The Problem of Historical Fact and Interpretation in the Portrait of a

Historical Person

Gulbahor Ashurova

1,2

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

Uzbek-Azerbaijan Research Center named after Fuzuli, 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: In the wake of newfound independence, Uzbek authors have embraced a refreshing freedom to explore their

literary and aesthetic ambitions, championing lofty ideals. This autonomy has unshackled their ability to

authentically depict historical narratives and craft works centered around prominent historical figures. This

transformation has rekindled an interest in historical authenticity and artistic interpretation, as well as the

concept of the natural-aesthetic ideal. This article delves into the treatment of historical figures in Uzbek prose

during the post-independence era, with a particular focus on the intricate task of characterizing figures like

Navoi. It critically examines the interplay between historical accuracy and artistic portrayal in contemporary

Uzbek literature. Ultimately, this exploration reveals that the artistic depiction of historical figures is a

nuanced and multifaceted endeavor, emphasizing that there is no singular "correct" approach to representing

them.

1 INTRODUCTION

In the context of Uzbek literature during the

independence era, significant evolutionary processes

emerge across all literary genres. This transition is

particularly evident in the treatment of history and the

aesthetic consideration of historical figures.

Specifically, we witness a distinct transformation in

the portrayal of Alisher Navoi, a historical figure, and

the interpretation of his artistic representation. This

evolution deviates from the perceptions that prevailed

before independence, necessitating a comprehensive

investigation into historical facts, interpretative

issues, standards, and criteria related to the portrayal

of Navoi, the historical era he lived in, the literary

milieu of his time, and the genuine depiction of his

thought, imagination, and spiritual world.

The era of independence has ushered in a broader and

more audacious examination of issues and problems

associated with the lives of numerous historical

figures. Our writers and poets have redirected their

attention towards studying the works of eminent

thinkers such as Abu Ali ibn Sina, Abu Rayhan

Beruni, Farabi, and Alisher Navoi, as well as

statesmen and generals recognized worldwide,

including Jalaluddin Manguberdi, Amir Temur, and

Zahiruddin Muhammad Babur, among others.

During this period, the life and work of the reflective

poet Alisher Navoi have garnered significant

attention. Navoi's personality, characterized by his

advocacy of humanitarian ideas and proactive

courage in implementing them, has made him a

subject of historical and artistic exploration from

early on. Independence has paved the way for the

portrayal of historical figures in fiction with a

genuinely poetic touch. Consequently, a multitude of

stories, novels, poems, lyrical compositions, and

dramatic works have emerged, all of which hold

profound significance as they illuminate the character

of this great poet and thinker through a factual and

reality-grounded lens.

The contemporary literary process remains deeply

rooted in tradition. Therefore, Navoi's understanding

of folk poetic thought aligns with essential issues

such as tradition, innovation, historical foundations of

character depiction, poetic skill, and creative

individuality.

It is worth noting that the name "Hazrat" Navoi is not

only found in folklore and classical literature but is

also prevalent across all types and genres of

Ashurova, G.

The Problem of Historical Fact and Interpretation in the Portrait of a Historical Person.

DOI: 10.5220/0012512600003792

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

In Proceedings of the 1st Pamir Transboundar y Conference for Sustainable Societies (PAMIR 2023), pages 829-833

ISBN: 978-989-758-687-3

829

contemporary Uzbek literature during the

independence period.

When examining the history of Amir Temur's

depiction in fiction, academician B. Nazarov aptly

points out: "Up to now, hundreds, if not thousands, of

historical writings, articles, studies, and artistic works

in various genres have been written about this

remarkable figure in dozens of languages. Many of

these works were composed with an objective

intention. However, some lacked reliable sources,

exhibited bias, or were driven by ideological agendas,

leading to one-sided, distorted, and misinterpreted

portrayals. The examination of his works and related

history often lacked depth and comprehensiveness

due to skill deficiencies.

The era of independence has not only reintroduced

Amir Temur to the Uzbek people but has also placed

him firmly within the global community. This new

era has created opportunities to sift through the

information buried in the complex, dusty, and

turbulent annals of history and unveil the truth.

Consequently, historians, scientists, and writers face

new tasks in presenting a more balanced and accurate

narrative (Nazarov, 2019).

These observations are, in many respects, applicable

to the depiction of Alisher Navoi in fiction. The

ideology of the former Soviet period had a significant

impact on how Navoi's personality and creativity

were perceived, often subjecting his religious-

mystical worldview and relationships to one-sided

interpretations. Biased comments in academic circles

found their way into fiction, as evidenced by Oybek's

portrayal of the distorted relations between Navoi and

Binoi in his novel 'Navoi' (Mirzoev A. Kamal, 1976).

Similar phenomena can be observed in the works of

Mirkarim Asim, Uygun, and Izzat Sultan.

Rather than delving into these points in detail, it is

more fitting to provide an extract that illuminates

their causes and consequences succinctly and

truthfully. These comments belong to academician A.

Mirzoev: "These biased claims also affected fiction,

leading to Oybek's portrayal of the distorted relations

between Navoi and Binoi in his novel 'Navoi'

(Mirzoev A. Kamal, 1976). Similar phenomena can

be observed in the works of Mirkarim Asim, Uygun,

and Izzat Sultan.".

2 LITERATURE REVIEW

It should be noted separately that the problem of

artistic interpretation of historical figures is one of the

most important scientific problems which is in the

center of attention of world literary studies. It is not

easy to imagine the volume of scientific works

dedicated only to writers and poets. Some of them can

be noted. Such writer 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 many other creators

have worked blessedly on creating the image of

historical figures.

The feelings of devotion to the country and the nation

take priority in description of the image of the figure

Alisher Navoi. Even in the depiction of friendship

relationship with Husayn Boygaro, the authors

emphasize the unity and integrity of these feelings

with the feelings of love for country and homeland.

Natural harmony with high moral and spiritual

requirements in this process makes the figure of

Alisher Navoi more beautiful, dignified and pleasant.

There are many secrets of artistic creation. It is

always difficult to develop their true nature. How to

write a work of art? Why is it written? Who is it

written for? Such questions can go on and on. Of

course, the answers received so far are not so few.

The main feature of the image of a historical figure is

that the subject is clear and its boundaries are roughly

defined. Nevertheless, this "certainty" and "marked

boundaries" are so great that it is not easy to imagine

the area of its existence.

When depicting and interpreting a historical figure, it

is essential to "focus on the characteristics that hold

significance and value for us today" in the artistic

representation (Nazarov B. ( 2019)). It's worth noting

that the interpretation of historical facts and the

materials used for this purpose are characterised by a

system of distinctive approaches. The critical aspect

is that this choice should provide satisfaction and

comfort to the engaged and curious reader of the

work. We believe that the writer R. Haydarova was

able to encapsulate this in a particularly concise and

figurative manner: "To put it metaphorically,

historical reality in a work penned on a historical

topic serves merely as an aura and a lining. 'Meaning

and form are the principal criteria for artistic work –

artistry' (Nazarov B. (2019))."

The techniques employed to portray the psyche of the

protagonist depend on the writer's experience and

skill. Various tools such as portrait drawing,

monologues and dialogues, nature scenes,

commenting on the language of others, and

comparing or contrasting one character with another

are used to achieve this (Krupchanova (2009)).

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Alisher Navoi had a profound understanding of the

complete observance of Islamic beliefs and

recognised the immense significance and status these

traditions held in societal life. Notably, he understood

that the ruling class's attitude towards these practices

was a major factor in evaluating their reputation

among the people. How is this facet conveyed in

historical novels? The protagonist's dialogue helps

describe and verify his historical context and standing

in historical conditions. Simultaneously, it can assist

in making the protagonist more relatable to

contemporary times. The modernity of the historical

work likely hinges on these factors as well. At this

juncture, the protagonist's dialogue begins to resonate

with modern challenges.

"The process of crafting an artistic image initially

implies a rigorous selection of materials: the artist

seizes the most characteristic elements of the depicted

image, discards all incidental elements, and develops

this or that aspect by intensifying or refining it to its

utmost brilliance (Ganaplskoy, A.V.)." Any writer

resorts to functional-logical types of speech during

the formation of the image. These primarily manifest

in the form of description, narration, and reasoning.

Description is a verbal representation of a specific

event, location, or moment in time, or of one or more

individuals (Ermatov B.S. (2019)). A narrative is a

chronicle of events. The text of the story serves to

present various actions and events in a coherent

fashion. Reasoning involves articulating, elucidating,

and validating a certain idea through words (Ermatov

B.S. (2019)). It is these forms that can make the

literary protagonist and the images associated with

him either complete or incomplete.

To substantiate this thesis, it appears fitting to draw

attention to a fact that confirms the social and literary-

aesthetic power of a single word used in Amir

Temur's speech before analysing the works created

about the thinker and writer, Alisher Navoi. This fact

was brought to light by the scientist S. Ermatov, who

studied Amir Temur’s image in Western Literature.

He stated: "History informs us that Rui Gonzalez de

Clavijo, the ambassador of Castilian King Enrique

(Henry) III, visited Samarkand in 1404 and was

warmly welcomed by the great leader, Amir Temur.

Claviho writes the following about this reception

ceremony: "... Then Temur Bek enquired about His

Majesty the king: 'How is my son, the king, faring? Is

he in good health?' At first glance, it remains unclear

to the reader why a man as great as Amir Temur

would call the distant king of Castile 'my son'."

English author Hilda Hookham, who wrote the book

"Sultans of Seven Climates/countries", suggests that

the word "son" was a form of address for

subordinates. Uzbek scientist and candidate of

historical sciences (now doctor of historical sciences

- G.A.) A. Ziyoev also concurs, saying: "In the

diplomatic language of that time, the word 'son' meant

'obedient to me'." However, we respectfully disagree

with them. The reason for this, primarily, is that

neither Eastern nor Western historians have

expressed such an opinion, except for the English

writer and A. Ziyoev. Secondly, Enrique III, King of

Castile and Leon, was not subject to Amir. To

understand why Great Amir Temur addressed

Enrique III as "my son", we must delve into the life

history of Enrique III 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 tragically fell from his

horse and died in 1390, and Enrique III ascended the

throne at the tender age of four in 1393. During

Enrique III's brief reign, the country achieved peace

and the economic situation also improved. He was

recognised as a skilled diplomat in foreign policy.

Enrique III, often referred to as 'el Dolente' due to his

lifelong illness, learned about events transpiring in

Small and Central Asia through Yildirim, who was

well-informed about the happenings in those regions.

He was deeply concerned about Bayezid’s threat to

Europe, so he dispatched 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 28th July 1402 and celebrated Amir

Timur’s victory. As Spanish historian Gil Dávila

González noted in his book “King Enrique III of

Castile: Life and Activities”, Amir Temur honoured

the ambassadors with military weapons. Greatly

impressed by Great Leader Amir Timur’s warm

reception, Sotomayor and Palazuelos praised him

highly. The ambassadors returned to Castile in

February 1403. Enrique III was deeply moved by

Timur's respect and, hoping to develop friendly

relations, he promptly sent his new Ambassador, Rui

Gonzalez de Clavijo, to Samarkand.

Amir Temur had learned about the king’s health from

the previous ambassadors who came to Samarkand.

When he asked Clavijo about the king's health, he was

completely correct. After all, it is from the first

Spanish ambassadors to Castile and from his

ambassadors who returned to Samarkand that Amir

Timur was informed of Enrique III’s illness. With

this, he demonstrated not only his status as a cultured

and wise state leader but also displayed his fatherly

care and concern for the king of Castile, who had

established a friendly relationship between Amir

Timur’s State and his kingdom. The real proof of this

The Problem of Historical Fact and Interpretation in the Portrait of a Historical Person

831

can be what Amir Timur said to the royal

ambassadors: "I would be relieved and happy to learn

about my son's health and would consider it a gift

from the king if he had sent you merely with a (single)

letter."( Nazarov B. ( 2019)) To prevent the distortion

of Amir Temur’s noble image in the history of Uzbek

literature, it is necessary to conduct research, read

history books, and to comprehend the great

Statesman’s inner feelings, to express the religious

actions and deeds of the writers who need to adopt a

broad worldview. Obtaining details about the reality

of events and dates is not sufficient to resurrect

history. Simple, ordinary information statements and

texts can lead to student boredom. For the voice of the

sage, silently resting in the bosom of the ages, to be

heard, the truth and depth of the interpretation of

historical facts must resonate like an enticing melody,

as when a harp string is struck. Embodying history in

language, "speaking", "clothing" historical figures,

drawing reliable portraits, thinking in accordance

with the current situation, listening to the heart and

understanding pain - all this requires the writer to

present historical truth based on historical fact and

criteria. The example is a factor illustrating the

importance of this aspect.

3 CONCLUSIONS

Based on the above interpretations, the following

conclusions can be drawn:

1. The creation of artworks is influenced by a

multitude of factors. In addition to these

factors, the laws related to the "migration" of

authentic socio-historical events into fiction

are also applicable in works centred around

historical subjects.

2. Historical facts and materials do not

inherently constitute "literary material".

Within this context, the principles of

summarisation, categorisation, and selection

hold a priority position in the profoundly

complex creative thought process of the

author.

3. In portraying and interpreting a historical

figure, it is crucial to "concentrate on the

characteristics that are valuable and

significant for us today" within the artistic

interpretation. It is worth mentioning that the

interpretation of historical facts and

materials used for this purpose is

characterised by a system of distinct

approaches. This selection process must

ensure that the work is vibrant, impactful,

and generates curiosity and peace in the

reader.

4. A narrative is a chronicle of events. The

purpose of the story's text is to present

various actions and events in a cohesive

manner. Reasoning involves expressing,

clarifying, elucidating, and substantiating a

certain idea through words. In the Uzbek

prose of the independence era, these same

forms appear when addressing the problem

of historical fact and interpretation, and the

completeness or incompleteness of the

literary hero and associated images.

5. In depicting and interpreting a historical

figure, it is essential to "focus on the traits

that are precious and relevant for us today"

in the artistic interpretation. The

interpretation of historical facts and

materials used for this purpose formulates a

unique system of approaches within the

context of historicity.

6. In Uzbek literature, the issue of historical

fact and interpretation in portraying a

historical person, creating a historical work,

and evaluating it is inseparably linked with

the attitude towards historical figures in the

Uzbek prose of the independence era,

especially the portrayal of the figure of

Navoi.

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