Thoughts About Modern Uzbek Poetry

U. A. Hamdamov

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

Keywords:

Modern Uzbek poetry, poesy of jadids, the generation of the 20s, the generation of the 60s, the generation of

the 70s, Uzbek poetry of the independence period.

Abstract: This article provides an overview of modern Uzbek poetry, exploring the relationship between form and

content during this period. It focuses on the main features of poetry across five generations, from

contemporary Uzbek poetry to that of the Independence period, analyzing each generation separately. The

content and essence of literature by modern authors are examined, along with a chronological analysis of

works from the 1920s, 1960s, and 1970s. The article also reflects on literature's ideological influence during

certain periods, beyond serving the people. Authors' expressions of main ideas and the stages of Uzbek

literature during independence are discussed, alongside the topics covered. The article employs comparative-

typological, sociological, and hermeneutic analysis methods.

1 INTRODUCTION

Although the age of modern Uzbek poetry has just

turned one century, it has a very rich content and a

colorful pattern. The basis of the new poetry is

connected to the classical Eastern poetry, and it is also

inspired by the immortal experiences of world poetry.

Modern Uzbek poetry has undergone considerable

changes resulting from the destruction of strict

principles in the traditional aruz rhyme. This occurred

due to novelties based on science and technology

from developed countries around the world,

influencing Turkestan in the final quarter of the 19th

century (Muqimiy, Furqat, etc.), and significant

modifications in sociopolitical life in the early part of

the 20th century. To put it more simply, modern

Uzbek poetry began with the introduction of a

completely renewed spirit into poetry in the 20th

century. This spirit required the renewal of patterns in

poetry, leading to the emergence and development of

the "barmoq" rhyme with its various patterns,

alongside the "aruz." Its early representatives were

Fitrat, Chulpon, Hamza, Botu, and Elbek

Corresponding author

2 EXPERIMENTAL PART

Comparative-typological, sociological, and

hermeneutic analysis methods were employed in

writing this article. The great period of modern Uzbek

poetry corresponds to the 20th century, and four

literary generations can be distinguished based on

their ideological-aesthetic status and poetic

principles. These generations include poets from the

jaded period (Fitrat, Hamza, Chulpon, etc.), the

generation of the 20s (G. Gulom, Oybek, H. Olimjon,

Shaykhzoda, Mirtemir, etc.), the 60s (E. Vahidov, J.

Kamol, A. Oripov, R. Parfi, etc.), and the literary

generation of the 70s (Sh. Rahmon, U. Azim, Kh.

Davron, etc.).

Each generation's ideological-aesthetic position is

shaped by specific socio-spiritual factors. The jadids’

generation focused on enlightenment, reform, and

freedom. The generation of the 20s was influenced by

the early years of the revolution and the Soviet Union.

The generation of the 60s revived faith in the idea of

socialism, while the generation of the 70s reflected

the collapse of faith in certain ideas and the need for

fundamental social changes, including independence.

During the period of independence, modern Uzbek

poetry experienced a release from ideological

obstacles, allowing poets to freely explore various

274

Hamdamov, U.

Thoughts About Modern Uzbek Poetry.

DOI: 10.5220/0012485800003792

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 274-276

ISBN: 978-989-758-687-3

themes and experiment with their writing. The poets

of the past, such as Behbudiy, Fitrat, Qodiriy, Hamza,

and Chulpon, accurately grasped the significant

problems faced by the nation and effectively

addressed them in their poetry. The Soviet era

brought poetry under the spectre of ideology until the

60s, when sociability and individual expression

began to reemerge.

The 50s and 60s saw a period of stagnation in Uzbek

poetry, where subjectivism was suppressed, and

poems often echoed the policies of the Soviet Empire.

However, some poets still managed to maintain their

individuality and criticize the prevailing lies. The

literature of this period played a crucial role in

supporting and nurturing the generations of the 60s

and 70s, contributing significantly to the growth and

development of Uzbek poetry after a period of

silence.

Finally, periods changed, and great poets like E.

Vahidov, A. Aripov, and R. Parfi entered Uzbek

poetry. Like renowned Russian poets A.

Voznesensky and E. Yevtushenko, Kazakh poet O.

Sulaymanov, Avars poet R. Hamzatov, and their

successors, they looked at people not merely as

necessary bolts or spare parts of the system, but

primarily as human beings. It became clear that even

in the Soviet state, in the socialist system, there is

death and suffering, regardless of how much the

authorities caress their citizens. Misfortune

sometimes drags everyone into its depths. This fact

was not a secret before, but literature and art hardly

paid attention to it. Even when they did, arrogance

often diverted the reader's focus.

However, the poets of the 60s presented death,

sadness, poverty, crying, insignificance, and the

transience of the world directly to the readers. The

poetry became a powerful medium, and readers

started to believe in art, literature, and poetry. They

cherished it like a beloved, keeping it in their hands

during the day and hiding it under their pillows at

night. In those days, just four lines of poetry or a

poetry book held more life than life itself. The poets

who spoke words that resonated with people were

respected as prophets and cherished like bread.

The generation of poets in the 70s also experienced

creative happiness. While continuing the traditions of

the 60s generation, they emphasized social justice in

their poetry. Poets like Shavkat Rahmon, Usman

Azim, and Xurshid Davron sometimes turned poetry

into a battlefield for justice in the country. Their fight

against the authoritarian system was evident in their

poems, expressed through symbolism and strong

imagery reminiscent of the poetry of Chulpon and

Oybek at the beginning of the century.

However, in the poetry of the 70s generation, the

social spirit is sometimes overly concentrated,

leading to unsuccessful attempts to turn views that

could be expressed in a one-two-page article or other

journalistic genre into creativity.

In the poetry of the 1980s, due to the liberal mood in

the country, there was an increase in bare,

admonishing, and simple slogans and writings. Poetry

almost shifted towards journalism. During this ten-

year socio-political period, there were ups and downs,

and literature reflected a different spirit and mood.

Mystical tones entered the poetry (A. Qutbiddin, H.

Axmedova, etc.), completing it with fiery slogans

while expressing a sense of hopelessness towards the

passing world. This was partly explained by the poets

returning to their hearts and focusing on eternal

truths. This type of poetry laid the foundation for the

poetry of the Independence period, which became full

of subjectivism.

In the period of independence, poetry glorified all

themes but moved away from the dominant idea and

idealism that characterized Uzbek Soviet poetry. The

main theme that literature had been striving for,

independence, freedom, and restoration of national

pride, had been positively resolved with the

achievement of independence. This led to a lack of

ideas being seen as a form of idealism, a notable

characteristic of poetry during this period. Poetry

shifted its focus from external problems to the inner

self, taking a new turn.

The diversity of poets in the Independence period,

such as A. Mahkam, E. Shukur, B. Rozimuhammad,

M. Yusuf, A. Qutbiddin, Faxriyor, S. Ashur, Q.

Norqobil, G. Mirza, V. Fayzullo, and A. Said, reflects

the changes in poetry during this time. For example,

B. Rozimuhammad's poems don't carry fiery slogans

or significant social ideas, but instead, they delve into

the depths of a person's heart. Poetry during this

period wasn't limited to expressing intimate

experiences but also celebrated themes like

motherland, ancestors, national pride, and traditions

on a high level.

While some leading poets like E. Vahidov, O.

Matchon, and R. Parfi were less active during this

period, a new era of poetry emerged with poets like

Matnazar Abdulhakim, Yuldosh Eshbek, Ikrom

Otamurod, Usman Quchqor, Shukur Qurbon,

Abdumajid Azim, Avliyokhon Eshon, Azam Oktam,

Karim Bahriev, Adil Ikram, Farida Afruz, Nadira

Afakova, and many others. These poets expressed the

mood of the new era in their poems.

Since the beginning of the 20th century, Uzbek poetry

mainly showcased "barmoq" rhyme and partly "aruz."

However, in the 1970s, 1980s, 1990s, and 2000s, a

Thoughts About Modern Uzbek Poetry

275

new poetic trend emerged, different from traditional

poetry in both expression and content. Poets like T.

Ali, B. Ruzimuhammad, M. Gaffar, A. Said,

Faxriyor, G. Begim, and Sh. Subhon played

significant roles in this trend.

3 RESULTS AND DISCUSSION

So, in the period of independence, a new trend

emerged, alongside the continuation of old ones,

resulting in the birth of a syncretic one. Just as genres

mutate in world literature, mixed expressions are also

found in the pattern of poetry. Observations indicate

that the Uzbek poetry of the period of independence

can mainly be classified into five types of expression:

1. Traditional "barmoq" rhyme. 2. Folk tunes. 3.

Aruz. 4. Modernist methods of expression. 5.

Syncretic (mixed) methods of expression.

Of course, such a classification may be

subject to debate and reasoning, but the crucial point

is that modern Uzbek poetry is not a mushroom that

grew after the rain. Instead, it is a legitimate part of

an immortal process that has been constantly

changing and renewing itself for centuries. It is an

integral part of our extremely complex and priceless

culture, enriched with a plethora of experiences. It is

both similar to and distinct from all previous eras. In

a similar way, it has grown from the poetry of those

times, inheriting their most viable elements. The

difference lies in its ability to express the spirit of the

renewed era through various forms, actively drawing

from the experiences of world poetry. This diversity

is what makes it so appealing, satisfying the literary

and aesthetic thirst of people with different tastes.

4 CONCLUSION

As a conclusion, it can be said that the entire 20th

century and the first quarter of the 21st century were

a period of significant changes in the life of our

people—a time of unprecedented progress in the

socio-economic, cultural, and educational spheres. Of

course, looking back, the weight of our losses is not

insignificant, but their proportion appears to be

determined in relation to the gains. The same can be

said about literature, particularly modern Uzbek

poetry. Throughout the old and new centuries, there

were periods of rise and fall, development and decline

in our poetry. However, our poetry entered a

qualitatively new stage of development at the

beginning of the 20th century and has been

continually renewing its content, essence, and

appearance ever since. Poetry serves as both a

reflection of the era through the human heart and a

portrayal of the human soul during that era.

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Shepherd. (2016) Works. Volume IV. - Tashkent:

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Kuronov D. (2018). Fundamentals of literary theory. -

Tashkent: Akademnashr, -B. 418.

Karimov N. et al. (1999). History of Uzbek literature of the

20th century. - Tashkent: Teacher, -B. 514.

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