THE LANGUAGE OF THE WORK AS AN IMPORTANT MEANS OF REFLECTING THE NATIONAL SPIRIT (on the example of the work "People Walking on the Moon")

Аннотация

This article, on the example of the work "People Walking on the Moon" by Togay Murod, provides an analytical approach to the artistic expression of the national spirit, values, traditions, moral and normative views of the Uzbek people through language. The naturalness of the language of the work, folk expressions and the tone of oral speech serve to awaken the national consciousness. The article presents analytical considerations on the educational, aestheticand ideological function of thenational literary language. Keywords:Togay Murad, "People Walking on the Moon", national spirit, artistic language, loyalty, love,traditions, Uzbek mentality, moral education, image, language tool. Togay Murod has a worthy place in the development of our national literature in the last quarter of the 20th century. Because he made a great contribution to the development of Uzbek literature with the unique expression of the national spirit in his works, he also introduced the Uzbek people to himself, made them understand their identity, and brought them to the world. In the works “The Evening of the Horse’s Neighing”, “The Fields Left by My Father”, “The Stars Will Never Burn”, “You Cannot Die in This World”, “People Walking on the Moon”, the qualities inherent in ourpeople such as humility, hard work, generosity, simplicity, family spirit, and patriotism found expression in his sharp pen in a unique way. The story “People Walking on the Moon” deserves special attention and recognition, as the writer’s creative research went in a completely different direction. The heroes of the story, Koplonbek and Oymomo, live together for days, months, and years in the pursuit of a child, one being the grandfather and the other the grandmother of the unborn child, and they respect and honor each other. The tragic fate of the heroes of the work, like a sad song filled with hope, shakes the reader's heart and is imprinted in the memories. [1] The work plays an important role in conveying the main symbols of our nationality, customs, traditions, and costumes - the relationships between love and affection, and the tender feelings - in such a sincere, pure, and inexhaustible way, enriching the reader's spiritual world, further expanding their worldview, and further increasing their senseofrespect and pridefor ourancient and rich history and people. The work begins with the description of Koplonbek's matchmaking for Oymomo. According to our traditions, first, the elders of the young man's and the young woman's sides consult with each other and ask for seven generations. When the young woman's side comes to anagreement, especially the way thematchmakers use all the"art ofspeech" and thus gain their consent, it brings a smile to our faces and involuntarily reminds us of our ordinary weddings filled withvillage people: “Then the suitors used their art of speech. One after another, they praised the butcher’s father: page403 INTERNATIONAL JOURNAL OF ARTIFICIAL INTELLIGENCE ISSN:2692-5206,ImpactFactor:12,23 AmericanAcademicpublishers,volume05,issue06,2025 Journal: https://www.academicpublishers.org/journals/index.php/ijai —Died father was avery good man... —Hewas very brave... —Hewas very talented... —Esonboy didnot care about his father... —Don’t beungrateful. Esonboy cares about hisfather as ifhe had poured it... —Comeon,howmuch?... —That’s howit is. Islam is gradually... The suitors brought the end of the story to such a son from such a father. Esonboy finally gavein.” [2] Also, here, along with the image of a suitors, the Uzbek girl's manners, tenderness, and thoughts are beautifully revealed in the conversation between Oymomo and her sister-in-law, who raised herand became likeamother toher: “Oymomo, who was sitting withher younger niece, leaned onhercheek. Shelooked at herself: shecovered herIraqi scarf that had slippedover her shoulders. Shepulled upherdress, which had gathered up,and covered her knees. The niece opened her ears, looked at her mother. The mother took the younger one in her arms. She stared at her sister-in-law, laughing in her heart. Then, the sister-in-law put her hand toher heart: —Whatare you saying? —Whatam I saying? —Don't beshy, say something. The suitorsleft. —To whom? —Iwish itwere me, andyou too. —Eb-ey, what have Idone toyou? Go away! Oymomo is wrong.”[2] The intention conveyed by Oymomo's behavior and words is clear, but we are surprised to learn from the wordplay between the two young people after the wedding that they have been in love for a long time. We look for the above conversation again, read it carefully, and then we onceagain acknowledge the idiom,imagination, and thoughts of Uzbekgirls. The work is about pure love, invincible loyalty, unyielding patience, and strong will. Koplonbek's lifelong refusal to give up on Oymomo and his deep love for her is directly understood from his conversation with his father. However, Koplonbek goes so far in his dealings with his father that his father slaps him. But we ca