POETIC FEATURES OF CHARACTER CREATION IN UZBEK LITERATURE

Аннотация

This article examines the poetic features of character creation in Uzbek literature across different historical periods, ranging from classical works to contemporary prose. The analysis demonstrates that character construction in Uzbek literature is not only a stylistic and artistic technique but also a reflection of ethical values, national identity, and social change. In classical literature, as exemplified by Alisher Navoi, characters are imbued with allegorical and moral significance. During the enlightenment and reformist period, writers such as Abdulla Avloniy introduced characters symbolizing the conflict between tradition and modernity. In the Soviet era, Abdulla Qodiriy and Oybek produced psychologically complex and socially engaged protagonists, while contemporary authors like Erkin A’zam emphasize individuality and spirituality. Thus, the poetic dimension of character creation embodies a dynamic synthesis of tradition, innovation, and cultural continuity. Keywords: Uzbek literature; character creation; poetics; Alisher Navoi; Abdulla Qodiriy; Oybek; Erkin A’zam; national identity; allegory; psychological realism Introduction. Literature, regardless of its national form, is inseparable from the art of creating vivid characters. In Uzbek literature, character creation is not only a matter of depicting fictional figures but also a way of reflecting social ideals, cultural traditions, and the moral values of the people. Consequently, the development of Uzbek literature has always been accompanied by a refined system of artistic imagery. Moreover, the poetic techniques used in character construction serve as indicators of how literature interacts with history, society, and human psychology. First of all, in classical Uzbek literature, especially in the works of Alisher Navoi (1441–1501), character creation was closely linked with ethical and spiritual ideals. His heroes were often embodiments of justice, wisdom, and devotion, while antagonists reflected the dangers of arrogance, cruelty, and ignorance. For example, in Farhod and Shirin (part of his Khamsa), Farhod is not only a romantic lover but also a symbol of human perseverance and self- sacrifice. Through poetic imagery, Navoi describes him as a man who “cuts through mountains for the sake of love,” thereby transforming a personal 179 ACADEMIC RESEARCH IN MODERN SCIENCE International scientific-online conference emotion into a universal metaphor of struggle and devotion. In this regard, the poetic feature lies in the intertwining of aesthetic beauty with didactic purpose [2]. Later, during the period of enlightenment and reformist literature in the late 19th and early 20th centuries, writers such as Furqat and Abdulla Avloniy began shaping characters who symbolized the awakening of national consciousness. Unlike the mythologized figures of classical works, these characters were closer to real life. For instance, Avloniy’s play Turkish Gulistan or Morality portrays students who aspire to knowledge and enlightenment, thus reflecting the conflict between outdated traditions and modern educational ideals. Therefore, we can argue that the poetic aspect of character creation gradually shifted toward realism and psychological depth [1]. Furthermore, in the literature of the Soviet period, character construction gained even more complexity. Writers like Abdulla Qodiriy, Oybek, and Pirimqul Qodirov developed multi-layered protagonists whose inner conflicts mirrored the sociopolitical transformations of the nation. For example, in Qodiriy’s O‘tkan kunlar, the central character Otabek embodies the struggle between tradition and progress. His deep love for Kumush is expressed through lyrical language, yet his resistance to the corrupt feudal system is portrayed with symbolic imagery: Otabek’s sense of honor and justice becomes a metaphor for the nation’s desire for renewal. Thus, the poetic quality lies in merging romantic lyricism with social critique. Similarly, in Oybek’s historical novel Navoi, the great poet Alisher Navoi himself is turned into a literary character. Oybek portrays Navoi not only as a statesman and writer but also as a deeply reflective man torn between worldly responsibilities and spiritual ideals. Through rich descriptions and inner monologues, the novel reveals the psychological depth of Navoi’s character, thereby demonstrating how poetic narration enhances historical fiction [3]. In addition, post-independence Uzbek literature demonstrates a renewed attention to individuality and spirituality. For example, in Erkin A’zam’s short stories, characters are often ordinary individuals—farmers, teachers, or workers—whose inner worlds are revealed through metaphorical and lyrical prose. In his story The Rich Man’s Daughter, the central character reflects on lost traditions and changing moral values, and the poetic narration highlights nostalgia as well as irony. Through such techniques, characters become vehicles for expressing broader philo