Challenges of Balancing Historical Accuracy and Interpretation in

the Depiction of a Historical Figure

Gulbahor Ashurova

1,2,*

and Gulnorakhon Niyazova

1,†

Tashkent State University of Uzbek Language and Literature named after Alisher Navoi, Tashkent, Uzbekistan

Uzbek-Azerbaijan research center named after Fuzuli, Tashkent, Uzbekistan

Keywords

the Era of Independence, Uzbek Literature, Novel, Historicity, Image, Amir Temur, Alisher Navoi, Artistic

Interpretation, Reality of Life, Historical Images, Textile Images, Thinking, Spiritual World, Historical

Figure, Truthfulness, New Image and Interpretation.

Abstract Independence has enabled creators across our nation to pioneer novel concepts, embracing our lofty literary

and aesthetic standards while accurately representing historical truths. This shift in fiction is evident in various

authors' work, attracting attention from local and international literary scholars, who have investigated the

balance between historical fact, interpretation, and aesthetic ideals. This article explores the portrayal of major

historical figures in Uzbek literature, particularly Navoi. It considers how historical facts are interpreted and

factors influencing the creation of historical works. The appraisal of an artistic piece and the portrayal of

historical figures in Uzbek prose during the independence period is also discussed. Thus, the significance of

historicity and artistic interpretation of a historical figure in contemporary Uzbek literature is underscored.

1 INTRODUCTION

In the context of Uzbek literature from the

independence era, we can observe evolutionary

processes across all literary genres. A prominent shift

is evident in the approach towards historical figures

and their aesthetic representations. Notably, the

unique depiction of Alisher Navoi takes on fresh

perspectives, differing from those preceding

independence. Consequently, there is a pressing need

to examine historical fact, interpretation issues,

standards, and criteria within a historical figure's

portrayal, the era in which Navoi lived, the literary

climate, and Navoi's authentic image and spiritual

world.

Independence allowed for a bolder, more

comprehensive examination of many historical

figures. Our writers and poets turned their focus

towards studying the works of revered thinkers (Abu

Ali ibn Sina, Abu Rayhan Beruni, Farabi, Alisher

Navoi), statesmen and global recognised generals

(Jalaluddin Manguberdi, Amir Temur, Zahiruddin

Muhammad Babur ...) and many writers (Alisher

Corresponding author

Navoi, Zahiruddin Muhammad Babur, Ogahiy and

others).

Particular attention was paid to the life and work of

the reflective poet, Alisher Navoi. Navoi's character

is extraordinary. He was a proponent of humanitarian

ideas, actively striving to implement them in real life.

His unique personality, combined with his thought-

provoking works, has made him a central figure in

historical and artistic works from an early age.

Independence permitted the portrayal of historical

figures in fiction in a truly poetic manner. During this

period, the images of many historical figures [1-4],

including Alisher Navoi, were explored in Uzbek

literature - an abundance of stories, novels, poems,

lyrical and dramatic works were produced. These

works are significant as they illuminate the figure of

a great poet and thinker through historical fact and

reality-based principles.

The modern literary process is rooted in tradition.

Accordingly, Navoi's understanding of folk poetic

thinking aligns with topics such as tradition and

208

Ashurova, G. and Niyazova, G.

Challenges of Balancing Historical Accuracy and Interpretation in the Depiction of a Historical Figure.

DOI: 10.5220/0012483000003792

Paper published under CC license (CC BY-NC-ND 4.0)

In Proceedings of the 1st Pamir Transboundary Conference for Sustainable Societies (PAMIR 2023), pages 208-212

ISBN: 978-989-758-687-3

innovation, historical underpinnings of the image,

poetic skill, and creative individuality.

It should be mentioned that the revered name of

Navoi is not only found in folklore and classical

literature but is also prevalent in all forms and genres

of modern Uzbek literature from the independence

era.

Academician B. Nazarov discusses the historical

depiction of Amir Temur in fiction: "To date,

hundreds, perhaps thousands, of historical writings,

articles, studies, and artistic works about this genius

figure have been penned in various languages. Many

were written with impartial intent, but some lacked

accurate sources, some were biased, and others were

borne out of ideological fallout. The vast lineage and

history related to his works were often skewed,

distorted, and misinterpreted, and due to deficiencies

in skill, were not artistically reflected in a profound

and comprehensive manner...

Great independence returned Amir Temur not only to

the Uzbek people but to the world. It offered the

opportunity to sift through the complex, dusty annals

of history, revealing truths. This new era has set new

tasks for historians, scientists, and writers" [Nazarov

B. 2019,].

It is fitting to acknowledge that these remarks align

quite well with the issue of Alisher Navoi's portrayal

in fiction. The ideology of the former Soviet period

endorsed Navoi's personality and creativity, tailored

to the regime's demands. His religious-mystical

worldview and his connection to the world and

humanity were often limited or even one-sidedly

interpreted. Reflecting solely on Navoi's relationship

with Husayn Boykara or Binai suggests the extent of

these limitations, let alone considering other aspects.

Fiction mirrors life. The purpose of stating this axiom

is to highlight that the emergence and incorporation

of the aforementioned inappropriate comments into

fiction are actually echoes of some inappropriate

remarks in academic circles.

Without delving into these points, it would be more

fitting to offer an excerpt demonstrating their causes

and effects in a very concise and truthful manner.

These comments are from academician A. Mirzoev:

"These prejudiced claims also impacted fiction.

Oybek couldn't remain detached from the distorted

image of the relationship between Navoi and Binoi in

his novel 'Navoi' [Mirzoev A. 1976,]. Similar

phenomena were partially evident in the works of

Mirkarim Asim, Uygun, and Izzat Sultan."

2 RESULTS AND DISCUSSION

It warrants a special mention that the problem of

artistically interpreting historical figures is one of the

foremost scientific issues attracting global literary

attention. It's nearly impossible to comprehend the

breadth of scientific works dedicated solely to writers

and poets. Such writers as Fitrat, Oybek, Uygun,

Asqad Mukhtar, Adil Yaqubov, Boriboi Ahmedov,

Pirimkul Kadyrov, Abdulla Oripov, Asror Samad,

Nurali Qabul, Muhammad Ali, Khurshid Davron,

Sirojiddin Sayyid, Iqbal Mirza, Isajon Sultan, Ghairat

Majid, Muzaffar Mirza, Tora Mirza and numerous

others have significantly contributed to creating

images of historical figures.

In depicting the figure of Alisher Navoi, devotion to

the country and nation is prioritised. Even in his

friendship with Husayn Boygaro, authors underscore

the unity of these sentiments with the love for country

and homeland. The natural harmony with high moral

and spiritual requirements enhances Navoi's

depiction, making it more attractive, dignified, and

agreeable.

Artistic creation harbours many secrets. Discerning

their true nature is always challenging. Questions

such as 'how', 'why', and 'for whom' a work of art is

written are infinite, with no shortage of responses.

A key feature of a historical figure's image is its

clarity and roughly defined boundaries. Yet, this

"clarity" and "defined boundaries" span such a vast

area that its scope is hard to fathom.

In depicting and interpreting a historical figure, it is

important to "focus on features that are precious and

valuable to us today" in the artistic interpretation

[Nazarov B. 2019]. The interpretation of historical

facts and materials used for this purpose is

characterised by a unique system of approaches. The

important thing is this choice should provide pleasure

and comfort to the discerning and curious reader.

Writer R. Haydarova eloquently put it as: "To speak

figuratively, historical reality in a work written on a

historical topic is merely an aura and a lining.

Meaning and form are the main criterion for artistic

work – artistry[ Haydarova R]."

Challenges of Balancing Historical Accuracy and Interpretation in the Depiction of a Historical Figure

209

The techniques used to describe the psyche of the

hero depend on the writer's experience and skill.

Various tools such as portrait drawing, monologues

and dialogues, nature scenes, commentaries in others'

language, and comparing or contrasting one character

with another are used [Nazarov B. 2019].

Alisher Navoi was well aware of the importance and

reverence of Islamic beliefs in societal life.

Especially, he understood that the ruling class's

attitude in this respect significantly influenced their

reputation among the people. How is this aspect

expressed in historical novels? The hero's speech not

only elucidates and verifies his historical

environment and position but can also help

contemporise the hero. The modernity of the

historical work likely hinges on these factors. At this

point, the hero's speech begins to align with modern

problems.

"The process of creating an artistic image begins with

a stringent selection of materials: the artist draws

upon the most salient aspects of the depicted image,

discards anything incidental, and develops a certain

aspect by magnifying or sharpening it to full

brightness [Vvedenie vliteraturovedenie. 2009]."

Any writer employs functional-logical types of

speech in their work. These appear predominantly in

the forms of description, narration, and reasoning.

Description is a verbal representation of a particular

event, place, or time, or an individual or group [A.V.

Khokhlova]. Narration is the recital of events,

presenting various actions and occurrences in a

coherent manner. Reasoning consists of expressing,

elucidating, and affirming a specific idea through

words. These forms can render the literary hero and

associated images either complete or incomplete.

To support this thesis, it would seem pertinent to

consider a fact that demonstrates the social and

literary-aesthetic influence of a single word used in

Amir Temur's speech before analysing the works

about the thinker and writer Alisher Navoi. This fact

was uncovered by scientist S. Ermatov, who studied

Amir Temur’s image in Western Literature. He

stated: "History recounts that Rui Gonzalez de

Clavijo, the ambassador of Castilian king Enrique

(Henry) III, visited Samarkand in 1404 and received

a warm welcome from the Great Leader, Amir

Temur. Clavijo writes the following about this

reception ceremony: '... Then Temur Bek asked us

questions about His Majesty the king: "How is my

son, the king doing? Is he in good health?"' At first

glance, it may be unclear to the reader why a man as

great as Amir Temur referred to the distant king of

Castile as 'my son.' English author Hilda Hookham,

in her book 'Sultans of Seven Climates/countries,'

suggests that the word 'son' was a form of address for

subordinates. Uzbek scientist, and now doctor of

historical sciences, A. Ziyoev also concurs: 'In the

language of diplomacy of that time, the word "son"

meant "obedient to me".' Regrettably, we do not

concur. The reason being, no Eastern or Western

historians expressed this opinion aside from the

English writer and A. Ziyoev. Additionally, Enrique

III, King of Castile and Leon, was not obedient to

Amir. To understand why Great Amir Temur

addressed and called Enrique III 'my son,' we must

delve into Enrique III's life history and the

relationships between Amir Temur and the King of

Castile.

Enrique III was born into the royal family of Castile

in Burgos in 1379. His father fell from his horse and

died in 1390. Enrique III ascended the throne at the

age of four in 1393. During his brief reign, peace was

established in the country, and the economic situation

also improved. He was recognised as an adept

diplomat in foreign policy. Enrique III was often

referred to as 'el Dolente' due to his persistent ill

health from childhood, but no specifics of his

affliction are recorded in history. He learned about

events in Central and Minor Asia through Yildirim,

who was aware of the events transpiring there.

Concerned about Bayezid’s threat to Europe, Enrique

III sent his ambassadors, Base Gomez de Sotomayor

and Hernán Sánchez Palazuelos, to Central Asia to

gather more information about Amur Timur. They

witnessed the Battle of Ankara on July 28, 1402, and

hailed Amir Timur’s victory. As noted by Spanish

historian Gil Dávila González in his book 'King

Enrique III of Castile: Life and Activities,' Amir

Temur bestowed military weapons upon the

ambassadors. Deeply impressed by Great Leader

Amir Timur’s cordial reception, Sotomayor and

Palazuelos extolled him. The ambassadors returned to

Castile in February 1403. Enrique III was profoundly

affected by Timur's respect and, in the hope of

fostering a friendly relationship, promptly sent his

new Ambassador, Rui Gonzalez de Clavijo, to

Samarkand. Amir Temur, having learned about the

king's health from the previous ambassadors, rightly

asked Clavijo about it. After all, Amir Timur had been

informed of Enrique III's illness by his own

ambassadors to Castile and those returning to

Samarkand. In doing so, he not only demonstrated his

erudition and wisdom as a state leader, but also

showed fatherly care and attention to the king of

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Castile, who had established a friendly relationship

between Amir Timur’s State and his kingdom. The

tangible evidence of this is what Amir Timur said to

the royal ambassadors: 'I would feel relieved and

happy to hear about my son's health, and I would

consider it a gift from the king even if he had only

sent you with a single letter' [Ermatov B.S. 2019,].

In order not to distort Amir Temur’s valuable image

in the history of Uzbek literature, one must engage in

rigorous research, peruse historical texts, and

understand the great statesman's inner sentiments,

expressing the religious actions and deeds of the

writers should require a comprehensive worldview.

Gathering information about the specific details and

dates of events is insufficient to revive history.

Standard, straightforward factual statements can

make the narrative dull. For the voice of wisdom,

silently nestled in the bosom of the ages, to be heard,

the truth and depth of historical facts' interpretation

must emit a captivating melody, like a harp, when

struck like a string. Giving voice to history,

'speaking,' 'dressing' historical figures, drawing

reliable portraits, thinking in tune with current

situations, listening to the heart and understanding

pain - all of this requires the writer to depict historical

truth based on historical facts and criteria. The

aforementioned example illustrates the significance

of this aspect.

3 CONCLUSION

Based on the aforementioned interpretations, the

following conclusions can be deduced:

1. The creation of artistic works is contingent on a

multitude of factors. In conjunction with these

factors, the principles associated with the "migration"

of real socio-historical events into fiction are also

applicable to works focusing on historical subjects.

2. Historical facts and materials are not inherently

"literary material." Herein, the principles of

summarisation, classification, and selection within

the intricate process of creative thinking occupy a

primary position.

3. In the depiction and interpretation of a historical

figure, it is crucial to "concentrate on characteristics

that are precious and valuable to us today" within the

artistic interpretation. It is noteworthy that the

interpretation of historical facts and materials utilised

for this purpose is distinguished by a system of unique

approaches. It is essential that this selection ensures

that the work remains vibrant, engaging, impactful,

and brings tranquillity and interest to the reader.

4. A narrative recounts events. The text of the story is

intended to display various actions and occurrences in

a coherent manner. Reasoning involves expressing,

elucidating, and affirming a certain idea through

words. In the Uzbek prose of the independence era,

these forms are evident in resolving the problem of

historical fact and interpretation, as well as the

completeness or incompleteness of the literary hero

and the images associated with him.

5. In the depiction and interpretation of a historical

figure, it is important to "concentrate on

characteristics that are precious and valuable to us

today" within the artistic interpretation. The

interpretation of historical facts and materials

employed for this purpose forms a unique system of

approaches within the context of historicity.

6. In Uzbek literature, the issue of historical fact and

interpretation in the portrayal of a historical

individual, the creation of a historical work, and the

evaluation given to it are inextricably tied to the

portrayal of historical figures in the Uzbek prose of

the independence period, particularly in the depiction

of Navoi.

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