Cholpon and World Literary Aesthetic Thinking

Nurboy Jabborov

1,2,*

and Shahlo Hojieva

1,2,†

Tashkent State University of Uzbek Language and Literature, Tashkent, Uzbekistan

National University of Uzbekistan, Tashkent, Uzbekistan

Keywords:

Chulpan, Poetry, Artistic and Aesthetic Thinking, Analysis, Poetic Synthesis, Tradition, Renewal, Spirit of

Freedom, Creative Experience.

Abstract: Article examines the poetry of the eminent poet Abdulhamid Chulpan, who played a significant role in the

development of Uzbek literature at the beginning of the twentieth century. The study explores the poet's

familiarity with the literary movements of Central Asia, Russia, Turkey, Germany, and other countries, as

well as the creative connections he established with them. Social, educational, artistic, and aesthetic factors

that profoundly influenced the growth and development of Chulpan's artistic and aesthetic thinking were

analysed, based on the following classification: 1) a complex and contradictory historical condition; 2) a

spiritually mature and financially secure family environment; 3) entering the battlefield for the freedom of the

country; 4) acquaintanceship with world literature through Russian and Turkish literature; 5) the role of the

poetry of fraternal peoples in the poet's creative maturity. Analytical conclusions are presented regarding

Chulpan's study of Shakespeare's skill, as evidenced in his prose translation of the tragedy "Hamlet" into the

Uzbek language, and a comparative analysis is conducted between the poet's translation and Boris Pasternak's

version. The influence of the works of the Indian writer Rabindranath Tagore on the creative brilliance of

Chulpan is explored. The poetic synthesis of the contributions of Russian poets Pushkin and Blok, Iranian

poet Abulkasim Lohuti, and Turkish poet Namik Kemal in the poet's lyrics is investigated. In conclusion, the

article establishes that Abdulhamid Chulpan, as a poet, brought Uzbek artistic and aesthetic thinking onto the

world stage.

1 INTRODUCTION

It is not appropriate to confine the influence of

geography on the emergence of exceptional talents

merely to the time they lived or the places they

reached, or to limit it by language alone. Abdulhamid

Sulaymon oglu Cholpon (1897–1938), a prominent

figure in Uzbek Jadid literature, possessed such rare

talents. His poetry holds particular significance, as it

skillfully amalgamates the achievements of both

Eastern and Western literature and revitalizes the

artistic and aesthetic thinking of the Uzbek people.

During the latter half of the 19th century and the early

20th century, there was a remarkable literary surge

worldwide, and the reasons for this can be sought in

the mutual influences among various literary figures.

The likes of the Irish writer and poet James Ogastin

Aloishes Joyce (1882 - 1942), the Spanish poet and

Corresponding author

playwright Federico Garcia Lorca (1883 - 1936), the

German writer Franz Kafka (1883 - 1924), the

Russian poets Alexander Blok (1880 - 1921) and

Sergei Yesenin (1895 - 1925), Chinese writer Lu Xin

(Chjow Shujen) (1881 - 1936), Indian writer and poet

Rabindranath Tagore (1861 - 1941), along with

several French writers including Henry Barbusse

(1873 - 1935), and Turkish writers Riza Tawfiq,

Yahya Kemal, and Hussein Rahmi Gurpinar (1864 -

1944), and many other celebrated artists of the world

were greatly influenced and inspired by one another.

Moreover, it is evident that the creations of these

writers significantly shaped the global artistic

thinking in the early 20th century. Any artist aspiring

to promote national loyalty and elevate their people

to the world stage through the advancement of

national literature must adapt their artistic thinking to

the most progressive trends of their time. This

undoubtedly necessitates making effective use of the

478

Jabborov, N. and Hojieva, S.

Cholpon and World Literary Aesthetic Thinking.

DOI: 10.5220/0012490900003792

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 478-485

ISBN: 978-989-758-687-3

achievements and experiences of contemporary

world writers and, when required, engaging in

constructive competition and debates with them.

2 RESULTS AND DISCUSSION

Socio-enlightenment and literary-aesthetic factors of

Cholpon's Creative Excellence

At the beginning of the 20th century, Abdulhamid

Sulaymon ugli Cholpon played a pivotal role in

elevating Uzbek literature to the realm of world

literary and aesthetic thinking, collaborating with

Abdullah Qodiri and Abdurauf Fitrat. Consequently,

studying Cholpon's work in the context of world

literature leads to significant scientific conclusions.

However, it is important to acknowledge that "the

process of literary influence or the science of

comparative studies manifests itself in a unique way

within each national literature" (Dzorakulov, Uzok,

2015).

It would be erroneous to confine the socio-literary

environment that shaped Cholpon solely to

Uzbekistan or Central Asia. He had direct exposure to

literary movements in Russia, Turkey, Germany, and

maintained creative connections with several other

countries. This can be attributed to the ideas put forth

by the Jadid movement and the national revival led by

Ismailbek Gaspirinsky, aimed at rescuing Turkic

peoples from national crises and bringing them on par

with advanced nations worldwide. Jadidism and Jadid

literature, rooted in the concept of promoting national

enlightenment in harmony with global science and

art, laid the foundation for Cholpon's poetic work.

Indeed, "Cholpon's poetry draws from the rich

spiritual traditions of the East while being nourished

by the vibrant philosophy and hues of the West. His

poetry seamlessly merges East and West" (Kasimov,

Begali et al., 2004).

Through scientific observations, it is evident that

Cholpon's poetry captures the style and anguish

characteristic of world literary masters. This style and

emotion were shaped by the poet's travels to countries

such as Russia, Turkey, and Azerbaijan, where he

interacted creatively with literary communities of

varying levels (Khojieva, Shakhlo, 2019). We shall

explore this perspective further by examining some of

his themes and imagery. For now, let us identify the

socio-enlightenment and literary-aesthetic factors

that strongly influenced the growth and development

of the poet's artistic and aesthetic thinking.

1. Complex and conflicting historical conditions:

Cholpon was born at the end of the 19th century when

Turkestan was under Russian rule. The winds of

freedom sweeping across the world caused

tremendous upheaval, not only in colonized nations

but also in occupying countries like Russia itself. The

hardships brought on by the First World War further

compounded the difficulties faced by the people of

Turkestan. The post-war political changes and rapid

exchange of historical events resulted in the

intelligentsia – the true children of the nation – being

entangled in a whirlpool of repression. The

establishment of autonomy in Turkestan, followed by

genocide, and the implementation of the Soviet

regime through violence, civil war, and repression

were some of the major events during this tumultuous

period. Additionally, the burden of calamities

engulfed the nation, plunging it into a crisis of

backwardness and ignorance. These events

profoundly influenced the poet's innate intellect and

talent from an early age, shaping his perspective

towards the world, his environment, and the forces

capable of altering the historical situation. A

testament to this early mindset is a significant poem

he wrote in 1918 upon the death of the Tatar

enlightener and leader, Mullanur Vahidov (1885 -

1918). The poem begins with the following lines:

"In the later period, the history of the poor East,

He did not see a single page with a white line.

As a historian who documented the world's history,

His pen did not lean towards goodness.

Whichever corner of the East you look,

You'd find poverty, death, oppression, and curse.

If you wish to know the word 'Tomugh' ('throat'),

You'll walk the East from head to toe, encountering

worse.

Once upon a time, the earth had its own head,

Great, glorious, and a creator of culture.

It was a beautiful East, fertile soil, but lastly,

It shed tears under the paws of foreigners." (Cholpon,

Abdulhamid, 1914)

Cholpon dreamed of not only developing Turkestan

but also the entire East. Disheartened by the fact that

the East, once a beacon of enlightenment and the

cradle of civilization for centuries, had fallen behind

in progress, his grief and anguish found expression in

his works. He yearned for the liberation of his

homeland and envisioned his nation among the

developed countries of the world. These ideas became

the central theme of Cholpon's poetry, forming the

core of his creative pursuits. As it is said, "A true

Cholpon and World Literary Aesthetic Thinking

479

poet's dreams cannot be confined to mere desires.

Dreams are born from these desires, for a man's wings

break away from unrealized dreams, and his hope for

the future wanes. The enlightened Jadids managed to

escape from this. In their heart-rending works, they

not only expressed their own desires but also the

dreams of the nation" (Jabbarov, Nurboy, 2018). The

complex and contradictory historical conditions, the

quest for homeland freedom, and the vision of

national enlightenment illuminated Cholpon's works,

laying the foundation for his creative excellence.

According to the literary critic Dilmurod Kuronov,

"Cholpon identifies the roots of the tragic situation in

ignorance, the failure to recognize the benefits, and

the lack of concern for the future. Instead of

enlightening their children, he compares the lifestyle

of his people, who indulge in extravagant weddings,

senseless luxuries, and the construction of teahouses

and taverns instead of schools, to that of developed

nations" (Kuronov, Dilmurod, 1997). The poetic

portrayal of such woeful dreams connected poetry to

the socio-political life, making it a peculiar mirror of

society. Cholpon conveyed the complex and

contentious environment of Turkestan during that era

through artistic images and symbols. He sang the pain

of the Motherland and the nation, condemning

oppression and artistically interpreting his dreams of

independence.

2. Cholpon's spiritually enriched and financially

prosperous family environment significantly

contributed to his talent's development. His father,

Suleiman Bazzoz, a prominent merchant and

businessman of his time, was also a poet from

Andijan, who wrote poems under the pen names

Rasvo and Volai Rasvo. Naturally, he played a

significant role in his son's education and upbringing.

Academician Naim Karimov states that Suleiman

Bazzoz was one of the most progressive individuals

of his time, regularly receiving foreign newspapers to

stay updated on global developments, particularly

trade in other countries. Abdulhamid's vision and

knowledge of the world and its people, both in the

East and the West, were cultivated through these

publications (Karimov 2016: 6). The fact that

Cholpon wrote a letter to a renowned figure like

Ismail Gaspirinsky in 1913 indicates that even at the

age of 15, he was already enlightened. In the letter, he

made it clear that he was well-informed about the

contents of newspapers such as "Shalola" ("Red

Tulip"), "Turk Yurdu" ("Turk's Land"), "Vaqt"

("Time"), "Iqbol" ("Future"), and "Tarjumon"

("Translator"), showcasing the enlightened

atmosphere of his family. This environment played a

crucial role in shaping Cholpon's worldview and

refining his artistic and aesthetic sensibilities.

3. Cholpon's fervent hope for freedom in the

dependent and colonized lands was awakened by the

bourgeois uprising and the February 1917 coup d'état

in Russia.

The autonomy of Kokand was declared, leading

thousands of intellectuals to engage in its

strengthening. At not yet twenty years old, Cholpon

had the privilege of writing the Anthem for the new

state, and this was no mere coincidence. As early as

1914, the young Abdulhamid had gained recognition

among the educated patriots of the nation. On April

18 of that year, the newspaper "Sadoi Turkiston"

("The Voice of Turkistan") published a poem titled

"To our Turkestan brothers," which included the

following lines: "When we observe any part of the

world and the condition of any nation, it is the youth

and young-minded heroes of that nation who bring

happiness, development, and progress. Their young

hearts dream of conquering all and breaking down the

strongholds of ignorance through force. Some of

them will realize their dreams and become leaders of

the entire nation, guiding the youth, the elderly,

husbands, and wives. With their young hearts, they

embark on the path of light, knowledge, and

enlightenment. Such young people exist in every

country, more or less, in their own way.

Alhamdulillah, our youth and young-minded children

are beginning to emerge among our Turkestan Turks.

As proof, it is enough to mention 12-year-old

M.Sanjarbek from Osh and 15-year-old Abdulhamid

from Andijan" (Cholpon, Abdulhamid, 1914).

According to Academician Naim Karimov, Cholpon's

poem "To our Turkestan brothers," published in the

"Sadoi Turkiston" newspaper in 1914, along with

stories like "Kurboni jaholat" ("Victims of

ignorance") and "Dokhtur Muhammadiyor" ("Doctor

Muhammadiyor"), his publicist article "Maktab,"

critical articles "Adabiyot nadir?" ("What is

literature?") and "To our respected writers," as well

as his "creative program," had already found their

expression (Karimov, Naim, 2016,7). Such

enthusiastic creative activity and the creation of

works deserving great recognition at the age of 16,

coupled with the possession of a creative program,

instilled confidence in him. It was no wonder that he

was chosen to compose the new National Anthem, as

there was hardly another nominee worthy of such an

honour.

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However, it wasn't just about the Anthem; the

emergence of the new autonomy resonated deeply

with Cholpon's patriotic ideals. He viewed this event

as a matter of life and death, fully prepared to dedicate

himself to it. Unfortunately, the autonomy soon faced

violent suppression, and its activists became targets

of persecution. To survive, the poet who had written

the Anthem had to remain out of sight, and

recognizing this, Zaki Validi took Cholpon to

Orenburg. There, he actively participated in the

formation of the Bashkortostan Autonomous

Government.

These experiences nurtured in the poet a strong belief

in the freedom of the country and shaped his political

views based on the concepts of a rejuvenated

Motherland and an emerging Nation. Naturally, these

ideas demanded innovation in his creative endeavours

as well.

4. Cholpon's acquaintance with world literature

occurred through Russian and Turkish literature.

During his childhood, he received an education in a

Madrasah and became proficient in Arabic and

Persian, which allowed him some exposure to

literature. Later, while attending a Russian-language

school, he became familiar with the Russian language

and literature, albeit from the perspective of tsarist

ideology towards indigenous peoples. However, as he

became aware of Jadidism and started exploring the

works of political-enlightenment representatives of

the national awakening movement, the level of

familiarity with Russian literature no longer satisfied

him. Traditional aspects of this literature had become

somewhat outdated in the face of innovations in

Russian, Turkish, and Tatar literature. Consequently,

Cholpon, in his poems, fearlessly began to

incorporate these learned innovations from these

languages into national standards, alongside the older

styles and traditions. Let us illustrate this with a few

examples.

A lesson learned from Shakespeare's poetic mastery.

It is known that at the beginning of the 20th century

in Turkestan, there was a rapid rise in renewing all

spheres of culture. The ascent of theatrical art began

to be realized primarily through the efforts of Jadid

intellectuals. Notably, Cholpon's translations of

world classical drama made a valuable contribution to

the development of Uzbek theater. Additionally,

these translations served as a great school in the

growth of the poet's artistic skill. Evidence of this can

be seen in his translation of William Shakespeare's

tragedy "Hamlet."

The translator undertook this work, presumably, on

the recommendation of Mannon Uyghur. References

to this can be found in the poem "To the first owner

of art symbol, comrade Uyghur," where it states,

"When the play 'A Healer of Turkistan' was being

performed, our scene was big enough for the

performance of Hamlet! - you used to say. Or, 'How

he made it shine by making the folk happy. It was the

greatest work by Shakespeare.'"

It is well-known that William Shakespeare's work

"Hamlet," like many of his other tragedies, was

written in poetic form. Before Cholpon's translations,

there were around 20 translations into Russian, some

in poetic form, and others in prose. For instance,

while the translations by Nikolai Ketcher and Pavel

Kanshin were in prose, artists such as Pyotr Gnedich,

Dmitry Averkiev, Nikolai Rossov, Mikhail Lozinsky,

Anna Radlova, and Boris Pasternak provided

translations in poetic or prose form. From our

observations, Cholpon must have acquainted himself

with all of them. Upon the advice of Shakespearean

studies expert Eugene Lann, he used Pavel Kanshin's

prose translation as the basis for his work.

Simultaneously, with the assistance of E. Lan, he

studied this translation in comparison with the

English original (Cholpan, Abdulhamid. (2016)). In

performing the prose translation, he must have

considered the taste and level of the Uzbek audience

at that time.

Although Cholpon's translation is in prose form, it

reads like poetry. The sentences are rich with

imagery, making them not much different from poetic

verses. An example of this can be found throughout

the work. In an excerpt from the fourth scene of the

third act of the translation, we can witness the debate

between Hamlet and his mother, the Queen:

Queen: Oh, stop it, Hamlet! You made me look into

the deepest recesses of my heart, and I see so many

black spots in it that nothing in the world can wash

them away!

Hamlet: Seeing these stains, I would rather live in a

disgusting barn, smelling the filthy odour of a dirty

bed, and continuing to push love songs over a cart of

manure. And...

Queen: So, say no more! Your words pierce my ears

like a dagger. Now, dear Hamlet!

Cholpon and World Literary Aesthetic Thinking

481

Hamlet: (continued) And in the arms of a murderer

and a vile creature unworthy of a dirty hair of your

ex-husband! In the arms of a clown who displays the

guilt of a human being, not a king! In the pocket of a

pickpocket who has won the kingdom and the

government, who stole a precious stone from the shelf

and hid it in his pocket...

Queen: That's enough!

Hamlet: (continued) In the king's lap made of scraps

and rags!

As evident, Cholpon's translation demonstrated its

own poetic perfection, even though it was written in

prose. Therefore, it can be regarded as a mature

translation. It is also apparent that Maqsud

Shaykhzoda learned from Cholpon during the

translation process. This is confirmed by the use of

the phrase "not worth a single dirty hair" - "not a

single dirty hair." Here, we are not merely

considering the skill of translation but also the

background of the creation of the common form of

the artistic style known as "Mansura poetry" in Uzbek

poetry, which was influenced by Cholpon's poetry.

Initially, this form was extensively reflected in the

poet's works. Cholpon had already employed this

method even before translating "Hamlet." For

instance, he used it in poems such as "Shulay bitamiz"

(Write like this), "Hoy och kambagal" ("Hey hungry

poor"), and in verses like "In the embrace of nature"

and "Nature's answer," where he adopted the Mansur

style. Cholpon's fondness for using this form in his

translations is evident.

It should also be noted that Cholpon's creative way of

thinking is akin to Shakespeare's. Thus, it is not

surprising that in the poem "Cholpon is a Cholpon,"

Ahmad Shukri likened the poet to Shakespeare. "As

soon as Cholpon's name reaches my ear,

Shakespeare's spirit becomes apparent," wrote the

author. "No matter how much I tried to differentiate

between Shakespeare's lyricism and Cholpon's

poetry, I could not find it. I have read 'Awakening'

many times. I read Shakespeare. Finally, I concluded

that Shakespeare is Cholpon or Cholpon is

Shakespeare" (Shukri, Ahmed, 2004).

An ode to the creation of Rabindranath Tagore. It is

not appropriate to view Cholpon's appreciation of

Rabindranath Tagore's work as merely a personal

interest. At its core was a grand and noble goal

characteristic of a great poet. It was the idea of

elevating the literature of Turkic peoples to the level

that Tagore had achieved with Indian literature.

Tagore had earned great renown in the early twentieth

century by winning the Nobel Prize, the highest

recognition for writers worldwide. In his article "The

Great Indian," Cholpon briefly analyzed not only

Uzbek but also Tatar, Azerbaijani, and Ottoman

literature, acknowledging their leading positions. He

expressed regret that Uzbek literature was

transitioning slowly from the old to the new but also

held hope for the future. Cholpon proposed the

assimilation of new (Western) literary forms in

Turkish literature while preserving its old spirit,

believing that this approach would propel the

literature to the forefront. The article also revealed

that the poet translated and published three poems

from Tagore's works.

Cholpon's two-part article, "Tagore and Tagore

Studies," also reflected this idea. "Rabindranath

Tagore is renowned in the cultural world," he stated.

"Even the backward Turkish Tartar people of Soviet

society have known him for several years." This

passage makes it evident that alongside recognizing

Tagore's fame, the poet also expressed his concern

that his people were "lagging far behind the cultural

world."

Cholpon's learning from Tagore can be categorized

into three aspects: 1) philosophical observations; 2)

the creation of poetic imagery from existing elements

and events, and 3) modernizing the form of poetry

while adhering to certain principles. In the poem

"Ignorance," which holds significant social meaning,

he included an epigraph from Tagore's "Great

Indian": "... We misread the book of the universe and

say, 'He deceives us.'" This philosophy resonates

deeply within the poem.

In the current editions of Cholpon's works, we find

only two poems from Tagore: "Lights" and "Hey

traveler girl." However, upon analyzing his articles, it

becomes evident that there were actually more

translations. The article "Great Indian" itself

mentions three translations.

In "Lights," Cholpon conveys the concepts of dignity

and freedom through the images of a porcelain lamp,

a ceramic lamp, the Moon, and a passenger girl in the

poem "Hey passenger girl." These translations

indicate the potential collaboration between Tagore

and Cholpon in the future. Overall, Cholpon utilized

his creative prowess to bring innovation to poetry,

achieving remarkable results.

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Cholpon's poetic synthesis of Russian literature

showcases his deep immersion in the language and

literary works of both his native tongue and his

people. Besides responding to the demands of the

social environment of his time, the poet saw the

Russian language as a gateway to the "cultural

world," and this understanding proved to be correct.

Long before the Turkic peoples, Russian writers had

translated rare examples of world literature into their

language, providing access to literary samples in

multiple languages. Moreover, Russian literature

quickly embraced leading ideas, motives, and styles

from world literature, allowing Cholpon to acquaint

himself with them rapidly. Undoubtedly, the rich

Russian literary environment greatly influenced

Cholpon, surpassing the literary progress of the

Turkic peoples. It was essential for every writer to

embrace and incorporate the modern achievements of

Russian literature.

Through translating several major classics of Russian

literature, such as A.S. Pushkin, N.V. Gogol, I.S.

Turgenev, I. Franko, A.P. Chekhov, L. Andreev,

A.M. Gorky, A. Blok, A. Serafimovich, and I.A.

Krylov into Uzbek, Cholpon mastered the influential

methods of this literature. The impact of many works

by these authors can also be seen in Cholpon's own

writings.

Since our research focuses on Cholpon's poetry, we

will primarily examine his references to Russian

poets. It should be noted that the poetry of Pushkin

and Blok had the most profound influence on

Cholpon. In addition to translating Pushkin's short

story "Dubrovsky" and poems such as "Bandi" (A

drug addict) and "Nightingale and Flower," Chulpon

adeptly translated the complex work "Boris

Godunov" into Uzbek in a poetic form. This

translation deepened his understanding of Pushkin's

poetic language. The combination of prose and poetry

in Cholpon's works, including some of his poems,

may be attributed to the influence of this translation

work. It also demonstrates that Cholpon's talent is on

par with Pushkin's. For instance, Cholpon translated

the poem "Bulbul and Gul" (Nightingale and Flower)

using the consistent poetic style of aruz:

"It was a dark night in the empty garden in spring,

Singing a lonely nightingale said, 'Have mercy on me,

my flower.'"

Its aruz poetic pattern:

mafoiylun mafoiylun mafoiylun mafoiylun

mafoiylun mafoiylun mafoiylun mafoiylun.

This exemplifies one of the greatest achievements of

Russian poetry in the early twentieth century, the

work of Alexander Blok. Many features of Cholpon's

poetry reflect qualities found in Blok's works.

Cholpon translated Blok's poem in 1922, indicating

his early acquaintance with Blok's poetry and its

influence on Cholpon's literary-aesthetic views. The

naming of some of Cholpon's poems, such as

"Sixteen" and "To the Sixties," bears resemblance to

Blok's famous epic poem "The Twelve."

Additionally, Cholpon's unique approach to

addressing events related to foreign countries and

peoples and interpreting them in a new light is also

influenced by Blok. Poems like "Daughter of the

Nile," "Luzon," "Pigeon," "Sleep of Cleopatra,"

"When you leave," and "An Episode" are crafted in

this manner.

It is not appropriate to solely attribute Cholpon's

attitude towards Russian literature to the socio-

political reality. His careful consideration of Russian

literary masterpieces is evident in his selection of the

best examples from it. For instance, he read and

translated I.A Krylov's fable "The Wolf and the

Lamb" without any propaganda. The influence of

Krylov can be seen in his poem "Friend and Enemy,"

dedicated to his nephew Marghuba:

The lamb says, "O Margub, save me from the wolf,

I will give you a place in the head of my pasture!"

The wolf said, "O Margub, give me the lamb,

Then I will praise you: Margub is brave, Margub is a

lion!"

The poem takes the form of a debate, concluding with

Margub stating,

"O wolf, you are the enemy, you are hungry! You are

my best friend, a tender lamb!.."

Certain poems by Cholpon also reflect the influence

of Russian poets S. Yesenin and V. Mayakovsky, who

were renowned during that time. His poem "The First

Letter" bears resemblance to S. Yesenin's "Letter,"

while poems like "Between Two Grasses" and "The

Poet of Today" adopt the line form similar to

Mayakovsky's style.

The origins of some of Cholpon's poems, considered

to be of Russian origin, warrant further study. A

comprehensive investigation can provide a broader

understanding of the relationship between Cholpon

and Russian poetry.

Cholpon and World Literary Aesthetic Thinking

483

Cholpon's creative perfection was also influenced by

fraternal peoples. At the beginning of the twentieth

century, the intellectuals of the Turkic peoples came

together in unity and alliance, recognizing that a great

future could only be achieved through such solidarity.

The national awakening ideology, embraced by the

Jadid movement, emphasized this idea, and Cholpon

was at the centre of this movement. In his poems and

articles, he commented on the work of Ottoman

Turkish poets, such as Nomiq Kamol, Ali Sayfi, Rizo

Tawfiq, and Yahya Kamol. His interaction with the

literary works of these writers and poets played a

significant role in shaping Cholpon's literary-

aesthetic views.

Cholpon's creative dialogue with Tatar and

Azerbaijani literary figures and cultural intellectuals

went beyond mere communication, as it reflected a

shared sense of fate and deepened the poet's thinking.

This exchange of ideas helped him transcend certain

boundaries within his own nation.

Additionally, Cholpon also wrote poems in Turkish.

So far, five of his "Ottoman" poems are known, but

there could be more. They demonstrate his free and

successful use of Turkish poetry. The death of an

unknown force is an expression of love.

Overall, Cholpon's engagement with various literary

traditions and cultures enriched his poetic expression

and allowed him to contribute significantly to Uzbek

literature.

It is essential to acknowledge Cholpon's cooperation

with a creator at this point. Evaluating the poet's

poems that praised the reality of the Soviet Union

solely as a modernity or a requirement of compromise

would not be fair. The quantity and sincerity of his

poems indicate that he genuinely believed in the

intensity of the events happening around him and had

hope in the potential of creators and the ideas they

presented. One such influential creator was

Abulqasim Lohuti.

Abulqasim Lohuti, whose real name is Abulqasim

Ahmadzoda, was born in 1887 in the Iranian city of

Kermanshahi. He actively participated in liberation

movements, uprisings, and revolutions in the early

twentieth century, facing persecution and even the

death penalty. He sought refuge in Baku in 1921 and

later moved to Moscow in 1922. He spent the rest of

his life in the former Soviet Union, becoming a

prominent figure in propagating Soviet ideas. His

calls and speeches resonated with Cholpon, and his

sincerity in expressing Communist-Bolshevik ideals

left a lasting impression on the poet.

Cholpon translated Lohuti's memoirs titled "Journey

to Europe" and published them in 1936 in one of the

literary magazines, later releasing them as a separate

book. In the same year, he also translated Lohuti's

poems, such as "Iranian Girl" and "Iranian Girl's

Answer." Cholpon's selection of the poem "Iranian

Girl" for translation may have been influenced by its

theme of longing for one's homeland despite leaving

it. Through this translation, he conveyed the message

that saving one's life alone cannot fulfil a person's

goal when they love their homeland deeply.

Numerous artists, including Abulqasim Lohuti,

influenced Cholpon by promoting and singing praises

of the Soviet reality. However, it was not the sole

influence on the poet's worldview. He deeply

analyzed events happening worldwide, drawing

inspiration for his poems from sources as varied as

ancient Egyptian and Greek texts to the political

attitudes of various countries in the twentieth century.

He keenly observed the manifestations of oppression

and violence and found similarities to the Soviet

policy that had subjugated several republics.

Whenever he came across works exposing the

oppression of the oppressed peoples, whether poems

or dramatic pieces, he felt compelled to translate

them. At times, he also translated works that

resonated with his dreams and ideals. The series of

poems titled "Chinese Tones" is one such example.

In the "Chinese Tones" series, poems like "The

Servant's Child Song" and "Zhan-Zi" criticize the

"poor" Soviet policy and question its benefits for the

poor. Additionally, Cholpon's translations from

Chinese poets Lu Jin Wan and Wei In Yu express

themes of nostalgia for the Motherland. This

broadness of worldview and deep understanding of

world events allowed Cholpon to create poetry that

touched upon a diverse range of subjects and

emotions.

3 CONCLUSION

The works of true talents, even when expressing the

national spirit, transcend the boundaries of artistic

thinking within a nation and attain universal

significance. The poetry of Uzbek poet Abdulhamid

Cholpon stands as a striking example of this

phenomenon. He delved deeply into the creative

traditions of both the East and the West, skilfully

synthesizing the achievements of world literature in

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his poetic works. Cholpon's connections with writers

from countries like Russia, Turkey, and Germany

facilitated a profound understanding of their literary

movements.

In particular, he extensively studied the creative

works of renowned poets such as William

Shakespeare, Alexander Pushkin, Sergei Yesenin,

and Alexander Blok, even translating their works into

Uzbek. Through his lyrical poems, he ingeniously

incorporated their artistic innovations, effectively

updating them in his own unique style. Notably, his

translation of Shakespeare's renowned tragedy,

Hamlet, can be considered the pinnacle of Cholpon's

translation career.

Moreover, Cholpon introduced Uzbek readers to

samples of Oriental literature through his series of

poems titled "Chinese Melodies." In essence,

Abdulhamid Cholpon elevated Uzbek artistic and

aesthetic thinking to a global level, securing his status

as a poet of international significance.

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