the Writers' Union of Uzbekistan (until 1949) and since 1943 the head of the humanitarian department of the Academy of Sciences of the Republic (until 1951). engaged in creative and scientific activities.

In the post-war years, Oybek enriched Uzbek literature with his novels "Winds from the Golden Valley" (1949), "The Sun Does Not Darken" (1943-1958), "The Great Way" (1967), and many poems and epics.

Literary and artistic works, scientific and journalistic articles and translations by Oybek were published in the author's 20-volume "Complete Collection of Works".
Oybek was awarded the USSR State Prize for his novel Navoi (1946) and the Hamza State Prize of Uzbekistan for his short story Childhood (1963).

Famous writer 1968; He died on July 1st. His grave is in Farobi Cemetery in Tashkent.

Oybek is a truly versatile talent. He is a writer who has left a deep mark on all types and genres of word art and literary science.

Speaking about Oybek, Hamid Olimjon said, "He is a poet in prose and a prose writer in poetry." There is life in these words about the famous poet's pen friend: Oybek brought the fragrant breath of poetry into the prose and enriched the poetry with a pearl of prose-specific details. Just as poetic language is not found in any other writer, as in his prose works, so is the perfection of the image in his poetic works.

Literary critics draw attention to another point that is unique to Oybek's work. According to their observations, almost every major work of Oybek's prose grew from one of his epics. For example, the epics "Och" and "Bakhtigul and Sogindik" served as "yeast" for "Kutlug 'kan", the epic "Navoi" is based on the novel of the same name, and the epic "Girls" is based on the Golden Valley. is a sketch of If we approach it on the basis of this idea, we can find the "poetic" roots of the works "The sun does not darken", "In search of light", "Childhood".

Oybek's first poem that came down to us was "The Sound of an Instrument" written in 1922.

As the young poet grew older, the feelings in his heart became more and more sincere. His childhood love for animals flowed into the great river of human love. His lyrical hero was healed in the fire of true love and rose to the level of deep feeling of life, nature, homeland. He was on the banks of the Neva, on the shores of the Black Sea, and absorbed in his poems the immortal impressions he received from them. But in front of these beautiful places, the crimson colors of the Uzbek land did not fade. On the contrary, the poet looked at his country through these beautiful landscapes of nature and glorified its golden soil with a special artistic power:

Gold blooms in the soil of a country,

In a country where people whisper spring.

A country that misses the sun a little ko'r

A country where the nerves of zeal shine.

The power of happiness is crushed by the stone.

The summer of 1936 opened a new era in Oybek's poetry. At that time, the poet lived with his Kalmyk brothers in the beautiful Chimgan near Tashkent and translated ASPushkin's novel "Eugene Onegin". On the one hand, the beautiful poetic world of the Russian poet, on the other hand, the navas, which is the fresh air of the mountain village, and the heartfelt view of the Uzbek nature, ignited the Oybek spring. Oybek was reborn as a sensitive lyric poet in the poems of this period, which were included in the series "Chimgan notebook". Oybek created a unique poetic image of Uzbek nature in his poems such as "Mountain Tour", "Namatak", "I will go up, I will fall into the river", "Eternity and Life".

During the war, Oybek went to the front and got acquainted with the combat life of Uzbek soldiers on the battlefield. His poems, written in those years and later forming the collection "Fiery Roads", in a sense served as a sketch for the novel "The Sun is not black." Perhaps these poems are not so artistically high because they were written under a rain of bullets. But the breath of the war years can be clearly heard from them. After Oybek's depiction of the landscape, especially in his poem "Yigi kelmadi sira…", watered by the realities of war, I saw the burning well in the burnt houses. When I read the lines "When I'm alone, Cry in my heart is my homeland", it seems as if there is an explosion at the end of the poem.

TOPIC 4: OYBEK'S NAVOI NOVEL.

Plan:

1. History of the work.

2. The main idea of ​​the novel.

3. Historical figures in the work.

4. Relations between Alisher Navoi and Hussein Boykaro.

5. Artistic features of the novel.

STATEMENT:

Oybek Navoi became actively interested in his life and work on the eve of the 30s. In those years he began to diligently study the works of historians such as Yazdi, Kashifi, Qazvini, Muhammad Talib, Abdurazzaq Samarkandi, Wasifi, Mirkhand, but in the late 20s - 30s the misconceptions that grew in Uzbek literature. Oybek was also charged with a number of offenses.

         Oybek, on the one hand, chose a simple poor man as the protagonist of the novel "Kutlug Kan" to get rid of the accusation against him. But the logic of the events described in the novel showed that travelers could neither guide nor influence the masses at the turning points of history. Moreover, the leaders of the state and the country, who grew up among ordinary workers and peasants in the 30s, are unable to defend the interests of the people or themselves in front of the dictatorial center. Therefore, Oybek came to the conclusion that both the people and literature need geniuses like Navoi.

         Before the publication of the novel "Kutlug Kan" Oybek began work on the novel "Navoi" on January 1940, 6 and finished it in the winter of 1942. The novel was published in 1944 after various discussions.

         The XIV-XV centuries have a special place in the history of the Uzbek people. With the appearance of Amir Temur on the stage of history, he laid the foundation for a new and powerful Uzbek statehood. Monumental architectural monuments, which have always been the pride of the East, were built. Literature, art, and science flourished. The great works of Alisher Navoi were created as a symbol and result of this development. Navoi was not only a great poet, but also had a great influence on the social, economic, cultural and educational life of the XV century.

         Some historians believe that Navoi would not have reached such heights as a poet if it were not for Hussein Boykaro. Perhaps the seeds of truth are not absent in this view. But the most important thing is that if it were not for Navoi, Hussein Boykaro would not have been so successful in governing the state and the people, and Hussein Boykaro himself, the people and the state would already be victims of internal conflicts and wars. . It is obvious from these words that the images of Navoi and Hussein Boykaro are at the center of the novel. Undoubtedly, Oybek's main goal is to create the image of Navoi as a great man, poet and statesman. According to Oybek, the "magnetic field" that unites these three aspects of Navoi's image is his humanity. In order to create the image of Oybek Navoi as a humanist poet and statesman, the work included not only the image of historical figures, but also artistic texture. These are, first of all, Navoi's student Sultan Murad, his friend Arslanqul and his lover Dildor. They participate in the events of the novel as representatives of the common people and help to reveal the image of Navoi as a great man, poet and statesman. Dozens of heroes, such as Hussein Boykaro, Jami, Behzod, Nizamulmulk, Majididdin, entered Oybek's work directly from the pages of history. Oybek relied on the truth of history in creating the image of these heroes.

         According to the poet and translator A. Naumov, Oybek told him about the history of the novel "Navoi" and told him: "Before writing, I I saw my heroes clearly, they seemed to me to have grown from the seed that had once been sown in the fields of history. ”

         This view of the author applies not only to historical figures, but also to textured images.

         According to the same interlocutor, Oybek told him again: “On my desk lay a map of medieval Herat, which I drew myself. I would go to sleep in Herat and wake up in Herat, and only at night would I dream of Tashkent, where I live. ”

         These words of Oybek testify to the fact that he began to write the novel with serious preparation, clearly imagining the forces that constitute the conflict of the work and the people who represent these forces.

         The novel is taken from the life of Movarounnahr in the XNUMXth century. This, of course, required the writer to artistically integrate the historical conditions of that period, the relationship between Navoi and Hussein Boykaro, Navoi and Jami, Navoi and the people. Oybek sought to reveal the most important aspects of Navoi's image in the process of artistic coverage of these topics.

         “Man is the crown of all creation. He must live with honor, purity and beauty. ”- Navoi's whole activity as a poet and statesman is aimed at achieving this. This is a utopia, a fantasy, for the period in which Navoi lived, and even for later periods. In this sense, Navoi is a dreamer. Such lofty ideas, lofty goals are born only in the hearts and minds of dreamers.

         Hussein Boykaro is a worthy descendant of Amir Temur. He knew how to hold a sword, rule the country, and even write ghazals. But, as the novel puts it, he is "more inclined to the sword than to the sword, and to the merry parties in the meadows rather than to the battlefields." There is a deep chasm between this characteristic of the kings of the East and Navoi's desire for the people to live "honorable, pure, beautiful."

         Navoi trusts Hussein Boykaro because he has known him well since childhood; considers him to be one of the most just, intelligent, stately, and patriotic Timurid kings. He is also well aware that there are many people around Hussein Boykaro who use his weaknesses for their own ends, distract him, and even cast a shadow over the warm relationship between him and the king. Unfortunately, even though Sultan Hussein was a king, because he was one of the servants of Allah who “drank raw milk,” he was sometimes flattered — he could not get out of the net of provocateurs woven with great skill. The problem of replenishing the treasury seems more important to him than the concerns of the people.

         Navoi resolved the disputes between Hussein Boykaro and his children due to the selfish and provocative people in the palace, primarily in the interests of the people and the state. When he went to Badiuzzaman to make peace between the father and the child, the prince refused to make peace because his son had been treacherously killed.

         Oybek exaggerates the shameful death of Majididdin, Nizamullmulk and Togonbek, based on his firm belief that evil will not go unpunished, while covering the subject of good and evil through the depiction of various destinies and events. . True, the writer did not ignore the death of Arslanqul, one of the main positive characters in the novel. But if his death during the defense of the country was the death of the real hero, the patriot, the death of the Tugunbeks was the death of the dogs.

         Oybek deliberately portrayed the tragic end of human life as an example for future generations to show that the popular wisdom that "a dog is the death of a dog" is unfounded.

         Navoi lived and worked in the historical period ruled by the Timurid dynasty. Thanks to Timur and the Timurids, the Turkic tribes living side by side were united and a powerful and endless Uzbek state was formed. As mentioned above, at the same time, science, literature and art reached their peak. Architecture and craftsmanship have developed at an unprecedented rate. However, after the death of Amir Temur, the powerful Uzbek state disintegrated and wars and conflicts between the princes escalated. Reflecting on these complex and forgotten periods in the history of the Uzbek people, Oybek said to Navoi in Badiuzzaman: "Time is running out." Oybek's purpose in uttering these words in Navoi, or in uttering these words to Navoi, is to say that the Uzbek land was easily invaded and colonized by Russia in the 60s as a result of centuries of civil war that began in the XNUMXth century and lasted for centuries. .

         In the novel, Oybek describes the image of Navoi and the historical period in which he lived, urging his contemporaries to learn from the bitter events of the past, to learn from the great figures and their great qualities, living and working for the benefit of the people and the country. reef and educational significance.

         Thus, the novel depicts, on the one hand, Navoi-Boykaro-Jami-Sultanmurod-People, and on the other hand, Arslonqul-Dildor. The writer has masterfully combined these two subject lines so that the reader performs them as a whole artistic layer.

         So, Oybek sewed his novel dedicated to the great Uzbek poet with such royal silk, which clearly shows the writer's love for the chosen theme and the hero.

         “We add beauty to things with our love,” said the famous French writer Anatole France.

         Oybek, with his great respect and love for Navoi, also gave a wonderful beauty to the image of the great poet and the novel about him in general.

TOPIC 5: ABDULLAH QAHHOR

LIFE AND CREATIVITY

TOPIC 6: ABDULLAH QAHHOR

THE STORY OF "FAIRY TALES FROM THE PAST" AND THE NOVEL "SAROB".

         The novel "Sarob". Since the publication of the novel "Sarob", it has been the subject of intense debate. Many unjust accusations have also been made about him. In his autobiography, the author writes: I finished writing Sarob in four years… It was well received by the reader, but sometimes cheap ambition, sometimes political demagoguery, and sometimes outright ignorance. The result was met with criticism carrying a spear. It distracted even the most intelligent people in this prose. ” In response to a question about Sarob's criticism in one of the literary circles, the writer said: "Criticism has so far sought a clear policy from Sarob. There is no one in the novel who can hear the pain and suffering of the people, ”he said.

         It is true that "Sarob" reflects the conflicting socio-political events of the 20s, ideological and political struggles. Under the influence of the politics of the time, there is also an attempt to biasedly condemn those who opposed the revolution. But Sarob is not a work of politics. The main thing in the novel is the leading character in it - the fate of Saidi and Nunishon, an expression of the analysis of the psyche. This novel is a love story, a life story that was lost in the first place. The tragic fate of the young generation, two young people, worthy of each other, who were born for happiness, but did not find their place in life due to weaknesses in personality and nature, as well as conflicts in society, mental anguish, oh- is a work on oppression.

         The love between Saidi and Muniskhan, the decline of their lives, the conditions in which these young people fell, the contribution of the situation to a period full of contradictions, had a great impact. At the same time, the human child is imperfect. Whether it is the game of destiny, the fulfillment of what is written on the forehead, or the consequence of human weaknesses, they are primarily to blame for the failures and misfortunes that have occurred; indifference to one's own destiny, selfishness, indecision in the pursuit of one's goal, muteness in the hands of others, alliance with depravity, and even worse, the habit of depravity is the gravest sin for the human child fojia. In the play, you will get acquainted with Saidi and Muniskhan's bitter love and trade of life, mental anguish, a book of hearts full of dramas, and will be filled with painful thoughts. In this respect, the same spiritual tragedies in the world literature "Sarob" are among the most advanced works depicted and analyzed.

         Extremely contradictory, tragic situations that took place in the fate of the protagonist, in his psyche, in extreme situations, are skillfully portrayed in the play. The most tragic tragedy for a human being is to go against his will, to do something he does not like, and even more difficult to adapt to a disgusting situation, to get used to the cruelty of fate, to failure, to trust. consists of rubbing oneself through the bases. In Saidi's teacher's house, he encounters the following problem: an unimaginable situation arises - gradually, the beautiful girl in Saidi's heart, Muniskhan, is replaced by the spiritually poor, physically ill, and ugly Sarakhan. The writer expresses this mental process with all its difficulties, pains, sufferings. In particular, Saidi’s depiction of the process of adapting himself to an unpleasant situation, of searching for qualities in himself from Sorakhan, is a unique artistic discovery of the writer. The same thing happens in Munich. Muniskhan, in his turn, remained a handsome and talented young man like Saidi, and by the demands of the situation, his brother's wishes and orders, he was forcibly transferred to a spiritually ugly, disgusting man.

         The humiliations of the writer Saidi, that is, the humiliation of the believer's servant in this house, the humiliation of human dignity, the humiliation of his senses, the humiliation of his wife, his mother-in-law, his insidious father-in-law, the unbearable humiliations of his sick sister. on the other hand, the failure in his work, in his creativity, shows in detail the history of the decline. Saidi's helplessness and suffering at that time shook the human heart. Speaking about the tragic fate of the protagonist, the writer summarizes the language of one of the characters: "Rahimjon is now lying on Murodkhoja's teacher's yard like a wagon." Finally, the growing contradiction between Saidi’s inner life and his outer life reaches the level of suicides to his life; becomes utelba, seeks death and takes it away.

          There are also weak points in the novel “Sarob” written under the influence of the sharp storms of the time; but this time is valuable to the reader of all times, with the tragic fate of the main characters, the bitter lessons arising from the depiction of the drama of the psyche, and the artistic analysis. The reader of "Sarob" concludes that the human child should always be independent in life, responsible for his own destiny, a traitor and a fighter in the path of high faith.

         The story of "Fairy tales from the past". "Fairy Tales from the Past" was the final culmination of the writer's work. Although there are a number of stories after "Fairy Tales from the Past", the story of "Love" is created, which contains heroic lines, but in terms of artistic maturity can not be compared with "Fairy Tales from the Past".

         "Fairy Tales from the Past" is an autobiographical work about what the author saw and copied as a child, but differs significantly from existing autobiographical works in Uzbek literature, including the story "Childhood" by his contemporary Oybek. In "Childhood" lyrical interpretation, poetic understanding of events prevails. If the image of a child comes to the fore in the story of Oybek, the adventures of what he saw and experienced, the expression of colorful feelings born in the heart of the child as a result of these experiences, the work is based on the image of a child Abdulla stands in the background, which is given mainly in the form of "observer", "witness", "objective narrator"; the main focus of the writers is to draw on the child's testimony the events that took place in the family, around the family - the objective scenes of life. In this story, too, the author remains a storyteller, with the exception of the last chapter, "Among the Ruins of Kokand," almost every chapter in the story is a complete story, or rather, they are real short stories in a tragic spirit. In this work, the author gave wonderful examples of what he saw in real life - the "artistic texture" - a mature story without creative fantasies - the creation of a complete work of art, "realizing the truth of real life, absorbing it into the heart." Throughout his life he did not give the writer peace, and throughout his career he was inflamed like a blacksmith's furnace human dignity, worth the painful feelings associated with it, the rebellion against ignorance, sounded like the writer's last cry in this story.

         What is the reason for creating such a work in the mid-60s? Did "Fairy Tales from the Past" come into being simply under the influence of a literary tradition, with the intention of the author to put his childhood memories on paper? Why did this work, unlike the existing childhood stories in the literature, consist mainly of stories about humiliated, dishonored people, victims of ignorance? The reasons for this, including the writer's state of mind before writing, should be sought. In one of the notes written by the author in the notebook at that time, we read the following words:

         "After Stalin, there was a long thunderstorm in our country," he said. The first sound of this thunder aroused great hopes in the hearts of the peoples, and the peoples waited for the blessings that would follow. But the thunder and the wind blew, and not a drop of honor fell. ”

Unable to find a place to live, he moved from village to village, sweating from dawn to dusk, constantly knocking on the iron door, pouring out the table of a small house, and the unfortunate father, who dreamed of giving his eight children to the black earth, died. There are stories about a mother who has lost her mother-in-law, who has become a "ghost" due to the hardships of life, a child who has become "silent" and "dumb" from cruel abuse and humiliation. crushes the heart of the bird. What about the lives of others? The writer quotes from each other sad, horrible scenes from the lives of working people. The terrible fate of the poor, ignorant victim Babar, the "free girl" who was killed in the unspoken flourishing - the destruction of Sarviniso - each of them is a horror, a tragedy! A bloodless, devoid of personal destruction, but a seemingly ridiculous phenomenon associated with ignorance, is in fact a tragedy! For example, the villagers, only twenty miles from the great city of Kokand, hear the news of the start of the war with the Germans two months later, even then by chance; simple events in the eyes of people - sewing a car, singing a gramophone, a simple "trick" in the shell of a watermelon, the pull of an iron key by a musician, the birth of a man in the maternity hospital, " the devil's chariot ”- the behavior of a cyclist - all seem supernatural, miraculous. John, sometimes random behaviors lead to very unpleasant and horrible consequences. The "dragon" standing to "eat the oil of the dead, the claws of the living" Torakul vofurush stubborn, spotted Valikhon Sufi, olgir, the swindler fifty-headed stories shake hearts.

In the story there are sometimes bright scenes of joy, interpersonal jokes, but these happy moments do not last long, they are quickly replaced by worse, more horrible events. Let's remember the situation of the family on the road, who escaped from the torment of living near the madhouse of Akdomla and moved to Yaypan: without a wall by the road, the walls collapsed, the gardens lit up, the gardens embracing their crooked houses, the fallen trees… the whole village looks like a big garden. At the same time, Abdullah, like his family members, is upset, and when he eats an apricot cave, the smell of spring fills the whole place, and it seems that the whole spring is trapped in this cave. this joy does not go far. It is in this beautiful place that the family descends into the house of the hated man Vofurush, and the family's gala begins. In the courtyard of the courtyard where the family had fallen, there were two bushes of figs, on the branches of which were ripe fruits, and yellow juice flowing from the navel; no one touched him despite his hunger… A happy event situation; but it is a situation which immediately makes the heart ache; the owner of the yard was killed by a plague last year; The family has to live in this unsanitary place…

From this the whole work consists of such a system of unfortunate events.

In fact, in Uzbek literature, such horrific scenes of meaningless life have never been so brutally expressed. The writer does not spare even his relatives, his father, in the face of the truth. In this regard, "Fairy Tales from the Past" has a right to be among the unique masterpieces of world war literature of the twentieth century.

7-TOPIC: MAKSUD SHAYKHZODA

LIFE AND CREATIVITY

PLAN:

1. Maqsud Prince's way of life.

2. The poet's creative activity.

3. Poetic works of the prince.

4. The Prince's Dramatic Skills.

STATEMENT

Famous poet and playwright Maqsud Shaykhzoda was born in 1908 in the city of Aktash in the Ganja region of Azerbaijan. He became interested in art early on. He admits that he began to compose poetry “before he even mastered the alphabet”. He was born in his native land, but was persecuted for his progressive ideas, and in 1929 he moved to Tashkent. From then until the end of his life, Uzbekistan became his second homeland. In Tashkent, the poet worked in a number of newspapers and magazines, taught at universities, conducted research. His many researches have made an important contribution to the development of Uzbek literature. Articles on the works of Nizami Ganjavi, Shota Rustaveli, Shakespeare, Babur, Byron, Pushkin explored the role of these artists in the development of world literature. The works of the prince, especially those who applied the poetic skills of Alisher Navoi, are distinguished by their scientific depth and beauty. His articles in the series "The Sultan of the Gazal Kingdom" are still an example for the new generation of Navoi scholars.

A number of works of Shakespeare, Byron, Makhmumkuli, Tagore, Avetik Isaakyan, Nozim Hikmat translated into Uzbek reflect the high art of translation of the Prince.

Maqsud Shaykhzoda's contribution to the development of Uzbek literature and culture has been duly respected by independent Uzbekistan and its government. A number of schools and streets are named after him.

The role of the Prince in the development of Uzbek poetry of the XX century is great. The colorful form and content, the uplifting spirit, the cast images in his poems imbued with great pathos, the symbolism, the resonance in the words, the musical majesty give the poet's works a wonderful artistic integrity, similar feelings in the heart of the reader. 'lqinini awakens.

The poet never looked for biblical, artificial problems. He addresses, first and foremost, issues that excite him, that open the eyes of his civic and poetic cells. The lights awakened by the poet move to the heart and consciousness of the reader. He begins his new life. In his poems, especially beautiful artistic images abound. To the poet, sometimes a boat like a point in the sea seems to be a "spot on the water", and sometimes the tail of a seagull sounds like a "question to the horizon".

The prince's poems have been published in dozens of collections, including "For a Quarter of a Century", "The World is Eternal", "Alley". These poems were sung with contemporary dreams, love, pain, hopes, living with high human dreams. True, in his forty-year career, Prince Lenin also sang about the Kremlin, the Soviets, the race, and the sect. But this is the seal of time and order in the poet’s destiny and creativity. However, the value of Prince's poetry is determined not by the works in this direction, but by the works that serve to enrich the reader with such beautiful moments, reflecting the delicate and unique states of the human heart, elegant and uplifting, hopeful. The prince considered the main task of the poet to be "to cultivate the human spirit, to increase the elements of goodness in man, to raise the people's sense of beauty and sophistication to a higher level."

The same can be said about his lyrical and philosophical epic "Tashkentnoma". These thoughts of Shoi can also be open to most of his poems.

According to Maqsud Shaykhzoda, one of the great blessings of life is poetry, and one of the incomparable beauties is poetry. In his poem "Poetry is the sister of true beauty", the prince shines throughout his work - he sings the essence of poetry, which gives man infinite beauty, spiritual radiance and evolution, seeks to discover new aspects of it. .

The idea in the poem’s title, in a way, doesn’t seem new. We find similar views in the works of Navoi, Pushkin, Yesenin, Cholpon. However, according to the unwritten rules of poetry, the main issue is not only the idea that motivates the work and the meaning expressed, but also their style of expression, the ability to evoke new waves of emotions in the mind of the reader. is a horse. The prince's work "Poetry is the sister of true beauty" is valuable in these respects.

In the play, poetry is glorified as one of the great qualities that make human nature and life flourish. Familiarity with poetry, in the author's opinion, enriches human character, energy, spirituality, and has a strong influence on the development of the psyche.

         If everyone falls in love with him -

         That's exactly what beauties add to beauty.

This beauty is not only a picture, but also the beauty of life. The reader will be convinced by the example of classmates, close and distant friends, acquaintances that these verses are vital, lively and wise. The devotee of poetry is a bitter truth in the meaning of life, a deep understanding of instantaneous delicacies, a clearer feeling, an impression of beautiful meanings and feelings, and the attraction of his own person under their influence. won't you

Near the end of his life, the Prince suffered a series of losses due to his actions, worldview, attitude to others, especially his inner and outer desires. In 1966, his close friend, the great poet Gafur Gulam, and the great statesman Usmon Yusupov, with whom he had close relations, died. These losses resonated in the poet's heart: the poems "Letter to Gafur" and "Separation" (in memory of Usmon Yusupov) were created.

Respect for man, an objective attitude to the dignity of each soul, artistic coverage of the problems are the leading direction of Prince's poetry. The poet himself faced a series of injustices in life. He was unjustly persecuted in the 20s and unjustly imprisoned in the early 50s. All this did not happen, of course:

         Friends, be careful of the good ones!

         Justify the weight of the word "hello"!

         After crying for a hundred hours when he died -

         Visit him alive for an hour!

In the poem "Separation" this poetic idea is further deepened. Although the work is aimed at glorifying the memory of the beloved son of the people, who led Uzbekistan in the middle of the twentieth century, in essence, it is aimed at perpetuating the name of the people, selfless figures for the Motherland, honoring them.

The heart is small, but can hold a lot. Although it is difficult to imagine the loss of a loved one, the loss of a beloved child of the Motherland, even if the person is not big or small, says the poet:

         The measure of mourning is incomprehensible to the heart,

         Screams bitterly to the chest.

The last two verses of the poem "Separation" are especially noteworthy:

         But to his untimely death, oh,

         Both you and I have a demonic sin!

This realistic byte has deep meaning. Is it not true that the acquaintances around us, the untimely death of some of our loved ones, are also caused by the indifference, indifference, indifference, indifference, and coldness that we sometimes unknowingly allow? This is a lesson that comes from the general spirit and art of poetry. As for the historicity of the work, this idea is a reference to some of the injustices inflicted in his time on the historical figure who formed the basis of the lyrical protagonist. This idea was not easy to say in the mid-60s of the last century. But the poet Prince expresses this poetic idea in a beautiful and impressive way in an artistic way. He has found a way to reflect not only the artistic truth, but also the historical truth.

Maqsud Shaykhzoda enriched Uzbek literature with historical dramas “Jaloliddin Manguberdi” and “Mirzo Ulugbek”.

Key words and phrases:

Poetry, Uzbek poetry, poetic cells, a collection of poems, a sense of sophistication, spiritual brilliance, poetry, direction, art.

Questions and assignments.

1. When and where was Maqsud Prince born?

          2. What other type of creativity did he engage in at the same time as artistic creation?

3. What do you mean by the peculiarities of poetic poems?

         4. Can you analyze the main emotional and artistic direction of the work "Poetry is the sister of true beauty"?

5. Who is the poem "Separation" dedicated to?

6. Remember the poem "Poetry is the sister of true beauty."

7. Try to get information about the tragedy of M. Sheikhzoda "Mirzo Ulugbek".

TOPIC 8: MAKSUD SHAYKHZODA'S DRAMA "JALOLIDDIN MANGUBERDI"

PLAN:

1. The history of the writing of the drama.

2. Jalaliddin's demonstration of heroism and patriotism.

3. Historical and artistic textual images in the work.

4. The role of drama in Uzbek literature.

STATEMENT

         Jaloliddin Manguberdi is a historical figure. Son of Khorezm king Muhammad. Although he was the ruler of the Khorezmshah state in the last year of his life, due to the persecution of the Mongol invaders led by Genghis Khan, he was forced to spend most of his life with his army and kingdom far from the borders of the country. Jalaliddin dealt severe blows to the Mongol army, fought for the freedom of the homeland, but withdrew due to unequal forces. In 1231, the bandit died at the hands of the Kurds.

         In the drama "Jaloliddin Manguberdi", the Prince portrayed the image of this brave commander, who fought selflessly for the freedom and independence of the Motherland. Jaloliddin Manguberdi is a great figure who also set an example for Amir Temur.

It is well known that during the Soviet era, the khans, sultans and rulers of the past, no matter how great and patriotic they were, were widely condemned. Because the Soviets did not like the same patriotic power in our elders, they did not want this great quality in our ancestors to be passed on to new generations.

The names of such great figures, who were repressed by Sh, were restored by the time of independence. In order to perpetuate the name of this brave son of the people, the Government of Uzbekistan adopted a special resolution "On the celebration of the 800th anniversary of the birth of Jaloliddin Manguberdi" (1998), the Order "Jaloliddin Manguberdi" was established by presidential decree (2000).

Maqsud Shaykhzoda's patriotic drama Jaloliddin Manguberdi, which was written with a strong sense of patriotism, was soon staged in 1945 by the Hamza Uzbek State Drama Theater, but was soon removed from the stage. The author was branded to justify and support the past, khans, beys, feudalism. This "accusation" led to unjust imprisonment.

Only parts of the drama have been published. In the author’s lifetime, it has never been published in its entirety. It was first published in Uzbek twenty-one years after the death of the playwright (1988).

In the drama "Jaloliddin Manguberdi" the image of the great ruler, a brave commander who fought against the invaders for the motherland and its freedom, is distinguished by its particularly natural, vivid depiction. There are, of course, important vital factors that ensure the naturalness of the protagonist in the image.

Hypocrites like Badriddin in the palace, and under their influence, his father Khorezmshah, did not understand his efforts to unite the people and the army against the enemy and to defend the country. Then Jalaliddin said, "I prefer a tent to a tent," and demanded that they send troops to defend the country. Amir Badriddin, realizing that the purpose behind these courageous words of the Crown Prince was not to be patriotic, but to seize the throne, began to provoke that "he wants to have the throne" despite the fact that the king is alive.

Jaloliddin is a hero. He is a brave commander, a man who unites the people and the country against the enemy, inspires the army to great victories with his initiative and sets an example in this way, but at the same time, he is embodied as an ordinary man. For example, the brotherly affections between Jaloliddin and his sister Sultanbegim, which are typical of ordinary people, are described so sincerely and beautifully that one is envious.

Demonstrating the courage, bravery and courage of Jalaliddin, who set out to protect them from the invaders in the most dangerous moments of the fate of the homeland and the people, the playwright described his hero's suffering as an ordinary man, rather than the qualities of a king and ruler. pays special attention to the artistic depiction of hesitations in certain responsible situations that are not alien to man. This ensures that the character of the protagonist comes out convincing, vivid and vital.

Jaloliddin Manguberdi and the brave Temur Malik, who preferred death to suffering and fell into the hands of the enemy, and who preferred to drown even the dearest people in the world - mothers and children, in the spirit of historical truth. under the pen of the playwright Maqsud Shaykhzoda, his figures are embodied before our eyes as a living person.

The playwright skillfully creates the image of Genghis Khan. What’s important is that he doesn’t paint this image black. Adhering to the historical truth, not forgetting to express the recognition of the heroism of the heroism of Jaloliddin and Temur Malik, he fully embodies the features of his nature, such as aggression, evil, trampling on pure human feelings:

                   Adolat yo insof? What did he say?

                   I spit on them, a thousand big tfu!

         Just as Ch's idea can reveal his worldview very clearly, so his comments can be a revelation to his spiritual world:

                            Love! Who invented this word?

                            Gol was a poet, he was a fool.

         The above heroes are mostly historical heroes. Along with them in the play, such heroes as Elbors Pahlavon, Yaroqbek, Navkar, Noyon, Tabib chol, which are the product of the author's artistic imagination, also take part in the drama. It is obvious that the basis of Jaloliddin Manguberdi's drama, the fruits of which are the leading heroes, are historical figures. But the burden on tissue characters is no less. Elbors are embodied in the images of the hero and the old man, mainly the image of the people, the representatives of the people, the power. Elbors are warriors, actually shepherds. He will be with Jalaliddin in dangerous situations. He comes to her aid. The doctor who tried to poison the commander saves him from his trap. Shows examples of heroism in fierce battles with invaders.

         While Maqsud Shaykhzoda attaches great importance to these images, in addition to embodying the historical events of the XNUMXth century in our country, such betrayals play an important role in trampling on the invaders of the Motherland, inflicting suffering on the people and losing independence. also wants to point out the bitter but important meanings. Therefore, this drama calls us to awareness, not only with the main heroes such as Jaloliddin Manguberdi, Temur Malik, but also with characters such as Badriddin, Yaroqbek, Sultan Muhammad Alovuddin, encourages us to respect our independence like the apple of an eye, patriotism of the people, youth serves to nurture the spirit.

         The drama "Jaloliddin Manguberdi" is a profound work of art. Asa's monologues and dialogues are well-crafted, and each character's character is able to express both the richness of language and the uniqueness of his spiritual world. There is no artificiality in inter-hero conflicts, which stems from the natural flow of events and the vitality and legitimacy of the goal in the character struggle.

         Prior to this work, there were tragedies in our drama, such as "Abulfayzkhan". Nevertheless, in terms of its origin and form, this work is one of the first Uzbek dramas to reflect the qualities of the ancient Greek classical tragedies of the Sophocles period. The general yallas, the yallas of the sepoys, the song of the guards, which perform the peculiar function of the first act, are performed on the stage, as well as separately.

 the introduction of voice characters, the use of heralds and clowns in the second act, the reference to a character representing the image of the people, and so on, give grounds to say so. These features of ancient classical Greek tragedy are, in essence, their first use in Uzbek drama.

Such features show that our dramaturgy was our artists who had the potential to master the colorful, complex forms and structures of world drama as early as the middle of the last century.

Writing a dramatic work in poetic form requires great poetic skill from the author. Maqsud Shaykhzoda's poetic drama "Jaloliddin Manguberdi" is a poetic work written with such great artistry.

Key words and phrases: 

Playwright, Homeland Freedom, Independence, Patriotism, Historical Image, Textual Image, Invader, Crown Prince, Ruler, Poetic Work, Depth.

Questions and assignments:

1. What historical period is reflected in the drama "Jaloliddin Manguberdi"?

2. What was the attitude to drama during the Soviet era?

3. Do you know which characters in the drama are historical and which characters are artistic?

4. In what qualities does Jalaliddin's heroism and patriotism appear?

5. Independently compare the images of Jalaliddin and Genghis Khan.

TOPIC 9: HAMID OLIMJOHN

LIFE AND CREATIVITY

PLAN:

STATEMENT:

Hamid Olimjon was born on December 1909, 12 in the city of Jizzakh. When he was less than four years old, his father Olimjon aka died and he was brought up by the future poet Azim bobo. Azim Bobo was one of the most literate and influential people of Jizzakh, and when Fozil Yuldosh oglu Khatirchi visited his friends from Jizzakh, he would be in his house. At such times, AbdulHamid would sit on his grandfather's lap and listen to the poems of the young bakhshi accompanied by a drum. His mother, Aunt Komila, was also known for his folk tales. AbdulHamid spent long winter evenings listening to his fairy tales about Yoriltash, Oyngul and Bakhtiar, Tohir and Zuhra. Later, recalling his childhood, the poet imagined "Wings with fire, Horses flying helplessly", "Walking walls", "Old men who became children", "Every story of my grandmother, Every deed His first literary source was quoted with gratitude.

         This is the reason why Hamid Alimjan's poetry has a very popular tone and spirit.

         The Jizzakh uprising of 1916 tore Abdul Hamid out of the world of beautiful fairy tales and threw him into one of the hotspots of the tragic century. The punitive squad that came to quell the revolt killed a small section of the population with a sword and drove the rest into fierce terror. He captured the city with a ball, including the uprising in which Abdul Hamid lived. Azim Bobo and his youngest son Ahmadjon aka were sent to work in the cities of central Russia.

         Shortly afterwards, the February coup was followed by the October coup. Both the poet's grandfather and uncle returned from labor. In 1918 he entered the junior high school named after Abdulyamid Narimanov. In 1923 he graduated from the Uzbek educational institution in Samarkand. Scholars such as Shakuri, Haji Muin, and the famous archeologist VL Vyatkin taught. Because Abdul Hamid was in such a creative environment, he began to write lions. He drew the attention of students by announcing his first poetic exercises in the poster newspaper "Yosh Kuch" and the manuscript magazine "Uchkun".

         When Abdulhamid graduated from high school and entered the Uzbek State Pedagogical Academy in 1928, his interest in literature became well-known. Therefore, the publication of the first collection of lions in 1929, entitled "Spring", was not a surprise. Teachers of Pedagogical Academy S. Ayni, A. Sa'diy, O. Sharafiddinov, A. Alavi and G. Shengelii, on the other hand, polished his artistic taste and talent and laid a solid foundation for his further creative growth. In addition to enriching his knowledge, the diligent student was constantly engaged in art, and in 1931 published a collection of short stories "Morning Breeze", and in 1932 - a book of poetry "Fire Hair".

         During this period, when Hamid Alimjan held the foothold of sharia, a state system based on the monopoly of Stalin, the Bolshevik faction, was established, and the education provided in schools and pedagogical academies was aimed at ensuring students' loyalty to this system. Stalin called tsarism a "prison of the people" and sought to arouse hatred for the Tsarist government, which brutally suppressed the 1916 uprising, and thus to gain hope and confidence in Abdul Hamid, who was born on a dark day and was now suffocated. . Some of the measures taken to enlighten the people have aroused the interest of the youth in the new system. The revolutionary poems of poets such as Vladimir Mayakovsky and Nazim Hikmat helped them in this regard. Believing in the promises of Stalin and the party, Hamid Olimjon firmly believed in the Valley of Happiness in the Soviet Union. In 1932, the romantic poet created the poem "Valley of Happiness", which is not only the flag of his work, but also the poetry of the 30s, "Payga" and "Death to the wild!" published collections.

         Hamid Olimjon married Zulfiya in 1935.

         The second phase of the 30s was a period of new trials and creative achievements for the poet. Hamid Olimjon, who has a strict internal discipline, not only sharpened his pen in a short time, but also formed a fluent poetic style. During this period he published the collections of poems "River Night" (1936), "Lions" (1937), "Country", "Oyngul and Bakhtiyor" (1939) and "Happiness" (1940).

         In January 1939 he was employed by the Educational and Pedagogical Publishing House, in November of that year he was appointed Executive Secretary of the Navoi Committee, established on the occasion of the 500th anniversary of the great Uzbek poet Alisher Navoi. On April 1939, 27, at the 2nd Congress of Writers of Uzbekistan, he was elected secretary of the Republican Writers' Union.

         The thirty-year-old leader of Uzbek literature demonstrated his extraordinary organizational talent in this responsible position. He did an exemplary job in accommodating writers and scholars who were relocated to Uzbekistan during the Second World War, providing them with financial assistance and mobilizing their creative energy in the interests of Uzbek literature. Delaying Navoi's jubilee, he set about translating Uzbek literature into sister languages. At the same time, he wrote poems and ballads, publicist proverbs, irrigated with patriotic rays, and created a poetic tragedy dedicated to the Muqanna uprising.

         The poet died in a car accident on July 1944, 3, at the height of his creative power. His literary heritage is published in full in the ten-volume Collection of Perfect Works.

2. Ideological and artistic features of Hamid Olimjon's poems.

         Hamid Olimjon is a child of his time with all his body and a singer of this period. Until the mid-30s, poets selected by state leaders served as the ideological “foundation” in the poet’s work. Initially, the poet did not know how to build a magnificent building by erecting magnificent pillars of evil on this foundation. The slogans of the time, the calls of the heads of state, the sect were expressed in a naked form, as in the young poets of Askar. The poet's "Iron Law", "Country Mobilization", "In the Days of Defense", "Personnel", "Has History Seen?", "What Do We Have in America!" resentment in his lions, anger and hatred towards those who did not understand the doctrine and did not worship it blindly. The tendency to divide the people into class classes and to label some of them as "enemies" prevailed. In the public epic "Death in the Wild", which appeared as the "cream" of lions in such a mood, the first victims of the Stalinist repressions in Uzbekistan, such as Botu, Ramzi, Altai, who were unjustly imprisoned in 1929, were cursed.

         To be fair, it should be noted that at that time, Hamid Olimjon was not alone among the Uzbek writers in the new system, in the plans he set. But no one has served the new regime as sincerely and consistently as Hamid Olimjon in his work.

         In the years that followed, it became clear that none of the five-year plans before the war had been fulfilled. However, the official press has been constantly reporting that the five-year plans have been fulfilled ahead of schedule, and that the country has reached a high stage of development. Poets like Hamid Olimjon, who knew about young life through the press, believed this.

         The style of romantic imagery that dominated Hamid Alimjan's work in the 30s is the result of the same fantasies and sweet dreams he fell into.

We chased pictures like this,

We took such a step and ran,

America can't even imagine it.

All I do is walk and stand

A sign of my bright happiness tomorrow!

         The romantic uplift in the poet's work was based on this noble belief. However, as he gained creative experience, he mastered the art of wrapping "ideas of the period" in artistic clothing from such naked poetry, and achieved a degree of maturity in this field.

         Hamid Alimjan cannot be separated from the time and place in which he lived. But at the same time, as an artist, it is impossible to ignore the fact that he broke through the territories of his time and came to the hymn of universal ideas and feelings. Hamid Olimjon, the twentieth-century Uzbek poet, after Cholpon and Oybek, paid great attention to the hunger of the human spiritual world with delicate colors. In his post-1936 work, the inner world of the lyrical hero was reflected in all its beautiful splendor.

         The lyrical hero, intoxicated by Hamid Alimjan's happiness, is ready to sacrifice both his happiness and his love in the struggle for independence. After all, the fate and independence of the people and the country are more important to him than personal leisure. The ideas put forward in his entire poetic work come to this point and are intertwined. The poet conquers the heights of high art in the process of depicting beautiful human feelings and experiences. As his art of using words and imagery matures, his lions not only acquire musical fluency and populism, but also conquer the power of aesthetic influence on the human soul.

TOPIC 10: HAMID OLIMJOHN

MUQANNA DRAMA

PLAN:

1. The history of the writing of the drama.

2. Representation of historical truth in the drama "Muqanna".

3. The image of Muqanna in the work.

4. A description of the relationship between Muqanna and Guloyin.

5. The artistic value of drama.

STATEMENT

         Usually when talking about the creative history of tragedies such as "Muqanna", "Jaloliddin Manguberdi", it was said that they were written as a social order of the time in order to inspire courage and heroism of the people fighting on the battlefields and working in the fields of labor during World War II. . However, according to researchers of Hamid Olimjon's work, the poet began to write a play dedicated to the Muqanna uprising in 1937, and even finished writing the first act of the play that year. It is true that in 1937, with the accumulation of repressive clouds over the poet, he stopped working on the work and resumed work in early 1942, and on February 12 of that year he published a new copy of the first act. finished writing. On May 1942, 31, the work on the work was completed.

         Writing Hamid Alimjan's tragedy "Muqanna" during the war years is a reflection of the people's liberation movement that took place thirteen centuries ago, the political and social conditions of that period, the ideas and ideas of the time. He demanded that the needs of the people be taken into account. Consequently, the poet, first of all, set himself the goal of creating heroic images of Muqanna and his comrades who fought for the freedom of the Motherland and were victims in this struggle.

         Based on the historical truth, Hamid Olimjon included in the work, in addition to Muqanna, historical figures such as his comrades - Girdak, Baghi, Khishri, Hakim, Kulartagin, as well as tissue images of ordinary people such as Otash, Gulobod and Guloyin. entered. These two categories of images interacted, allowing the author to embody the realities of the historical period within the framework of his artistic intent.

         The tragedy begins when Muqanna comes with his colleagues and urges his compatriots to fight against oppression and violence at a time when the people are being forcibly converted to Islam. And the development of this knot, the struggle between the two social forces, becomes a grass.

         Muqanna is described in most historical sources as a false prophet. Historians like Narshahi have interpreted Muqanna as a kind of looter, based on the worldview of the social class to which they belong. However, the Muqanna uprising was a huge popular movement that united the various strata of feudal society. This movement took place a hundred years ago in the deserts of Central Asia and Movarounnahr, and was about to uproot the still fragile sapling of Islam, which was irrigated with the blood of the local people. The movement, which took place under the banner of the national liberation struggle, shook the state system brought about by the Arab invaders for nearly 15 years.

         Muqanna's real name was Hashim ibn Hakim, and Muqanna was his nickname. The nickname, which means "masked man," was apparently given to him by the people. Muqanna was a Marwan and, like his father, served as a sergeant (officer) in the presence of Abu Muslim. Narshahi said he was well-educated, well-versed in various sciences and "mystical arts." He proclaimed himself a prophet with the intention of gathering the masses of the people around him and gaining his love. According to sources, Muqanna told people: “Others only claimed to be prophets. Why are you claiming to be a god now? ” “Others were just bodies. I am a soul from head to toe, and I can appear in any form, even as Adam, Noah, Abraham, Moses, Jesus, Muhammad, Abu Muslim. ”

         No matter what words Muqanna addresses to the people, his goal is to fight against the invaders who invaded a single country, to try to force their religion, to liberate the people and the country from slavery. During World War II, when German fascism invaded the Soviet Union, Hamid Alimjan addressed the theme of the Muqanna Uprising to artistically embody this goal.

         In the person of Guloyin, Hamid Olimjon created the image of a girl who was not caught in a web of political and ideological beliefs, who felt like a free bird even though she was a maid, and who lived with pure, bright dreams and aspirations. Guloyin said of his father: “We still worship fire. What about you, my daughter? ” In response to the question, he says:

                            … I have worshiped the fire for so many years

                            And I didn’t know, who is my god, who is my god?

                            I haven't seen a day without grief,

                            For an hour I was not happy.

                            Give me a choice if you will

                            I worshiped freedom alone.

         Because of this selfishness, Guloyin sees in Muqanna not only a savior, but also a bright figure who will help her dreams come true, fall in love with her and win her love.

         As the playwright develops the image of Guloin, he convincingly portrays her rise to the level of a sword-wielding, courageous, and brave woman who shakes traitors like Battol and Feruz. Guloyin is killed by a treacherous sword. But his blood was the lifeblood shed on the path to freedom and encouraged others to fight even harder. It is no coincidence that the playwright Kamil Yashin, in his review of the play Muqanna in those years, compared Guloyin to the images of Laurentia and Neston-Darijon in world literature.

         When it comes to the Muqanna tragedy, it should not be forgotten that it was written not only during the war, but also during the period when the Soviet ideology opened fire on religious beliefs. The same thing is reflected in the words of the protagonists in honor of the Muslim religion. But since these heroes belong to the religion of firefighters, it would not be correct to take their words in honor of the Qur’an or Islam as an expression of the author’s worldview. The playwright's goal is to depict the heroic struggle of the Uzbek people for centuries against all forms of oppression and violence, aggression, freedom and liberty, using the example of the Muqanna uprising.

         Hamid Olimjon first made a great contribution to the development of Uzbek literature of the twentieth century as a lyric poet. His two dramatic works written during the war years, especially the tragedy "Muqanna", became a major event in Uzbek drama. In addition, as a literary scholar, he created research on the history of Uzbek folklore, both classical Uzbek literature and the history of Uzbek literature in the first quarter of the twentieth century. Among his works in this field are the preparation for publication of the epic "Alpomish" written by Fozil Yuldash and his scientific articles on the study of the works of Alisher Navoi. Hamid Olimjon also skillfully translated a number of beautiful examples of Russian literature into Uzbek, making them a valuable asset of our people and culture.

Key words and phrases:

Dramaturgy, tragedy, the idea of ​​the work, the reality of the historical period, the artistic interpretation, the invader, the false prophet, the local people, the dramatic situation, the image.

Questions and assignments:

1. How is the historical truth expressed in the drama "Muqanna"?

2. What characters does the image of Muqanna remind Uzbek writers of in their works on the subject of the past?

3. Tell us about the relationship between Muqana and Guloyin.

4. What is the artistic value of this work?

TOPIC 11: LIFE AND WORK OF MIRTEMIR.

LYRIC STORY "PHOTO".

PLAN:

1. The poet's way of life and creativity.

2. Mirtemir - lyric poet.

3. Creative history of the lyrical story "Photo".

4. Images in the work.

STATEMENT

         Mirtemir was born in 1910 in a wheat field in the Iraqi village of Turkestan. His father was a farmer and herdsman, and his mother was literate in the hands of his grandfather. Then he studied at the school of a "nogoy domla" named Asfandiyor in the same village. At the age of 11 he came to Tashkent and settled in a business school named after Almai. Two years later, Olka entered the Uzbek school in New Town.

         Mirtemir became interested in poetry while studying at the university, and in 1926 he published his first poem in the youth newspaper "The Sound of Tanburim". In 1928, the first collection of poems "In the arms of the rays", which made his name famous among young people, was published.

         Mirtemir graduated in 1929 and entered the Pedagogical Academy in Samarkand. He is currently on various trips with the Chairman of the Executive Committee of the Republic of Uzbekistan, Yuldash Akhundboboev, and participates in the recording of his speeches. However, some poets did not see Mirtemir, whose collections such as "Zafar" (1929), "Kaynashlar", "Kommuna", "Bong" (1932) were published in a series, and his growing popularity among fans of poetry. and critics say he was born into a "feudal family," quoted Cholpon in his essays, and so on. The attacks of the envious against the young poet will not go unnoticed. On August 1932, 7, NKVD officers arrested 22-year-old Mirtemir in Samarkand. The personal secretariat of Y. Akhunboboyev cannot save the poet from the clutches of the NKVD.

         Mirtemir, arrested in Samarkand, will be sent to Tashkent in stages. Both her youngest daughter and her mother die while she is in a labor camp in Koylik. The prisoner was sent in stages to the Dmitrov camp in Moscow in mid-1934 and worked on the construction of the Moscow-Volga canal.

         The young poet had no guilt before the Soviet state. He was therefore pardoned in early 1935 and returned home safely. But the knife that pierced Mirtemir's heart in his youth leaves a deep mark on the poet's entire life.

         Since the second half of the 30s, Mirtemir has been translating poems by ASPushkin and TGShevchenko, Rustaveli's epic "The Hero in the Tiger's Skin" and other works into Uzbek. At the same time he wrote such epics as "Dragon" (1935), "Dilkusho", "Water Maiden" (1937), "At the wedding of Oysanam" (1938), "Lamb" (1939). During World War II, Mirtemir was an editor at the Radio Committee of Uzbekistan (1941) and the State Publishing House of Uzbekistan (1942), a literary fellow at the Opera and Ballet Theater (1943-44), and in the 50s and 60s at the Writers' Union of Uzbekistan. consultant, serves as an editor at the Fiction Publishing House.

         Mirtemir's literary legacy includes poetry, drama (the play "The First President"), journalistic and literary-critical articles, and translated works. Mirtemir made a great contribution to the development of Uzbek literature, first of all, as a poet. His poetic work consists of poems, songs and epics. At the same time, in addition to the above-mentioned translations, Mirtemir's "Ruslan and Ludmila" by ASPushkin, "Ismailbek" by MYLermontov, "The Tale of the Kalashnikov Trader", "Who Lives Well in Russia?" By NANekrasov. epics, works of Heinrich Heine, M. Gorky, Pablo Neruda, Nazim Hikmat, Abay, Makhtumkuli, Berdakh, Samad Vurgun and the first book of the Kyrgyz epic "Manas" translated into Uzbek and translated the treasury of our literature enriched with works.

         After the death of the People's Poet of Uzbekistan Mirtemir, in 2002 he was awarded the Order of Merit.

Lyrical story "Photo". Mirtemir created a vein in the epic genre. These epics are based on folk tales, as well as modern themes, as well as lyrical epics such as "Fergana".

         Mirtemir has another work close to the genre of lyrical epics called "Surat", which the poet called the genre of work "Lyrical story". It should be noted that the poet, in order to hide the autobiographical nature of this work, and on the other hand, because it was written in 1956-1957, included it in the series of poems "Karakalpak Notebook" - a brilliant product of this period.

         The "picture" consists of several lyrical poems. These poems can also be read as independent poems and enjoyed in them. But at the same time, they introduce us to the fate of the protagonist’s arduous love, as they are drawn to the axis of a single lyrical plot. In this sense, the poet correctly defined the genre of the work as a lyrical story.

         According to the story, the protagonist Toshlon is four years old (Picture, picture, why are you speechless? I've been waiting for you in my arms for four years… I adored you, I kissed you… You're crazy!) in battle (What is my sin? I fought, I bled, I died a thousand times?), hence the news of his death while fighting on the fronts of World War II. After that, Toshlon's beloved partner despairs of him and marries someone else. Toshlon, who had just returned from the war, faced this betrayal and was oppressed by the injustice of the sky.

         Years later, the bleeding of the wound from the heart stopped because of an unfaithful partner. Heart wounds find ointment under the influence of other life events. But the image of an unfaithful friend left in the alliance renews the old wound in Tashlan's heart. The lyrical story begins from the same second of Toshlon’s life.

         Some literary critics, who were not well acquainted with Mirtemir's life, drew the wrong conclusion from this point in the subject of the lyrical story, thinking that the poet had taken part in the war of 1941-1945, and based on this assumption, the story described in the story the state he gave was unconscious. The present reader, on the other hand, may think that the play depicts the spiritual life of a former warrior who fought in World War II and acted under the name of Toshlon.

          As mentioned above, Mirtemir licked the bitter salt of repression at the age of 22, and this horrific event left a deep mark on the poet’s entire life. In this lyrical story, the poet describes the scenes of his life, but because he is not from the tribe of people who narrate themselves, he reflects the events of his mental suffering through the image of a Karakalpak young man Toshlon:

                            What's wrong? I've been in a fight,

I bled, I died a hundred times?

Don't forget your home,

Have I escaped death?

         These lines reflect the poet's painful life and deaths during the construction of the Moscow-Volga canal.

         So, Toshlon is Mirtemir himself. That is, the poet acts in this play under the name of Toshlon.

         The stonemason finds a picture of the old fellow in the union among the old paper, documents, and photographs. In his mind's eye, the first meetings with this unfaithful friend, the happy moments he had with him, are embodied one by one:

                            You come in the morning,

                            You are an example of a foreigner.

                            The dawn is on your cheek,

                            Keep your eyes peeled!…

                            Even if you come in the afternoon,

                            A mature example in the river.

                            A rest from hair loss,

                            Stimulate the heart too!…

         Mirtemir's, and therefore Tashlon's half, was a famous dancer. When the poet remembers it, it is natural to remember the evenings spent in the world of songs and rads. That is why, while the unfaithful companion comes to life in the memory of Toshlan, the poet skillfully uses the playful rhythms of songs and dances in his poetic speech. Toshlon not only sees this ex-dancer’s wife on stage, but comes face to face with her. He even feels her affectionate attitude. Ammo…

At such times, various conflicting feelings pass through his mind:

                            Sleepless, frosty nights, sleepless nights!

                            Fight and duty… Yor hajri… Multiple suffering.

                            Am I trying to be a smoker?

                            Is he so charming, unfaithful?

         Toshlon (Mirtemir) was one of the most famous figures of the republic at that time. In the embrace of respect and honor.

         The ex-boyfriend now writes him mysterious letters:

                            Chat, world, polite betasir,

                            How to tie a broken thread?

                            After all, you keep a secret,

                            Your heart is stained by your own fault…

                            You are the flower of feasts -

                            If it's a lie, look me in the eye.

                            You are a slave to praise -

                            If it's a lie, tell me!

         The work is written as a lyrical expression of such dramatic events, a diary of Toshlan's spiritual life.

         So, in the play there are two heroes - Toshlon and Oysulu. Since the events described in the play are told in the language of Toshlon, we understand the essence of the image of the protagonist through the description of the changes and processes that took place in his soul. These spiritual changes and processes are embodied in him as a noble man who not only bled in battles and struggles, but also experienced the tragedies of love, but in spite of everything, he retained his high human qualities.

         Now as for the image of Oysulu…

         Throughout the lyrical story, we perceive not only the image of Oysulu as an unfaithful woman, but also as a woman who won the love of Toshlon. Perhaps that love is still burning in Toshlan's heart. She is a beautiful woman…

         Mirtemir describes her beautiful appearance through the eyes of Toshlon and writes:

                            I'm tired of your image, helpless…

                            I have a picture left yod

                            I will never find anything like it

                            This grace is only in you.

                            It's good to laugh,

                            Dilkash, it's good to be a munis.

                            Put your head on my chest,

                            It's better to give up.

         The lyrical story is told on such a high screen, the image of the beauty in the picture - the external and internal beauty is painted in grassy colors, the image of a woman competing with Leonardo da Vinci's magic brush "Jokonda" in general, it sounds like a poem to an Uzbek woman.

         Written on the basis of the poet's page of bitter memories, the play does not contain any moans, regrets, resentments, curses, on the contrary, it glorifies clear and pure human feelings. league, a testament to Mirtemir’s beauty and nobility as a human being.

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TOPIC 12: THE LIFE OF ODIL YAKUBOV

AND LITERARY ACTIVITY.

THE ANNIVERSARY OF THE OLD WORLD.

         Odil Yakubov is an active and public person by nature. He devoted his life to public affairs, the son of a sacrificial father in this way. As a child, he learned to live with the worries of the 30s, and then with the worries of the country, not only the hardships of family life, but also the hardships of hard work among the people. In the last years of World War II, adding a young man to his age, he enlisted in the army at his own request and took part in the battles in the Far East; His student years, services in various editorial offices, correspondent of "Literaturnaya Gazeta", editor-in-chief of "Literature and Art of Uzbekistan", leadership of the Writers' Union, a member of the Supreme Soviet of the former Soviet Union. won. Now, in his old age, he is the chairman of the Republican Committee on Terminology under the Cabinet of Ministers, the first vice-president of the Assembly of Cultures of the Peoples of Central Asia.

         Burning in life, burning creativity is the main motto of the writer. Burning people are the protagonists of their works. He was introduced to the world by "Muqaddas", "Er bashi ish tussa", "Izlayman", "Diyonat", "Akqushlar, white kushlar", "Adolat manzil", "Ulugbek khazinasi", "Kohna dunyo", "Bir The protagonists of "Secrets of the Homeland" are fiery people, they are burning in front of you, burning others, burning with fire, burning with fire, burning with burning, burning with burning, burning with burning, burning with burning, burning with burning, burning with burning, burning with burning, burning with burning. is unique.

The novel "The Old World". The most famous works of Odil Yakubov are historical novels - "Treasure of Ulugbek" and "Old World". According to literary critics, the fate of Ibn Sina and Beruni, the period in which they lived, is at the center of Odil Yakubov's novel The Old World. The author's conclusions and generalizations are wide, and therefore give a remarkably relevant meaning to the historical material. The journey through time allows us to draw deep philosophical generalizations. Not all the events described in the novel are limited to documentation. Odil Yakubov sees history as if he were arguing with history, as if he were witnessing to the contemporaries from the experiences of his distant past. He looks at history from today's point of view. "

         These words reveal the essence of the novel "The Old World". Indeed, this novel primarily discusses the fate of the great scholars Ibn Sina and Beruni, the period in which they lived. But it differs from our existing historical and biographical novels, including the poetics of "Navoi", "Starry Nights". As in the previous historical novel The Treasure of Ulugbek, it does not follow the chronological order of the lives of the protagonists, but covers a serious period in the lives of both scholars - only more than a month. . This stage in the lives of the heroes is such a pass that the whole path, past and future of them can be clearly seen. The place where the events took place is a station where different people clash, where lifelong conflict and strife come to a certain end, and the sorrows and sorrows that are longing in the hearts are poured out. .secrets and mysteries are revealed, lives are summarized, the author joins the characters and has a lively debate on the riddles of life.

         The novel is based on the event that Ibn Sina, who had disliked Sultan Mahmud Ghaznavi all his life and was far from being persecuted by the sultan, finally came to him and met Ghaznad Beruni after twenty years of separation. It is not known. However, these events, which are the product of the writer’s imagination, have risen to the level of a beautiful example of artistic reality, a unique artistic model. See, the great scholar, on the one hand, in old age, on the one hand, on the other hand, on the other hand, on the one hand, on the other hand, on the other hand, on the other hand, on the other hand, on the other hand, on the other hand, on the other hand. the tyrant comes to the ruler to cure him. But here his lust is trampled underfoot. The palace had already appeared under the guise of Ibn Sina, a false, deceitful ruler, and had won the ruler's attention through deception. The sultan fell to the point where he could not distinguish between the true Ibn Sina and the false ruler, and he raised the deceiver on his head and drove him out of the palace, insulting the true ruler.

This subject in the "Old World" has a great symbolic - generalizing character. The fact that the real talents, the hard-working geniuses are left behind, and the prestige of the fake, fraudulent "creators" is a strange mystery of history, typical of all times, especially the politics of tyrannical rulers. . The novel makes you think and argue over this mysterious puzzle.

The injustice that has taken place leaves two different impressions on the two great scholars. Ibn Sina, who had seen many of the various games and oppressions of Charkhi Kajraftori, seemed to be indifferent to the terrible tricks of this mad world. Beruni, on the other hand, has no place to hide from anger and regret. These kinds of contradictions also slow down the drama of the event and strengthen the spirit of debate.

The meeting of Ibn Sina with the master Beruni in the Treasury, the conversations in Beruni's house, the expressions of the soul, the debates about science, nature, the universe and society are the most fascinating and pleasant pages of the novel. Once upon a time, there was a serious scientific dispute between Master Beruni and the student Ibn Sina, and the teacher sharply criticized some of the student's views, and sometimes even committed injustices, and now it is time to put an end to those arguments and clarify them. It is time to raise the dust in the sky, the path taken by the two scholars in general, to summarize the lessons of life, to coordinate views. It is important to note that despite the heated debates between the two scholars, and the fact that there have been some differences in the chosen paths and views, they are in fact personalities in the profession. When you read the work, you feel it with all your heart. Although the meeting in the treasury is the result of the writer’s creative fantasy, it is consistent with historical reality, as the historical destiny of the scientific and creative heritage of the two great scholars, the commonalities between them, fully confirms this fact.

The interpretation of Beruni's fate in the novel is also very exemplary. The life of this scientist was relatively quiet. He lived for a long time in the palace of the Ghaznavids and was engaged in science. He compromised with the kingdom, contrary to his personal inclination, in the interests of science. It is characteristic that the writer brings the tragedy of the life of this scientist, who lived in relative peace, to the library in all its intensity. First of all, it is a great tragedy to live for many years contrary to personal inclinations as a great goal. The great humanist tyrant sees with his own eyes the many injustices of the Sultan, who took part in the king’s marches in India, who witnessed the unprecedented massacre and oppression in this country… When he remembers these, Beruni is frying in endless suffering. On top of that, although all Beruni have made some compromises with the ruler, he still suffers from the sultanate at every step - even his simplest requests remain unanswered in the palace, he struggles to protect his loved ones, the reputation of the fraudulent fake ruler The humiliation of Ibn Sina, the ruler of that time, to witness such an injustice is an infinite tragedy for Beruni.

In the novel, the atmosphere of the palace, as well as the contradictions within the kingdom, the expression of the spiritual drama of Sultan Mahmud Ghaznavi is widely used. In the novel, the demand for a class approach to history is paramount, and it is forbidden to speak positively about the great kings and sultans, including the birth of Sultan Mahmud Ghaznavi at a time when negative attitudes were at their peak. to the extent that it has left its mark. The author of the work is determined to portray Sultan Mahmud Ghaznavi as a more authoritarian ruler; The sultans built the sultan's noble deeds, the unique gardens he created, the mosques and madrasas he built, his generosity to the people of science, his bravery in battle, his bravery, and his mistakes in life. , their injustices, their sins, and their mental torture at the end of their lives.

In the play, we encounter Ghaznavi in ​​the throes of intense mental anguish. The last moments of the sultan's life, he suffered from a severe, incurable disease. On the one hand, he seeks a cure for his pain, on the other hand, he is crushed by the memory of the sins he committed during his life before leaving the mortal world, he strives to be free from sins as much as possible, and the hearts of the victims seek God. However, the actions of the sultan in the path of this noble intention cause new frustrations, mental anguish, and, worst of all, he is helpless in the face of the order of power created by the sultan with his own hands, when he wants to do good deeds. the atmosphere in the palace, around the crown, does not allow it.

"Old World" enriches the poetics of our national novel with new features of the environment. This novel, as mentioned above, is run from head to toe in a spirit of debate. First of all, the life material chosen for the novel, the artistic plot - the situation itself is enigmatic, the true scholar Ibn Sina remained here, the reputation of the fake doctor, the swindler, "this wonderful mystery of fate forever" debates the reader. this phenomenon, in turn, leads to a variety of puzzles, the character, the fate of almost all the characters in the work, the episodes associated with them take on a puzzle. This situation does not just serve to make the events and characters interesting, mysterious and magical. The writer follows the path of analyzing the cause of the same puzzles in the play. They are seriously and passionately debated, as a result of which the original socio-political, spiritual and moral essence of those mysterious events and characters is revealed to you.

The events and heroes of the "Old World" are characterized by different approaches. The events and characters captured in the play are equally contradictory as they are enigmatic. The types of appearances of these contradictions are also varied. This greatly expands the world of debate in the novel.

The characters of the novel are divided into two groups according to their position in life and profession. On the one hand, the rulers are selfish, evil, hypocritical, deceitful, serving the kingdom, who do nothing in the way of their own self-interest; with each chapter they impede social and spiritual progress, trample on the truth, and oppress the working people. At the same time, there are irreconcilable conflicts between those "colleagues" - Sultan Mahmud, Amir Masud, Khatlibegim, Abdul Hasanak, Ali Gharib, Piri Bukri, Ibn Shahvani. On the other hand, there is a path of social development. , the infinite hatred, rebellion, and sometimes secret and overt struggle of those who have suffered from the kingdom against the kingdom… At the same time, the author draws attention to certain differences in the views of these colleagues. For example, there will be a heated debate between the great scholar Ibn Sina and Beruni, and Ibn Sina, who is in the throes of justice, will not be able to accept the advice of Imam Ismail, who set out to fight for justice.

The skill of the writer, especially the spiritual world of the characters, is evident in his ability to give a heartfelt debate. In the heart of almost every character in the works there is a sharp drama, each of which takes on its own. The drama of each heart, the debate is unique, the expression is unique. When we see Sultan Mahmud in the throes of temptation, danger, and remorse, we encounter Piri Bukri's burning in the fire of envy, sorrow, and regret; We are aware of the sufferings of Amir Mas'ud, Khatlibegim, Ibn Hasanak, and Ali Gharib, and even of the occasional repentance of the Firigar Ibn Shahvani; The cry of the heart of Malikul Sharob, Nargizabonu, Bobo Khurm shocks the reader, the heartfelt pleasures, painful thoughts, heartache, rebellion of the great scholars - Ibn Sina and Beruni - form the most intense, high curtains of the image in the novel. In the "Old World", too, we get to know the characters in the first place, through the struggle of the heart, the cry, the rage. The heartfelt debate of the characters is also their philosophy of life, reality, concept. Characters evaluate themselves and life through heart drama. Thus each leading character in the novel is an independent, conceptual tone that takes a certain form; and these voices are varied.

It is true that the author describes in detail the appearance and behavior of some characters, for example, Ibn Shahvani, Piri Bukri, and the conflicts between the characters, but in the novel, the heroes' heartfelt debate, drama The call is led by the manifestation through the tone.

In addition to the voices of the characters in the novel, there are also the voices of the narrator. The events of the work are mainly narrated by two people - the author and Abu Ubayd al-Juzjani. The events related to Ibn Sina are mostly in the form of Juzjani memoirs, the rest of the events are given through the eyes of the author. These two narrators differ in their mode of expression, their tone; In Juzjani's statement, objectivity prevails, while in the author's statement, an active attitude to events and bold intervention prevail. It is as if the debate that began in the hearts and minds of the characters continues in the author's heart, more precisely, the author enters into an argument with the characters in the hearts, determines his attitude to them, and the drama of existing debates becomes more intense.

Thus, in the novel "Old World" Odil Yakubov was fit to reveal the historical truth, the fate of historical figures, the drama of the time, the multifaceted contradictions of the time, the lessons of the past in a new, impressive way, artistic development.

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TOPIC 13: PIRIMKUL KADIROV

LIFE AND CREATIVITY

Pirimkul Kadyrov is a well-known representative of the new generation that entered Uzbek literature in the middle of the 1928th century. The future writer was born on October 25, XNUMX.

The family of the wealthy Kadyr aka, who became the owner of a flock of sheep from honest shepherding, was accused by the Soviet regime of being rich and exiled from Kengkol in the Shahristan of Tajikistan to the village of Iskandar in the Khavas district of Uzbekistan. This injustice and suffering taught Pirimkul to look at life with a keen eye and a critical eye from his childhood.

He did well in school. He studied at the Faculty of Oriental Studies of Tashkent State University. After graduating from the Moscow Postgraduate School, Abdullah Qahhor defended his dissertation and became a candidate of science.

By this time he was a prolific writer. Pirimkul Kadyrov combined art and science. He published a study on the appeal of artistic language in Uzbek realist prose and its relationship with the vernacular. As an organizer, scientist, public figure and figure, he held responsible positions in the Writers' Union in Moscow, the Institute of Language and Literature of the Republican Academy of Sciences, and since independence, the country's Oliy Majlis.

Literary translation plays an important role in the formation of Pirimkul Kadyrov's skills. He translated into Russian the novels of Russian writers Tolstoy's "Cossacks", K. Fedin's "First Joys", Turkmen writer H. Deryaev's "Fate". For his great contribution to the development of our literature, he was awarded the high title of "People's Writer of Uzbekistan."

P. Kadyrov is a sensitive, delicate, original writer. The leading features in his works are the clarity of emotion in the word, the harmony and integrity in the cells of the work, the musical color of the characters and the author's language, the charm in the culture of thought.

The novel "Starry Nights". The work plays an important role not only in the history of Uzbek literature, but also in the history of twentieth-century Uzbek literature. The history of its publication and touching the hands of students is also unique. During the Soviet era, the fate of any work dedicated to the great historical figures of Uzbek literature was not easy. Examples of such works are "Abulfayzkhan", "Muqanna", "Navoi", "Mirzo Ulugbek", "Old World". Starry Nights is no exception.

The Soviets feared, and were not mistaken, that such works would open the eyes of the people, sharpen the rebellious spirit, strengthen the aspiration and devotion to the great past, to the traditions of spiritual power, through the great ancestors. Such works, in essence, can call for self-realization, prepare the people for silent independence.

Starry Nights was actually such a work. Therefore, the novel remained unpublished for six or seven years, despite the fact that it was written with no suffering for several years. It was finally published (1978) and even won the State Prize of Uzbekistan (1981). But soon the work and the writer had many difficult days. The novel was denounced in the press as a work promoting feudalism. The author was slandered as a nationalist, a bourgeois writer.

New age, independence writer too. He also returned the novel to the people. "Starry Nights" is a full-fledged and masterpiece of art, which skillfully reflects the bright image of the king, commander, poet and unique man Zahiriddin Muhammad Babur.

Prior to this work, the author had written works mainly devoted to the problems of his contemporaries and contemporaries. In "Starry Nights", the writer for the first time addressed the historical theme, began to create the image of a great historical figure. It is not about the subject and the history of the protagonist. The main thing is that he has left an indelible mark on the history of the world, especially in the history of Central Asia and India, created a centralized state and saved many peoples from destructive wars, a king of complex destiny, a master of warfare. and a brave commander, a great poet whose inner world, a wise and brilliant image shines in every line of his poems, the author of "Boburnoma" whose every breath breathes history, and the charm of a charming nature. neither in Uzbek literature nor in world literature.

In the fiction of world history, there were no contradictory, sometimes erroneous, erroneous, biased views about Babur, except for the right opinion. Creating a true image of Babur, restoring the justice of the maze with the privileges of artistic truth was a requirement of history, a necessity of time, and a sacred duty of the writer.

In this sense, "Starry Nights" are stellar moments that demonstrate the writer's duty. The novel has a strong place in Uzbek literature due to the above-mentioned aspects and the rediscovery of a great historical figure.

There are works of various genres in our literature, such as Oybek's "Bobur", E.Vakhidov's "Letter to the Future", B.Boykobilov's "Day and Night", H.Sultan's "Boburnoma" dedicated to some stages of the life of the great king and poet. In "Starry Nights", almost all of Bobur's conscious life is created as a whole. The writer not only adhered to the high requirements of the novel genre, but also made a worthy contribution to further enriching the nature of the genre.

The novel is notable for its artistically appealing depiction of Babur’s image in keeping with historical reality. When Humayun was seriously ill, Babur said to his son, “I will bear your impatience! May God take this pain from you and give it to me….

… In general silence, Babur turned Humayun's head three times:

- e, parvardigor! He pleaded. "I, Boburman, have sacrificed my life for Humayun, if it is possible to give up my life!" May Azrael take my life and may God heal Humayun! ”

Sources confirm that the incident actually took place in history. Humayun will soon recover. Babur's accident coincides with these events. The novel also ends soon after this image.

The writer is not limited to acknowledging such historical facts, of course. Leaving the imagination free, he gives them a living water of art. Throughout the work, he portrays the characters, their experiences, the conditions in which they move, the environment, nature, and even the temperature of the breaths they breathe, the moment the light radiates from the curtains, so beautifully that the reader forgets to read. , feels like living in this environment.

In addition to the glory of being a king when he overthrew the kingdom in India, Babur experienced countless regrets, sufferings, "mistakes" - he, "dark face". Burned with nostalgia for the homeland. In this direction, he also has wonderful, charming poems. Such a historical gem about the nature of the writer’s protagonist illuminates the artistic integrity by sorting out the evidence. As a result, the temperature radiated from the writer’s skill becomes an artistic charm and warms the cells of the whole work.

In this sense, it should be noted that the novel skillfully depicts the spirit of Bobur, his inner world, dreams, aspirations. The fact that his mother Kutlug Nigorkhanim and Bobur understood each other while breathing, that his brother could understand Khanzodabegim not only with words but also with his heart, the poet's unique magical emotions breathing with inspiration, not air, testify to Pirmkul Kadyrov's mastery of spirituality. . The writer often portrays Bobur in situations of inner conflict, inner drama, pain, anguish. The protagonist analyzes himself from the inside, seeks and finds answers to the troubling questions in this way. He sometimes communicates with other heroes not through words, but through the language of the body. This allows a deep enlightenment of the hero’s psyche.

Here is Bobur's appearance only as an ordinary man, in addition to his great qualities as a king, commander, poet, and historian. The poisoned Babur's psyche is drawn as follows: “The horror of his death was still fresh in his mind. He was involuntarily terrified when he thought his soul had been hanging on the end of the rope for so long. The constant feeling for two days that if this thread was cut, he would fall into the depths of darkness called death, had intensified his desire to live in it. It was now clear to him that a moment of life, a spark, was more precious than all the riches of the world, more than a crown or a throne. ”

Deep, vivid, sincere revelation of the hero's psyche is not a matter of spontaneity. To do this, the writer must be able to convey such feelings from his heart. As Pirimkul Kadyrov himself said, the writer "finds his way into the inner world of historical figures through his own inner world."

By the time of independence, the value and importance of such a historical work as "Starry Nights" has increased. The novel encourages us to further respect the love for the Motherland, the nation, our great ancestors.

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TOPIC 14: ERKIN VOHIDOV

People's poet of Uzbekistan Erkin Vahidov is one of the great representatives of modern Uzbek poetry. Following in the footsteps of the traditions of Eastern classical literature, his poems that reveal the spiritual world of his contemporaries, his many poems imbued with the spirit of great humanity, "Cry" about the tragedies of war, life puzzles, man "Rebellion of Souls", "Istanbul Tragedy", the comedy "Golden Wall", as well as I. Goethe, S. Yesenin, A. Blok, M. Svetlov, A. Tvardovsky's translations from R. Khamzatov, especially "Iranian songs" and "Faust" became a great event in our literature and spiritual life.

“I always feel the burden of the honorable task of combining creative work with active public work. Feeling that people need you, not just poetry, is a great happiness. That’s why I’ve never shied away from community service. I have learned to live and work in a hot life, ”the poet wrote. In fact, he combines artistic creation with active public work. He worked as the editor-in-chief of the Youth Publishing House, the director of the Gafur Gulam Publishing House of Literature and Art, and the editor-in-chief of the Yoshlik magazine. The scope of the poet's social activity was especially wide when he was elected a deputy to the Supreme Council and the Oliy Majlis of the Republic, chaired the Committee on Transparency of the Oliy Majlis, the Committee on International Affairs and Interparliamentary Relations of the Oliy Majlis. During these years, the famous poet was also known as a statesman and public figure. Most of his time is spent in the people, on trips to our country and countries. The poet was awarded the title of "Great Novel".

Erkin Vahidov was born on December 1936, 28 in Oltiariq district of Fergana region in a family of rural teachers. His father, Choyanboy Vahidov, and his mother, Roziyakhan, were influential, enlightened, and active people of the time. Unfortunately, they did not live long. First the father, who had returned from World War II and was severely wounded, then the mother died. The only monument of the two short lives was left in the hands of his uncle Erkin from Tashkent. His adolescence and youth were spent in Tashkent. Growing up freely, the house was thirsty for enlightenment, art, and literature, and the house was often the scene of conversations with poets and singers. Erkin Vahidov's love for elegance and poetry was formed in this house, in these circles. Erkin took the pen in his hand very early. When he was in 7th grade, his first poem was published in Mushtum magazine. After graduating from high school, he entered the Faculty of Philology of Tashkent State University. University education left a deep imprint on the poet’s creative destiny; The first book of poems "Morning Breath" was created during the student years.

The great representative of modern Uzbek literature, the Hero of Uzbekistan Erkin Vahidov was born on December 1936, 28 in Oltiariq district of Fergana region in the family of a teacher. The Vahidov family moved to the capital Tashkent in 1945. Erkinjon studied first in high school, then at the Faculty of Philology of the National University of Uzbekistan. After graduating in 1960, he worked as an editor, editor-in-chief, and director of publishing houses, leading the newly formed Yoshlik magazine.

Erkin Vahidov began to publish his first poems at school, and his first collection of poems was published in 1961 under the title "Breath of Dawn". Since then, more than forty books by the artist have been donated to readers. In addition to his poems, he wrote epics such as "The Epic Written in the Tent", "Rebellion of Souls", "The Tragedy of Istanbul", the comic series "Anecdotes of the Village", the comedy "Golden Wall", the literary and philosophical collection "Poet and Poetry". The twentieth century has made a significant contribution to the development of Uzbek literature. Erkin Vahidov has translated many works of such bright representatives of world poetry as S. Yesenin, A. Blok, L. Ukrainka, R. Khamzatov into our native language. The masterful translation of the work of the great German thinker Goethe "Faust" into Uzbek by Erkin Vahidov (1974) will be an important event not only in the history of our literature, but also in the history of our culture.

Erkin Vahidov creates poetry at a high level in both finger, dream and free weights. At a time when Soviet literature began to deny the weight of the dream as "outdated, outdated," Erkin Vahidov published his book "The Office of Youth" (1969), which included dozens of beautiful poems. had proved that such claims were futile. He is a People's Poet of Uzbekistan.

Indeed, Erkin Vahidov has directed all his activities and creativity to such noble goals as expressing the dreams and aspirations of our people, boldly raising issues related to the fate of our nation, raising the cultural and aesthetic level of our people. In this regard, the poet's poem "O'zbegim" written in 1968 deserves special attention.

Your history is hidden for thousands of years, my Uzbek,

Your peer Pamir-u maid Tiyonshan, my Uzbek.

Let Afrosiyob speak, let Orkhon speak,

A necklace in the bouquet of ancient history, my Uzbek.

From the descendants of Al-Beruni, Al-Khwarizmi, Al-Farab,

The original lineage is probably Uzlik, maybe Tarkhan, my Uzbek.

Poet lyrics

Although Erkin Vahidov was a prolific publicist, playwright, narrator, and translator, first of all, he entered the literature as a lyric poet, and he found a place in the hearts of our people through his elegant, wavy, rebellious poems.

The poet's work has been the subject of controversy. The poet thought a lot about the weapon in his hand - the poem, the nature of the line, the duty of the poet to the people - the task, expressed his views on the poem and the poet. When he talks about them, he always reminds us of the hardships of creativity, that it is not easy to be a poet. According to him, poetry is the result of selfless love for his homeland, people and people.

Erkin Vahidov first appeared as a singer of life, beauty, youth and love. He sang the song of life, happiness, youth, love and consent from life. The lines full of pride about the achievements of our people, its glorious history, its victories are over. In particular, in the ghazal "Yoshligim" he writes about youth:

Come, my youth, be the golden word of my heart full of melody. I was full of singing,

For a moment the voice of the choir boi. In the 40s and 50s, love and personal experiences were discredited as a result of the so-called "vulgar sociology."

was persecuted from poetry. In the late 50's and 60's, the situation began to change, respect for the individual, attention to the heart increased, and the way was opened for a variety of personal experiences, including the singing of traditional love songs. This hoi led to the revival of the traditional poetic form, especially the ghazal. Naturally, the process did not go smoothly at that time. As Abdulla Aripov wrote, Erkin Vahidov was one of the first among the younger generation to appear on the threshold of the sacred gates, as the golden doors of our classical ghazals were closed forever. Some critics sing of romantic experiences, The oldest form of poetry is called appeal. E, Vohidov in the book "Youth Office" "Debocha" argues with the following views:

I wanted to go for a walk

I am in the gazelle garden. Don't laugh, what's up with you

Next to Mir Alisher. The world of She'nyat is wide,

There are many flowers, many gardens, Every heart speaks

It's possible. O critic, you are a gazelle

Do not despise the old, Love is also Adam

The rest is in human blood.

In this way, the poet preserves the ancient, natural feeling in human blood - the ancient form of ghazal, which sings love. In poetry, ghazal is used not only in the sense of a poetic form, but also as a symbol of love, eternal human feelings:

All the joy to you

I'm in pain. All kindness to you,

All the joy to me ol Enjoy this world,

Give me your torment. Peace be upon you

All vigilance to me.

("All the joy to you")

The poet, like the representatives of classical poetry, exaggerates the expression of the love of the lover's heart to the lover:

 Even if you are a yacht -

I'm jealous of myself, I look away

I'll be out of my sight. My eyes are on you daffodils -

I'm jealous of tulips

Even from my obvious face.

("Rashkim")

The secrets of the lover, the description of the mistress, no matter how exaggerated, romantic colors, both are children of time and the earth, they are, as the poet says, "the jewel of their time" are our contemporaries who obey us.

Gradually, in the poet's work, such a romantic zeal, a feeling of vitality, was accompanied by a serious realistic observation. The poet not only praises life, but also looks at its essence and internal contradictions, and perceives the phenomenon described in detail, along with its contradictions, contradictions, pros and cons. As a result, the poet's poems take on a kind of controversy. In the 70s and 80s, the poet began to be seen not only as a love, "singer of life", but also as an artistic researcher of life, the human soul. His poems such as "Modern Youth", "Man", "Syrdarya Death", "Lion Player", "Rebellion of Souls", "Istanbul Tragedy" was thrown away.

Love for life, for the country is not only expressed through sweet words, hymns, praises.

The Epic of the Rebellion of Spirits. The epic "Rebellion of Spirits" is based on the life and tragic fate of the rebel Bengali poet Nazrul Islam. "The heroic and tragic fate of the fiery Bengal poet Nazrul Islam has long fascinated me, and I wanted to write something about him," he said. To this end, he studied the life and work of the poet, went to India to get acquainted with the facts of the poet's life, visited the places where the poet lived, talked to people who knew the poet personally.

It is known that Nazrul Islam shone like lightning in the early twentieth century, left an indelible mark on poetry, shook the entire Indian subcontinent with his rebellious poems, dedicated his life to the liberation of India from the oppression of foreign colonialists, the unity of peoples, freedom, happiness He is a brave poet who sacrificed his life. Under pressure, arrest, and torture, the poet was knocked unconscious at the age of thirty-five, when his work was in full swing. Years passed, and great changes took place in India, the poet's homeland. The days when Nazrul Islam dreamed came, the colonialists were expelled from the country. India has embarked on the path of independence, peace, social progress. The poet, who was once humiliated and oppressed, has found his place and value in life, and has won the respect of the people. Sadly, his mind is no longer in place, in which case he has lived forty years behind. He did not feel the changes in his country, the respect he showed himself, he did not know, he did not return for a moment.

Erkin Vahidov first wrote a poetic story about these exciting events that the poet experienced. However, he was not satisfied with this work. "When I think about it," he said, "I'm limited to interpreting the well-known facts of Nazrul Islam's life in a fictional way."

The poet says of his purpose in writing the epic: “Although the Rebellion of the Spirits is dedicated to Nazrul Islam, the work is not just an expression of the life of a fiery poet. In it, on the pretext of the poet's life, I talk about his, in general, about poetry, humanity, devotion, thirst for freedom, about the age of man-thirsty creatures, his complicated relationship with his people, and about the meaning of human life, both cruel and just. I tried to share my thoughts with the reader. ”

The epic begins with philosophical observations about the role of talent in the eternal struggle between injustice and justice, oppression and freedom. The author believes that the nature of a true talent is a rebellion against injustice, injustice and oppression from creation:

Poet heart -

                                      Best wishes,

                                      It is the faith of man.

                                      Harmony is in the heart

                                      Rebellion is human.

Nazrul Islam was born into the world as a poet, that is, a rebellion in the heart full of the pure desires, faith, and aspirations of his time. The people on the threshold of national liberation needed such a rebellious poet, "Time asked for his burning heart." The poet was deprived of his homeland before he was born: his country was trampled underfoot by colonial officers. Instead of resisting the oppressive officers, the ignorant people are divided into Hindus and Muslims, eating each other's flesh and killing each other. As the author captures these dark days of Indian history, he moves on to the debate about the poet and his civic duty:

                                      Everyone has great talent,

                                      Flood inspiration,

                                      When your people lie down, they will cry out,

                                      Yaramasang per day.

                                      if you are a poet

                                      As a poet

                                      Why did you come to life?

                                      When your hand is lying down, full of pain,

                                      Can't you be saved ?!

                                      No shoirsang

                                      Your insults

                                      Do you really need it.

                                      Otherwise hand grief - darding,

                                      Yuraging - hand heart ?!

The poet is especially troubled by the doctrine of the cowardly, hypocritical, who thinks only of the peace of his soul. To be silent in the face of injustice is to be unfaithful. Fasus, he is persecuted by a crowd that has become blind and deaf because of ignorance: the poet is called the cause of the uprising. Thus, the selfless poet, who is ready to give his life and the world for the people, becomes the enemy of the people and is arrested.

As you get acquainted with the fate of Nazrul Islam in the epic, the narrations related to it, the poet's passionate thoughts, you will realize that the purpose of writing the work is not only to tell the life of a Bengali poet, events in India, ancient legends. At the same time, we are talking about our homeland, its past during the years of occupation, the true sons of the nation, such as Kadyri, Cholpon, Fitrat, their struggle for freedom and independence, and how much these struggles cost - all in one place. will pass before your eyes. Written in the late 70s of the twentieth century, the rebellious fighting spirit of this epic confirms that the burning for the people's grief, freedom and liberty, characteristic of Kadyri, Cholpon, Fitrat, continued in these years.