Interpretation of the Female Image in the Works of Cho‘lpon and Hamza
Hamida Nazarova Teacher of Uzbek Language and Literature Scientific Supervisor: Normat Yo‘ldoshev
If we look at the works of Abdulhamid Cho‘lpon, we can see the richness and diversity of his creativity. His depictions of nature and human emotions attract every reader deeply. Cho‘lpon wrote poems and stories about topics connected with every person’s life. His novel “Night and Day” and many other stories reflect important social and moral issues.
Cho‘lpon especially described the difficult condition of Uzbek women of that period, the injustice and humiliation they faced, and society’s silence toward such oppression. In many of his works women are insulted, oppressed, and treated unfairly. Fathers often looked at their daughters as objects and sacrificed them for their own interests or reputation. This shows how tragic the condition of women was at that time.
One of the brightest examples is the novel “Night and Day.” In this work Cho‘lpon truthfully portrays characters such as the innocent and simple Zebi and Qurvonbibi, whose life passes in darkness because of ignorance and oppression.
Zebi is an Uzbek girl who completely submits herself to the environment around her. The writer presents her naturally, without exaggeration. Like Qurvonbibi, she spends her whole life within four walls. Although she has no education or special knowledge, her innocence and simplicity make the reader admire her.
Throughout the novel Zebi experiences many hardships. Fate punishes her mercilessly for crimes she never committed. However, despite all the suffering, her inner purity and moral beauty never change. In many literary works heroes grow and change over time, but Zebi remains the same innocent and sincere girl from beginning to end. Her suffering only increases, yet her spiritual beauty becomes even stronger.
When imagining Zebi, one sees a modest, innocent, and honorable Uzbek girl. She does not know deceit, trickery, or rebellion. She accepts injustice silently and represents the traditional image of an Uzbek woman of that era.
During the same period Hamza Hakimzoda Niyoziy was also creating literary works. The themes in Cho‘lpon and Hamza’s works are very similar: criticism of ignorance, encouragement of enlightenment, and love for the nation and homeland. While Cho‘lpon described the suffering of oppressed women, Hamza encouraged women to become educated and enlightened, to free themselves from ignorance and darkness.
In his poems Hamza wrote:
“The time has come to reveal yourself, Break your chains and scatter them everywhere.” In the novel “New Happiness” he encourages people to seek knowledge and education:
“Study and gain knowledge, Drink from the fountain of enlightenment, Free your tongue from ignorance, Live with concern for your nation.”
In Cho‘lpon’s works women suffer physically and spiritually, while in Hamza’s works women struggle for their freedom and dignity. In the drama “Poisonous Life or Victims of Love,” the heroine Maryam refuses to accept injustice and even chooses death instead of surrendering to oppression.
Maryam and Mahmud are educated young people who dream of bringing enlightenment to society. Maryam especially believes that women and men together should guide the nation from darkness toward light. However, the conservative environment destroys their dreams, and in the end they sacrifice themselves as a form of protest against the unjust system.
Cho‘lpon’s stories such as “Tulip in the Snow,” “Breakfast,” “The Baker’s Daughter,” and “In Moonlit Nights” also reveal the patience, sincerity, and simplicity of Uzbek women. In “Tulip in the Snow,” the fate of the young girl Sharofatxon resembles the tragic fate of Maryam. She is forced to marry an old religious leader against her will.
Unlike Maryam, Sharofatxon does not resist injustice. She obeys her parents and submits to destiny. This difference can be explained by education and awareness. Maryam becomes educated and develops her worldview, while Sharofatxon remains powerless because of ignorance and lack of opportunity.
The title “Tulip in the Snow” itself carries symbolic meaning. The tulip symbolizes a young girl in the spring of her life, while snow symbolizes coldness, old age, and tragedy. The story criticizes a society in which young girls are sacrificed to old men in the name of tradition and blind respect.
The image of the old Eshon creates strong anger in the reader. Even though he is very old, society praises him when he takes the young bride. This demonstrates the deep ignorance and injustice of that period.
A father giving away his daughter like an object naturally creates hatred toward such behavior. Girls, just like boys, have the right to happiness, freedom, and a meaningful life. The reason for such oppression was ignorance and lack of education.
Education and morality play an important role in human life. An educated person can resist cruelty and protect oppressed people. Unfortunately, in the past many people had no opportunity to receive education, while wealthy people spent their money on pleasure instead of knowledge. Ignorance brought selfishness, cruelty, and indifference, which became the main causes of women’s suffering.
References: 1. Qosimov B., Yusupov Sh., Dolimov U., Rizayev Sh., Ahmedov S. Uzbek Literature of the National Awakening Period. 2. Sultonxo‘jayeva Sh. The Skill of Creating Characters in Cho‘lpon’s Stories. 3. Haqqul Ibrohim. Two Articles about Cho‘lpon. 4. Cho‘lpon A. Night and Day. 5. Niyoziy H. Poems for Uzbek Women. 6. Niyoziy H. Poisonous Life or Victims of Love. 7. Niyoziy H. New Happiness.
Once upon a time there was a girl called Love. She was so kind and generous and very curious about the world outside of the Walls.
Love, was staying in a beautiful city but her parents was very affraid because she was so sensitive and small, so they keep her inside the
Walls.
Love, she has a beautiful room with so many toys and books and she had a teacher that she visited her 4 days per week to do their homework. It was very interested onthe outside world and she often asked questions to the teacher:
_What exist behind the Walls?
The teacher never responded clearly.she was always say things with no sense.
The sky is blue. The trees are green.There are big houses and red flowers.
One night, Love was trying to sleep and then a strange insect come to her room.
Zzzzzzz
Zzzzzz
Are you a mosquito?
She asked the insect…
Noo , I am a libelule.I am the savage libelule but the wind make me loose my path.i lost my sisters.my sisters love me
They will come back for me.
Are you coming outside of the Walls??
Please tell me,what exist out there..
Love, asked the little insect.
Have you ever see the night without stars?
Noo, responded the little girl
Have you ever see a bird without wings??
Noo, responded the little girl
So, that is behind the Walls.
Sadness and fear.
No place to stay and play.
Because the Love walk away since several years ago!!
But i don’t understand…
I am Love and i never walk away…
In fact i never had the chance to get out of those Walls!!!
She responded in a very serious way.
Then, if you are The Love.
I must educate you .
I have no time , my sisters will come soon for me. We are happy only when we’re all together.
If you are The Love, You must be free.
You must overcome those Walls.
You must go deep and receive before you take. But you must always give freely.
Each time you give love, a libelule is born.
We need so many libelules to keep this world, in harmony, full of light and full of hope.
If you are the Love, no Matter what,you will stay in the heart of Humans and animals. You Will try every day and night.
Because only Love can bring happiness to faces of human, only love can bring back the light to the stars…only Love can bring the wings to the birds.
If you are the Love, only You , You can destroy those Walls!!!!!
The Love is a huge energy, full of light and compassion.
Nobody can stop her, if she make wishes.
If you’re the true Love, this world will be in peace, happy,and healthy again.
“God is Change.” — Octavia Butler, The Parable of the Sower
This month’s issue explores how individuals and societies navigate change, uncertainty, and transformation. Through poetry, essays, cultural criticism, artwork, fiction, and scholarship, these works examine what it means to stay human in a rapidly shifting world, while searching for meaning, connection, identity, and resilience.
Our issue starts with contributors looking directly into time, change, and transformation. Jacques Fleury speaks to seasons, renewal, and the passage of time. Patrick Sweeney’s monostich poems explore transitions, nostalgia, and fleeting but precious moments. J.K. Durick draws on airports as a metaphor for connection, disconnection, and transition. Roberta Beach Jacobson addresses identity, impermanence and transformation in her poetry. Nozimova Shukrona highlights how travel can facilitate personal growth, learning, and development. Tursunova Mehrinoz Oybek qiz outlines the process of self-discovery, career and intellectual development. Laskiaf Amortegui encourages readers to focus on the present and future, drawing on heartbreaks as catalysts for the future rather than letting romantic disappointment hold us back. Elaine Murray celebrates the warm, gentle beauty of the country on a spring day. Brian Barbeito speaks to the deep mystery of the sea as rendered through different works of literature, and to the continual change of seasons.
Other writers speak to love, longing, and human connection. Mesfakus Salahin reflects on the importance of love and freedom in a changing and fragile world. Joshua Obirija somehow misses a place he’s never been. Stephen Jarrell Williams expresses love, longing, nostalgia, imagination, and a sense of vulnerability. Milica Tomić begs a lover to return to her and renew the early days of their relationship. Yuldasheva Xadichaxon Bahodir qizi laments a lost love. Lan Xin speaks eloquent words of comfort to those living through romantic heartbreak. Eva Lianou Petropoulou rejoices in the power of love to overcome difficult situations. Soumen Roy’s poetry “Lonely River” is a reflective and introspective piece that explores themes of love, isolation, growth, and resilience. Kholboyev Mashrab offers love and respect to his caring mother. Abdusalomova Marjona Jahongir qizi celebrates a mother’s unconditional love. Polina Moys celebrates family, kindness, children, and gratitude for everyday blessings. Bakhadirova Rukhshona remembers the love of a caring grandfather figure. Saparboyeva Laylo Hajiboy kizi’s short story relates how mothering can bring people purpose and help them move forward after loss.
Some people engage in existential reflection and the search for meaning. J.J. Campbell’s lyrical works explore disillusionment, existential crisis, and the search for meaning in a decaying world. Jelena Jovanović illuminates existential crisis, nihilism, and the search for meaning. Sterling Warner’s poems rebel against conformity and consumerism, turning instead to inward spirituality. Sayani Mukherjee explores the concept of soul, the essence of a person, and of a society.Duane Vorhees’ poetry speaks to duality, paradox, repression and authenticity, and the subconscious and the power of nature. Daniel G. Snethen and Alex S. Johnson’s spider poem suggests that existence is cyclical, with life and death being intertwined and perpetual. Elena Nedelcu’s poems present a dreamlike, iridescent view of the world, speaking to self-discovery, love and connection, and spiritual searching.
Some look into war, violence, and historical memory. Alan Catlin’s work probes propaganda, wartime violence, and the “banality of evil” with destruction amidst cultural entertainment. Joseph C. Ogbonna critiques hubris through an epic take on Napoleon’s military downfall in the Russian winter. Marjona Karshiyeva Zoxidjon speaks to war, loss, and the longing for peace. Jernail S. Anand urges people to integrate the lessons of history into today rather than consigning historical figures to the past. Su Yun’s pieces point to the impact of violence on a child’s fragile psyche and the power of art to enhance resilience.
Still others explore themes of identity, society, and cultural critique. Ken Poyner touches on the fragility of relationships and social norms and the blurred lines between order and control. Mark Young’s intertextual work sends up a mishmash of names and identities, high and low culture. Alex S. Johnson critiques the propensity of the healthcare system to use its soft power to generate clinical narratives that can override patients’ lived realities. Later, he lampoons celebrity culture through an essay on the off-screen personality of Willem Dafoe. Hilola Sharipova reminds young would-be Internet influencers to focus on character rather than fame and appearance. Muslima Murodova reminds us to look beyond first impressions and avoid snap judgements in social situations.
Literature, art, and creativity are often important vehicles by which we hold onto and communicate our humanity amid change. Kobulova Madina outlines the types of heroes presented in Russian literature and how the concept of heroism has diversified in recent years. Harinder Cheema revels in the power of poetry to foster creativity and transcend cultural boundaries. Ozodbek Narzullayev honors the power of poetry and the calling of being a poet. Shahnoza Amanboyeva adds her thoughts to the question of artificial intelligence’s effects on artistic creativity. Dr. Reda Abdul Rahim compares themes of imagination and facing the unknown in Haruki Murakami’s Murder of the Commander and the ancient epic of Gilgamesh. Murtazoeva Shakhnozabonu advocates for youth to study classical Russian literature. Fhen M. celebrates and honors the lengthy heritage of literary and popular musical and literary culture in his evocative poem. Tuychiyeva Odinaxon Axmadjon qizi looks into how globalization and nationalism are simultaneously influencing Uzbek art. In an interview with poet Eva Lianou Petropoulou about his Hyperloop project, where he collects short poems from around the world, writer Alexander Kabishev discusses what he’s learned about innovation, collaboration, and perseverance.
Several writers look to education, language, and learning as facets of human creativity. Jumanazarova Nafisa speculates on the advantages of online vs offline education. Orinboyeva Sayyora and Maxliyoxon Yuldasheva discuss various pedagogical approaches to improving student communication in foreign languages. Soliyeva Dilshoda Tokhtamatjon qizi highlights ways to use fairy tales to improve language learners’ speech. Alimardonova Gulsevar Sirojiddinovna offers up a comparative analysis of terminology in English and Uzbek. Shohista Narzulla O’ktamova qizi discusses nouns and adjectives in Uzbek dialects. Norqizilova Layla outlines the potential roles for artificial intelligence in education. Feruza Otaboyeva suggests that students should volunteer for the sake of helping others, not just to pad their resumes.
Several of these writers focus on the transformation of society through labor, industry, and modernization. Rakhimova Dilafroʻz Axrorjon qizi explores the food industry as a living expression of Uzbek identity, showing how nourishment becomes a bridge between cultural continuity and modern commerce. Umarova Muattarxon Akromjon qizi similarly examines the garment industry as both a practical and symbolic force within Uzbekistan’s evolving economy, where tradition is stitched into the fabric of contemporary life. Oʻrinboyeva Ziynatjon’s discussion of big data expands this transition into the scientific and technological sphere, portraying a world increasingly shaped by information systems that redefine medicine, research, and communication. Kholdorova Durdona Odiljonovna looks deeper into medicine, outlining the physiological mechanism of inflammation. Muxtorov Xabibullo Kozimjon o‘g‘li discusses modern methods for reactive electrical power compensation. Nigora Tursunboyeva weighs the promises and dangers technology presents to younger generations, illuminating the tension between digital opportunity and emotional vulnerability. Jamilova Zaxro’s work on digital diplomacy further reflects a civilization adapting its oldest political practices to a rapidly interconnected world. Meanwhile, Jalolova Ruxshona Nosir qizi, Ubaydullayeva Fariza Sheraliyevna, and O‘rinboyeva Zarina Xabibullo qizi examine risk prediction and logistics modeling, emphasizing how modern societies increasingly rely upon technology and data to navigate uncertainty.
Yet transition is not only technological or economic; it is deeply moral and psychological. Nazarova Hamida turns toward the humanitarian wisdom of Uzbek poets Alisher Navoi and Abay Qunanbayuli, whose works remind readers that periods of change require compassion and ethical grounding. Hua Ai’s reflections in Quintessence similarly argue that meaningful social transformation begins within the self: before one changes the world, one must first confront one’s own consciousness. Zinnura Yo‘ldoshaliyeva explores the psychology of risk-taking, capturing the fragile threshold between fear and courage that accompanies every major life decision. Xasanova Aziza Kumushbek qizi encourages readers to resist the crushing weight of criticism and maintain dignity amid judgment, portraying resilience as an act of survival during moments of personal upheaval.
Many of these works also examine what it means to remain human within unstable environments. Hauwa Hassan Haruna presents one of the collection’s most striking paradoxes: women are often forced to become invisible for safety while simultaneously fighting to remain visible enough to claim dignity and rights. Erkinjonova Bibisora Elyorbek qizi offers another quiet portrait of vulnerability through her empathy for a lonely older man, suggesting how aging itself becomes a transition into isolation and invisibility. Bill Tope mourns the disappearance of inexpensive comic books and childhood treasures, tracing the painful shift from youthful abundance into nostalgic loss. His reflections remind readers that even ordinary objects become markers of changing eras.
Against these anxieties, several contributors seek refuge in tenderness, imagination, and connection with the natural world. Ananya S. Guha dissolves the boundaries between human beings and nature, envisioning love and belonging on a planet overshadowed by climate crisis. The poems suggest that humanity’s survival may depend upon rediscovering intimacy with the earth itself. Student works collected by Su Yun return readers to innocence through playful clouds and animals, preserving moments of wonder that adulthood often forgets. Christina Chin’s haiga, centered on kittens and their protective mother, offers an image of care and familial devotion amid uncertainty. Likewise, the poem by Chinese poet and music producer He Taiji portrays Lan Xin as a figure of serenity and kindness whose quiet presence becomes transformative for others, reminding readers that gentleness itself can guide people through periods of unrest.
The collection also celebrates the sustaining power of culture and community during times of transition. Rahmonova Dildora highlights the importance of cultural immersion in her piece where a traveler encounters the gentle sincerity of the Uzbek people, suggesting that identity is strengthened through openness rather than isolation. Yayra Erkin qizi Bo‘riyeva advocates for physical exercise, public competitions, and healthier urban design, envisioning communities that evolve not only economically but physically and socially. Her work imagines progress as something lived collectively through public space, movement, and shared participation.
Transition is both disruptive and necessary, integral to human and non-human nature. Even as it unsettles institutions and identities, change can open new possibilities for connection, awareness, and renewal. These works remind us that people endure, adapt, and continue searching for meaning while the world around them transforms.
In the autumn leaves, they see the grief of parting.
They whisper a tale into the ear of the grass,
The sorrow of the earth that you pass by, unknowing.
Sometimes burning in the fire like Mashrab,
Sometimes awaiting the dawn like Cholpon.
Those who could not speak the truth to the world,
Passed through, swallowing their pain all along.
A poet’s only wealth is a single pen,
One white sheet of paper is their everything.
The agony of the heart transferred into lines,
The lamp of faith, in the darkness, shimmering.
They are reborn only after they die,
Their breath lives on within the pages of books.
A poet is the chain that is called the Truth,
The voice of freedom, no matter how it looks.
My pen trembles too, as I sit and write,
Perhaps it is destiny, or perhaps a sting.
When a poor poet passes from this world,
Their words remain, a bright and glowing thing.
Ozodbek Narzullayev was born in the village of Boston, Koson district, Kashkadarya region. Several of his poems have been published in various anthologies and international journals. He has actively participated in numerous creative competitions, earning honorary titles and prestigious awards. He is the recipient of over 100 diplomas and certificates.
Currently, he serves as the Koson district leader of the “Yuksak Parvozim” (My High Flight) project. He is also the author of the published poetry collection titled “Qalb Kechinmalari” (Experiences of the Soul).
