Zulfiya — A Prominent Poetess of Uzbek Literature
Annotation.
This article analyzes the life and creative work of Zulfiya Isroilova, a prominent representative of Uzbek literature, People’s Poetess, and public figure. It highlights the artistic and aesthetic value of her works and their role in expressing universal ideas such as the spiritual world of Uzbek women, love for the homeland, loyalty, peace, and beauty. The article also examines the harmony between natural imagery and human emotions in Zulfiya’s poetry, as well as her active participation in the social life of her time.
Introduction.
In the development and formation of Uzbek literature, Zulfiya occupies an exceptional place among female poets. Through her unique lyrical works, she brought new beauty, sincerity, and a spirit of humanity into Uzbek poetry. Her works symbolize the dreams, hopes, and devotion of the Uzbek woman, and thus hold an important place in the history of national literature. The poetess’s works not only reflect the social and spiritual environment of her era but also portray the subtlest feelings of the human soul. Through her poetry, she glorified women’s strong will, patience, family affection, and motherly devotion. In this sense, Zulfiya’s creativity represents a special stage in shaping the artistic image of the Uzbek woman.
Main Part.
Zulfiya Isroilova was born on March 1, 1915, in Tashkent, into an educated family. From an early age, she showed great interest in books, literature, and poetry. Her first poetic attempts began during her school years, and her talent soon gained recognition. Her first poem was published in the Ishchi (Worker) newspaper in 1931. Her first poetry collection, Hayot varaqalari (Pages of Life), appeared in 1932, followed by Temiroy (1934), She’rlar (Poems), and Qizlar qo‘shig‘i (Song of Girls, 1939). The peak of her poetic career is associated with the collections They Called Him Farhod (1943), Days of Separation (1944), and Khulkar (1947).
After the sudden death of her husband, the famous writer Hamid Olimjon, in 1944, Zulfiya’s poetry entered a new phase, filled with deep emotional and spiritual experiences. Through her personal tragedy, she expressed the pain and sorrow of a nation emerging from World War II with great loss and grief.
The early stage of Zulfiya’s work was devoted mainly to themes of youth, love, nature, and dreams. During the war and post-war years, her focus shifted toward social issues such as human destiny, peace, prosperity of the Motherland, and the role of women in society. Her life was challenging yet exemplary. She was not only active in literature but also in social work, dedicating many years to defending women’s rights and supporting young writers. In 1956, she was awarded the title of People’s Poetess of Uzbekistan and later became a laureate of the State Prize.
Together with her husband, Hamid Olimjon, Zulfiya formed one of the most remarkable creative tandems in Uzbek literature. Their literary and emotional partnership opened a bright page in the history of Uzbek poetry. After Hamid Olimjon’s death, Zulfiya wrote many touching poems dedicated to his memory, which became symbols of loyalty and perseverance in Uzbek women’s poetry.
At the center of Zulfiya’s creative world stand the themes of the human being, womanhood, homeland, and nature. Her poetry is filled with faith in life, humanity, peace, and goodness. She interpreted the social role of women, motherhood, loyalty, and love through the lens of national values. In her poem Woman, for example, she glorifies the image of a woman as a source of kindness and the creative force of life.
The themes of patriotism and peace occupy a central place in her works. During World War II, she wrote poems expressing the suffering, loss, and yearning for peace of her people. In her poem My Son, There Must Never Be War, she conveys the idea of peace through a mother’s heartfelt voice, addressing all humanity.
Nature imagery occupies a special place in Zulfiya’s poetry. Spring, rain, flowers, and birds symbolize the inner world of human emotions. For Zulfiya, nature was not merely a background but a reflection of the soul. This harmony between beauty and spirituality makes her poems emotionally rich and artistically powerful.
Her famous poem Spring Has Come Asking for You… beautifully embodies this harmony:
Spring has come asking for you…
In the cool mornings, in the almond blossoms,
In the lips of violets, in the fields — spring.
In the flight of birds, in the playful breeze,
In velvet valleys and hills — spring…
How you loved the spring, my dear,
You adored the apricot blossoms.
Each awakening bud gave life anew —
You’d touch and kiss it tenderly.
In these lines, the poetess captures not only the beauty of nature but also the deep longing and love hidden behind each breath of spring. Here, spring becomes a symbol of warmth, revival, and cherished memories — not merely a season but a metaphor for renewal and affection.
By the late 1940s, after the Soviet Union’s resolutions concerning art and literature were implemented, Uzbek literature suffered significant setbacks. Zulfiya, accused of pessimism, was harshly criticized. Like many of her contemporaries, she then began composing poems that reflected the “spirit of the era.” However, she soon returned to her natural voice, writing poems and journalistic essays about women’s lives, calling on them to be socially active and defend their rights.
In the second half of the 1950s, Zulfiya took part in the Asian and African Writers’ Conferences under the banner of peace and international solidarity, visiting many countries including India, Egypt, Japan, and neighboring republics. These travels left a profound impression on her creativity. Poems such as Mushaira, My Son, There Must Never Be War, Kazakh Melodies, and The Picture I Could Not Paint brought her widespread fame.
From the 1970s onward, her poetry gained new colors and emotional depth, reflecting the national life and philosophy of reality. Her collections Thoughts (1965), Reunion (1972), and Years, Years… (1975) mark the period of her true artistic maturity. She also returned to the epic genre with The Sunlit Pen (1970), dedicated to her mentor Oybek. In addition, she wrote a series of children’s poems, including The Red Tulip (1975).
A significant part of her life was devoted to preserving and publishing the literary heritage of her husband, Hamid Olimjon. As part of this work, she co-authored the play Simurgh (with S. Somova), based on his epic Simurgh or Parizod and Bunyod, and wrote the libretto for the opera Zaynab and Omon.
Zulfiya was not only a poetess but also a translator, literary promoter, and public figure. She worked tirelessly to introduce Uzbek readers to world literature, translating works by Pushkin, Lermontov, Shevchenko, and Nekrasov with deep sensitivity to rhythm and poetic spirit. For her, translation was not merely linguistic exchange but a cultural dialogue between peoples.
For many years, she worked at the Union of Writers of Uzbekistan, mentoring young authors and supporting their creative growth. She actively addressed issues of women’s rights, education, and spirituality. Even in her later years, Zulfiya never stopped writing. She always felt a profound responsibility toward her people, literature, and homeland. Her life and work remain an inspiration for generations.
Today, the annual Zulfiya State Prize serves as a symbol of deep respect and admiration for her name. This award continues to inspire hundreds of talented young women in their creative journeys.
Conclusion.
Zulfiya is the pride of Uzbek literature — a symbol of feminine grace, loyalty, and devotion. Through her poetry, she conveyed the soul of the nation, the purity of the human heart, and the tenderness of womanhood. Her works remain a spiritual lesson for all humanity, nurturing readers with love, kindness, and patriotism.
Zulfiya elevated the image of the Uzbek woman to an artistic ideal, immortalizing her spiritual beauty through the art of words. Today, Zulfiya’s name lives on as an embodiment of womanhood, loyalty, and patriotism in Uzbek literature. Her poems, analyses, translations, and public activities are regarded as an invaluable part of Uzbekistan’s cultural heritage. Her life calls us to patience, love, and devotion to creativity.
References
1. Zulfiya. Selected Works. Tashkent: G‘afur G‘ulom Literature and Art Publishing House, 1980.
2. Karimova N. The Poetic World of Zulfiya’s Creativity. Tashkent: National Library of Uzbekistan, 2015.
3. Sodiqova D. The Role of Uzbek Women Poets in Literature. Tashkent, 2012.
4. Hamidova M. Zulfiya — The Queen of Lyrics. // Uzbekistan Literature and Art Newspaper, 2020, No. 3.
5. www.ziyouz.uz — Information portal about the life and works of People’s Poetess of Uzbekistan, Zulfiya.
Choriyeva Oynur was born in Muborak district of the Republic of Uzbekistan. She is a student at the Faculty of English Philology of the Uzbekistan State World Languages University.