Regular contributor Bill Tope has launched a new literary magazine, Topiary, which is now accepting submissions! Please send short stories to billtopiary1950@gmail.com.

In March we will have a presence at the Association of Writing Programs conference in Baltimore which will include a free public offsite reading at Urban Reads on Friday, March 6th at 6 pm. All are welcome to attend!

So far the lineup for our reading, the Audible Browsing Experience, includes Elwin Cotman, Katrina Byrd, Terry Tierney, Terena Bell, Shakespeare Okuni, and our editor, Cristina Deptula. If there’s time, an open mic will follow.

Our next issue, Mid-March 2026, will come out Sunday March 22nd.

Yucheng Tao announces the winners of his poetry competition, Steve Schwei and Mark DuCharme. We’ve invited both winners to submit their poetry to Synchronized Chaos for everyone to read!

Now, for March’s first issue! This issue, Fingering the Spines, pays homage to our annual in-person reading, the Audible Browsing Experience. It’s a visual metaphor for looking through various titles in a global bookstore or library.

Genevieve Guevara rings in the dynamic energy of the Fire Horse for Chinese New Year.

Odiljonova Mohlaroyim Iqboljon qizi celebrates the many styles of Uzbek spoken word art. Umarova Gulsevar Ubaydullo qizi highlights the rich semantic and lexical expressiveness of the Uzbek language. Shuhratova Mohinur Abbosjon qizi explores the layered meaning of “k’o’ngil” (heart) in the Uzbek language.

Jesus Rafael Marcano celebrates the beauty of France, likening the nation to butterflies. Timothee Bordenave honors the beauty and majesty of Christian faith, as shown through Notre Dame. Su Yun’s abstract work reflects a meditative, spiritual sensibility. Soumen Roy describes a physical and mental journey towards spiritual inspiration.

Abdumajidova Zuhroxon Ibrohimjon qizi explores themes of hardship and endurance, destiny, faith, patriotism, and loyalty in Shuhrat’s classic Uzbek novel Oltin Zanglamas. Iroda Ibragimova explores themes of resilience and human dignity through oppression in Shukrullo’s novel Buried Without a Shroud. Bakhtiyorova Zakro Farkhod qizi speaks to the role of the short story in Uzbek literature. Ro’zimatova Madinaxon Sherzod qizi analyzes themes of strength, weakness and humanity in Abdulla Qahhor’s story “Ming bir jon.” Anvarova Mohira Sanjarbek qizi contributes a heartfelt poem from the perspective of Gulchehra, a character in O’lmas Umarbekov’s “Being Human is Hard.”

Azimov Mirsaid draws on Ray Bradbury and traditional Uzbek crafts and hospitality to illustrate the value of human warmth and imperfection. Dr. Jernail Singh Anand urges humanity to look into the words of our past and present writers and philosophers for wisdom in this age of great technological advancement. Dr. Jernail Singh Anand also expresses hope for the continuance of human creativity in the age of artificial intelligence. Daniela Chourio-Soto renders all-too-human morning sleepiness with lively humor. Eva Petropoulou Lianou explores the feelings and inspirations of emerging Greek painter Vivian Daouti.

Author Victoria Chukwuemeka discusses her creative journey towards exploring psychology and the subconscious, becoming deeper and more straightforward in her words. Kassandra Aguilera’s work mourns her speaker’s incompleteness, probing whether we need observers to fully realize ourselves. Ananya S. Guha reflects on distance, separation, and reunion, how roads can both bring us apart and together.

Emeniano Somoza poetically compares creative writing and glassblowing: arts where creators shape, rather than force, their materials. Poet Su Yun collects a set of poems from children at the East-West Public School in Bangalore on the theme of “the power of the pen vs the sword.” Taylor Dibbert’s short piece is almost anti-poetry, suggesting without communicating a metaphor.

Stephen Jarrell Williams’ poetry speaks to the risks and joys of openness to emotion and experience. Komilova Parizod reminds us to make the most of our lives and appreciate the joy around us. Priyanka Neogi urges us to act with wisdom and restraint. Boymirzayeva Dilrabo highlights the importance of motivation and discipline in reaching one’s goals.

Sobirova Oydinoy Nozimjon qizi discusses symptoms and types of neurosis. Mashhura Ochilova speaks with poignance and grace of a young woman’s inner battle with depression. Graciela Noemi Villaverde speaks to gaining wisdom through life’s losses. J.J. Campbell’s voice is older, raw, bruised, with hard-won exhaustion and experience.

Axmedova Gulchiroyxon expresses her tender love and concern for her mother. Nurmurodova Masrura Xurshedovna honors the patient, dedicated, behind-the-scenes love of her father. Gulsanam Sherzod qizi Suyarova explicates the value of friendship and how to be a good friend. Aminova Feruza Oktamjon kizi celebrates the beauty and innocence of young love. Qozoqboyeva Husnida yearns with devotion for her soulmate’s arrival. Mesfakus Salahin falls into a reverie about a fanciful love that exists between his imagination and his memory. Prasanna Kumar Dalai smiles through a delicate and tender love. Joeb expresses his hopes for personal and global love and peace. Lan Xin celebrates transcendent union with all others and the universe, with the world as her homeland, in her fanciful dinner piece. Husanxon Odilov laments a love which he acknowledges will never return. Nicholas Gunther reflects on a high school lost love or friendship through a casual ghazal. Bill Tope and Doug Hawley present an unusual relationship arrangement that seems to make several older people happy. Masharipova Yorqinoy Ravshanbek qizi celebrates the tenderness of a mother’s love. Brian Barbeito’s gentle childlike piece creates a surreal atmosphere rich in memory and care. Orzigul Sharobiddinova Ibragimova versifies her love and longing for her Uzbek homeland.

Zarifaxon Nozimjon Odilova qizi highlights the historical contributions of Uzbek statesman and humanist leader Zahriddin Muhammad Babur. Toshkentboyeva Xumora outlines the contributions of Amir Temur to modern Central Asian statecraft. Poet Lan Xin highlights the wisdom and compassion of Chinese Dongba cultural leader Wan Yilong. Abdusaidova Jasmina explicates themes of spirituality, heritage, and love in Alisher Navoiy’s writing. Abduxalilova Shoxsanamxon Azizbek qizi celebrates the benefits of reading culture for society.

Murodova Zarin Sherali qizi explicates the importance of language learning in world communication and international and intercultural relations. Khusanjonova Mukhtasarhkon Khamdamjon qizi discusses how podcasts can help those learning English as a foreign language. Turdimuradova Zulfera Sattor qizi analyzes the use of blended learning in teaching English as a foreign language. Suyunova Zuhra Oybekovna speaks to the importance of writing skills to language learning.

Olimova Marjona Ubaydullayevna celebrates the literary heritage of Zulfiya and her themes of patriotism, women’s dignity, and compassion. Munisa Yo’ldosheva highlights how Zulfiya’s life influenced her works and her contributions to supporting emerging authors. Nozigul Baxshilloyeva discusses emotional and spiritual themes within Zulfiya’s work and how they affect Uzbek readers. Sultonova Shahlo Baxtiyor qizi highlights the literary and cultural influence of Zulfiya’s poetry. Jurayeva Barchinoy does the same, while also highlighting her commitments to education and women’s rights. Nematullayeva Mukhlisa Sherali kizi relates the value of Zulfiya’s work through a narrative story. Gayratova Dilnavo highlights the enduring legacy of Zulfiya’s work, especially what it means for many Uzbek women.

Loki Nounou’s piece dramatizes a woman stripped of her individuality in a toxic marriage, becoming only a vessel to hold others’ dreams. Abigail George probes the maternal and domestic as both sacred and violent, an origin and a wound, along with critiques of colonialism and the power of self-kindness. Manik Chakraborty calls for a natural, spiritual feminine awakening. Asadullo Habibullayev warns of the dangers and social injustices young women can face in Uzbekistan, even when educated, and calls for the younger generation to respect the wisdom of their elders. Eva Petropoulou Lianou urges respect for women and for the roles women play in society, including motherhood. Maxmarajabova Durdona Ismat qizi celebrates the love and care of human mothers and the value of Mother Earth.

Zamira Moldiyeva Bahodirovna analyzes what the nature motifs in Alexander Feinberg’s work reveal about his thoughts on memory and identity. Noah Berlatsky draws on trees to illustrate our shared human heritage, how we connect to each other and hold each other up. Dilafruz Muhammadjonova presents a natural and cultural tour of Uzbekistan’s Andijan province. Suyunova Fotima Oybekovna reminds us of how crucial it is to preserve the environment. O’gabek Mardiyev outlines ways to improve the efficiency of solar power generation. Shavkatova Mohinabonu Oybek qizi urges improvements in Uzbek public transit to encourage tourism as well as benefit ecosystems. Sultonaliyeva Go’zaloy Ilhomjon qizi analyzes the social, cultural, ecological and economic aspects of tourism in Central Asia. Turgunov Jonpolat discusses the ways in which media framing of climate issues affects how people address the problem. Surayyo Nosirova highlights the need for more consistent communication from journalists to the public about climate change in Uzbekistan.

The works of primary school children in China, collected by Su Yun, reflect moments of happiness and ordinary summer fun in nature. Alan Patrick Traynor’s Irish-inspired piece becomes incantatory, mystical, inhabiting littoral and transitional zones at the ocean’s edge. Tea Russo’s spiderweb poem seeks both expansive transcendence and the peace of oblivion, melding into various aspects of nature. Turkan Ergor dreams of the permanence of the ocean’s waves. Eleanor Hill reflects on the calm strength and dignity of a whale, unbothered while creating waves and blowing bubbles. Ri Winters turns to the ocean and its kelp forests as metaphor for the deep, isolating, yet restful morass of depression.

Brian Barbeito sends up a preview of his book Of Love and Mourning, highlighting the original content and the memorials to beloved pets who have passed. Filmmaker Federico Wardal celebrates a film award for a very humane documentary about veterinary care that saved the life of a racehorse. Jerrice J. Baptiste’s piece, accompanied by gentle, colorful artwork, expresses a graceful and natural surrender to death. Sayani Mukherjee’s piece sits between devotion and restlessness, calling the sky a neighbor yet screaming at stars. Mykyta Ryzhykh crafts a fevered love elegy at the edge of war, eros, and annihilation.

Patrick Sweeney sends up a set of index cards from a memory archive. Mark Young’s altered geographies trace the outlines of innocence, memory, and rupture. John Grey’s urban character and landscape pieces show dry, unsentimental grace.

Duane Vorhees’ poetry meditates on time’s circularity, embracing contradictions and the past, present, and future. Ibrahim Honjo reflects that one day his home and everything he knows will fade into memory. Christopher Bernard continues exploring hope, ruin, and creative resilience in the second installment of his prose poem “Senor Despair.”

Maja Milojkovic speaks to the implacable ticking of conscience. Mahbub Alam laments the selfishness and wickedness of humanity. James Tian dramatizes the pain of being underestimated, dismissed, and misunderstood. Mark Lipman calls for greater taxes on the wealthy and for economic egalitarianism. Jacques Fleury hoists his commentary on the fragility of modern democracy on the scaffolding of an extended construction metaphor.

Rahmatullayeva Elmira Rahimjon qizi discusses how we form the value systems that guide our lives. Abduraufova Nilufar Khurshidjon qizi outlines the national values and traditions of the Uzbek people. Islomova Maxsudaxon Axrojon qizi explores ways to inculcate values into Uzbekistan’s young people in school through exposing them to the great thinkers of their heritage. Botirova Mubina looks into ways Uzbekistan’s civil society can uplift teens and prevent delinquency through communicating their national values. Abdullayeva Ezozaxon Qobuljon qizi highlights the importance of social and financial investment in education. Ismoilova Jasmina Shavkatjon qizi highlights the importance of quality education for social progress.

Axtamova Orastaxon Salimjon qizi outlines strategies to assist autistic children’s psychological development. Rajabova Nozima highlights methods of improving young students’ reading comprehension. Dildoraxon Turg’unboyeva outlines the effectiveness of play-based learning methods in education. Sevara Tolanboy Mahmudova qizi discusses educational games for preschoolers. Turgunboyeva Dilafruzxon highlights the importance of preschool education to a child’s development. Muxlisa Olimjon qizi Tursunaliyeva and Adhamova Irodaxon Akmal qizi discuss ways to help educate children with learning disabilities. Dilnora Habibullo qizi discusses interactive methods for teaching children with and without special needs. Burhonova Lobar outlines suggestions for working with children on the autism spectrum. Hikmatova Nigorakhon Hasanboy qizi discusses how to upgrade physical education and make the activities more interactive. Turg’unova O’g’iloy Ravshanbek qizi discusses ways to incorporate physical activity into children’s academic education. Shahobiddinova Sevinch explores the use of educational games in primary education. Arziqulova Adiba details various interactive strategies for engaging young children in educational activities at school. Mashhura Kamolova analyzes the limitations of examinations in terms of measuring student capabilities.

Orinboyeva Zarina discusses how to help children psychologically and emotionally navigate their parents’ divorce. Botiriva Odinaxon elevates the teaching profession and calls for professional development and competence in those who educate young children. Nishonboyeva Shahnoza speaks to her wisdom and dedication towards her goal of becoming a preschool teacher.

Kadirova Feruzakhan Abdiyaminova discusses interactive games that could be useful in science education. Oroqova Nargiza outlines the rise of allergies in children and speculates on the causes. Umidjon Hasamov highlights the potential for artificial intelligence in medical diagnostics. Yunusova Sarvigul Siroj qizi highlights the importance of early screening for gastrointestinal cancer. Rajapova Muqaddas Umidbek qizi highlights the structure and function of the circulatory system.

Shohnazarov Shohjaxon highlights the impact of inflation on a nation’s economy and strategies for managing it. Mamadaliyev Kamronbek highlights the need for cybersecurity technology and cautions about cyberattacks as a weapon of war.

Dr. Jernail S. Anand calls out poets and academics whose lofty ideas don’t connect to present-day reality. While we are all capable of flights of fancy, we hope that this issue is grounded in our world and our humanity.

The Voice That Still Inspires: The Enduring Legacy of Zulfiya

In the tapestry of Uzbek literature, certain voices weave themselves so deeply into the national soul that they become timeless. One such voice is that of Zulfiya Isroilova, a poet whose words continue to serve as a beacon of strength, dignity, and hope for generations. She was not merely a writer; she was the embodiment of the Uzbek woman’s spirit—resilient in the face of tragedy and unwavering in her devotion.

Zulfiya’s life and work were defined by a “quiet bravery.” After the early loss of her beloved husband, the great poet Hamid Olimjon, she did not succumb to despair. Instead, she transformed her grief into a universal language of loyalty. In her famous lines from the poem “O’g’lim, sira bo’lmaydi urush” (My son, there shall be no war) or her moving elegies, she captured the inner world of a woman who carries the weight of the world with grace. Her poetry reminds us that faithfulness—to one’s family, one’s values, and the motherland—is the highest form of courage.

What makes Zulfiya’s legacy truly extraordinary is her refusal to portray women as fragile. In her verses, women are depicted as strong-hearted architects of the future. They are mothers who nurture the nation, daughters who carry the flame of dreams, and intellectual companions who stand equal in the journey of life. As she once beautifully reflected, a woman’s heart is capable of containing the entire universe’s warmth, even during the coldest winters of hardship.

For today’s youth, Zulfiya is more than a historical figure; she is a modern role model. In a rapidly globalizing world, she teaches us that one can achieve international literary acclaim while remaining deeply rooted in cultural identity. The Zulfiya State Prize, established in her honor, is a testament to this ongoing inspiration, encouraging thousands of young girls across Uzbekistan to pursue education, creativity, and leadership. Her life proves that when a woman finds her voice, she doesn’t just change her own destiny—she elevates the entire society.

The voice of Zulfiya still echoes in our hearts today. Her legacy is a celebration of spiritual strength and national pride. As long as her poems are recited, her spirit will live on, whispering to every girl that she possesses an inner power capable of changing the world. Zulfiya did not just write poetry; she wrote the manifesto of the modern Uzbek woman.

Uzbekistan State World Language University English Philology Faculty, first year, 2513-group, Gayratova Dilnavo. 

DREAM 

Sea 

It would distribute its hairs 

To the end of its waves 

Its hairs would come and go 

Its sounds would be heard 

Of its waves 

And 

Of its hairs 

It would tell a lot 

It was like a dream 

But 

The only truth that did not change 

The presence of the sea.

Türkan Ergör, Sociologist, Philosopher, Writer, Poet, Art Photography Model. Türkan Ergör was born 19 March 1975 in the city of Çanakkale, Türkiye. She was selected International “Best Poet 2020”. She was selected International “Best Poet, Author/Writer 2021”. She was selected International “Best Poet, Writer/Author 2022”. She was awarded the FIRST PRIZE FOR THE OUTSTANDING AUTHOR IN 2022. She was awarded the 2023 “Zheng Nian Cup” “National Literary First Prize” by Beijing Awareness Literature Museum. She was awarded the “Certificate of Honor and Appreciation” and “Crimean Badge” by İSMAİL GASPRİNSKİY SCIENCE AND ART ACADEMY. She was awarded the “14k Gold Pen Award” by ESCRITORES SIN FRONTERAS ORGANIZACIÓN INTERNACIONAL.

THE SOUND OF THE DO’MBIRA AND THE POWER OF THE WORD: UZBEK EPIC TRADITION IN THE SCHOOLS OF BUKHARA, KHOREZM AND FERGANA

ODILJONOVA MOHLAROYIM IQBOLJON QIZI

Kokand State University, Faculty of Humanities and Languages

“Uzbek Language and Literature” Department, Group 102, First-Year Student

Abstract:

This article is devoted to the study of the differences and commonalities among the three great centers of epic art, which constitute a fundamental layer of Uzbekistan’s national culture — the schools of Bukhara, Khorezm, and Fergana (Qashqadaryo–Surkhandaryo). It analyzes the historical conditions of each school, their distinctive performance styles, including musical instruments and vocal techniques, as well as the thematic characteristics of the repertoire of their leading representatives (bakhshis). The main objective of the research is to highlight the powerful role of this unique heritage in shaping the “national spirit” of the Uzbek people through a comparative analysis of epic schools from the perspective of modern literary studies.

Keywords: Schools of epic art, Bukhara, Khorezm, Fergana, do’mbira, power of the word, bakhshi, jirov, epic, melody, oral tradition.

During the years of independence in Uzbekistan, large-scale efforts have been undertaken to preserve the masterpieces of intangible cultural heritage created on the basis of our people’s rich artistic creativity, to revive the ancient traditions of oral folklore, and to consistently develop national values. In cooperation with creative associations, the best examples of bakhshi and epic performers’ works are being widely promoted. At the same time, there remains a need to thoroughly study the history of bakhshi and epic art, to conduct fundamental research in this field, and to implement further measures for collecting and publishing monuments of oral folk creativity.

Epic art is a literary genre that figuratively expresses the dreams, struggles, love, and beliefs of the people and has been performed orally by bakhshis. In different regions, epic performance developed in distinctive ways, forming unique styles of performance, repertoire traditions, and bakhshi practices. On this basis, epic schools emerged. These schools not only preserved oral literary examples but also played an important role in developing them and passing them on to younger generations. Schools such as Kokand, Khorezm, Sherobod, and Namangan (Fergana Valley) are among these rich cultural centers. By the 20th century, the demand for bakhshis and epic performers in cities gradually declined. However, in rural areas, this ancient tradition has continued to thrive. In particular, epic recitations became customary during major national projects such as the construction of the Great Fergana Canal and large reservoirs, as well as during festivals. Many epics were not created by a single author; they were shaped among the people based on oral epic traditions. For this reason, epic schools developed in certain regions.

The meaning of the word “bakhshi” is explained in some sources as deriving from Mongolian and Buryat “bakhsha” or “baghsha,” meaning teacher or enlightener, and from the Sanskrit “bhikshu,” meaning dervish or ascetic. In Uzbekistan, it refers to an artist who memorizes and performs songs and epics, transmitting them from generation to generation. The term “bakhshi” is sometimes also used in the sense of a shaman. In general, epic performers are also referred to as yuzboshi, soqi, sannovchi, or jirov. Bakhshis are mainly divided into two categories: performing bakhshis and creative bakhshis. Performing bakhshis render the epics they learned from their masters with minor variations, while creative bakhshis compose new epics based on oral epic traditions. Such bakhshis are also called poet-bakhshis. Among them are Ergash Shoir, Fozil Shoir, Po’lkan Shoir, Abdulla Shoir, and Xidir Shoir. Bakhshis perform epics and songs accompanied by instruments such as the kobyz, do’mbira, and dutar.

The harmony of word and melody in bakhshi art has played a significant role in raising young people to become brave, courageous, and patriotic individuals. According to oral accounts, military leaders would take bakhshis with them on campaigns to inspire soldiers’ bravery, courage, and devotion to the homeland.

In our country, the tradition of epic performance historically developed in three directions.

The first direction was in the Bukhara epic schools, where epics were performed solo with do’mbira accompaniment, using a guttural voice.

The second direction was in Khorezm, where epics were performed sometimes solo and sometimes in pairs, accompanied by instruments such as the tor, dutar, gijjak, bulamon, qoshnay, and doira, using an open vocal style.

The third direction was characteristic of the Fergana Valley, where epics were performed in an open voice accompanied by the dutar.

1. The Bukhara School – A Bright Expression of Eternal Tradition

The Bukhara epic school represents a tradition where the custom is sovereign, and the bakhshi is its faithful representative. For a Bukhara bakhshi, the epic text is like a jewel polished over centuries; it is impossible to add or remove even a single word. They believe that even if the world changes, truth remains unchanged. In this region, heroic epics such as “Alpomish” and “Go’ro’g‘li” resound powerfully. Rather than melody, the emphasis is placed on high spirituality and the intense struggle of brave heroes. Even in romantic epics such as “Tohir and Zuhra,” human dignity stands above mere lamentation.

2. The Khorezm School – The Harmony of Heart and Melody

The Khorezm school transforms words into melody. While Bukhara relies on the firmness of the text, Khorezm immerses it in a river of lyrical emotions. The plaintive sounds of the dutar and tor turn the epic from a mere narrative into a living spiritual experience. The Khorezm bakhshi feels the hero’s pain as his own and conveys it deeply to the listener. Figures such as Ergash Jumanbulbul o‘g‘li and Po’lkan Shoir are widely known in this region. Moreover, bakhshis such as Yakka Ahmad, Quronxon, and Oysuluv performed “Alpomish” with unique refinement. They not only performed the epic but also recorded it in written form, making it part of literary heritage.

3. The Fergana School – The Brightest Example of Improvisation

The Fergana epic school is characterized by lively dialogue and free expression. This style is dynamic and flexible, drawing strength from life itself rather than strict textual rules. In Fergana, the bakhshi is a skilled conversationalist who engages directly with the audience. Rather than only recounting ancient heroes, he incorporates contemporary joys and concerns into his verses, creating new lines spontaneously according to the mood of the listeners.

The village of Ko‘libuqon is considered a cradle of this art. Masters such as Beqjon Bakhshi, Cho’tboy Bakhshi, and Mahmud Buva have passed down the rich traditions of this school from generation to generation.

Conclusion:

Uzbek epic art is a unique heritage formed over centuries, reflecting each region’s socio-cultural life, historical past, and popular beliefs. The Bukhara, Khorezm, and Fergana epic schools examined in this research demonstrate the multifaceted and diverse nature of this art. The Resolution of the President of the Republic of Uzbekistan dated May 14, 2019, “On Measures for the Further Development of Bakhshi Art,” laid the foundation for in-depth study of the scientific-theoretical and practical aspects of bakhshi art, restoration and development of master-apprentice traditions, and preservation of distinctive performance styles. As a result, the “Republican Center of Bakhshi Art” and the “Fund for the Development of Bakhshi Art” were established (although one of the main locations of the Center is the city of Termiz, its activities cover all epic schools).

The Bukhara school is distinguished by Islamic epic plots, religious-didactic spirit, and rich Sufi symbolism. Here, epics served as a means of conveying deep spiritual meaning.

The Khorezm school stands out for its maqom traditions, complex musical instruments such as the tanbur and gijjak, and its high level of professional performance. It harmonized epic and lyrical narratives with instrumental music, enhancing their artistic value.

The Fergana school, mainly accompanied by kobyz and dutar, vividly reflected daily life and heroic ideas through various genres such as tales and lyrical-dramatic epics, with a strong tradition of storytelling.

Each of these three central regions contributed its own style, themes, and performance traditions to epic art, creating a unified yet ideologically and artistically rich panorama of Uzbek epic heritage.

The sound of the do’mbira and the power of the word represent not merely the union of music and text, but the memory of the people, the national spirit, and a means of spiritual education passed from generation to generation. They have played an incomparable role in preserving the spiritual independence, devotion to values, and worldview of the Uzbek people to this day. Preserving this art form and supporting its schools means ensuring the continuity of our national culture.

In conclusion, every epic performed to the sound of the do’mbira is the poetic response of the Uzbek people to existence. The true power of this art lies in its ability to connect the past with the future, offering each new listener the opportunity to find answers to fundamental questions of time, space, and self.

LIST OF USED LITERATURE:

Safarov O., Jamilova B., Safarova N. Children’s Literature and Folklore. – Tashkent: Turon Zamin Ziyo Publishing House, 2015. – 256 pages.

“20th Century Uzbek Folklore Studies.” Anthology. Compiled by O. Turaboyev and others. Tashkent: State Scientific Publishing House of the National Encyclopedia of Uzbekistan, 2017. – 592 pages.

Masharipova Z. Uzbek Oral Folk Creativity. – T., 2008, pp. 24–40.

Essays on Uzbek Folklore. Vol. 1. – T.: “Fan,” 1988, pp. 25–35.

Madayev O., Sobitova T. Oral Poetic Creativity of the People.

Jumaboyev M. Children’s Literature and Folklore. Textbook. – Tashkent: Publishing House of the Writers’ Union of Uzbekistan, 2006. – 216 pages.

Shodiyeva G., Sobirova O. “Uzbek National Instruments of the Late XIX and Early XX Centuries.” International Journal of Early Childhood Special Education 14.7 (2022).

Shodiyeva G., Sobirova O. “Uzbek National Instruments of the Late XIX and Early XX Centuries.” International Journal of Early Childhood Special Education 14.7 (2022).

Ahmedovich, Turdiyev Shavkat. “From the History of Preservation and Recording of Samples of National Uzbek Musical Folklore.” Asia Pacific Journal of Marketing & Management Review 11.12 (2022): 59–61.

Sabirovna, Rasulova Saida. “Analysis of the General State of Music Education in a Secondary School.” Eurasian Journal of Learning and Academic Teaching 1.1 (2021): 112–116.

Odiljonova Mohlaroyim Iqboljon qizi was born on September 7, 2007, in Bag’dod district of Fergana region. She is currently a first-year student at Kokand State University, Faculty of Humanities and Languages, majoring in Uzbek Language and Literature. She has been interested in knowledge since childhood and has read many books.

1st-year student, Faculty of Humanities and Languages, Kokand State University

Zahiriddin Muhammad Babur – The Legacy of a Great Commander and Thinker

Zarifa Odilova Nozimjon qizi

1st-year student, Kokand State University

Scientific Supervisor: D.O. Hasanova, Doctor of Philology (DSc)

Abstract

The article discusses the role of the great poet and statesman Zahiriddin Muhammad Babur in world civilization, his life principles, and his acts of public service. Babur’s humanistic ideas and his contributions to introducing Eastern culture are highlighted.

Keywords: Zahiriddin Muhammad Babur, statesman, great historical figure, India, prominent personality, poet, historian, Baburnama.

Introduction

February 14 holds special significance for the Uzbek people and the entire Turkic world. This day is widely celebrated as the birth anniversary of the great commander, eminent statesman, talented poet, and unique historian Zahiriddin Muhammad Babur. Over the centuries, Babur has left an indelible mark on human history through his courage, intellect, and rich spiritual legacy.

Babur was born on February 14, 1483, in the city of Andijan, into a family belonging to the Timurid dynasty. His father, Umarshaykh Mirza, was the ruler of the Fergana region. At the young age of twelve, Babur ascended the throne and faced the complex currents of political life. Battles for Samarkand, internal conflicts, and political instability strengthened his young heart. Despite these hardships, he acted with courage and determination—qualities that later elevated him to the status of a great historical figure.

During a period of political turmoil in Transoxiana, Babur set a new goal for himself. He captured Kabul, established a secure base, and began his campaign toward India. In 1526, he achieved victory at the Battle of Panipat, founding the powerful Mughal Empire in India. This empire later became a center of political stability and cultural advancement in South Asia for several centuries. Under Babur’s reign, science, art, and architecture flourished.

The most remarkable aspect of Babur’s personality was his mastery of both the sword and the pen. While he demonstrated courage on the battlefield as a commander, he also expressed his delicate sensibilities in the creative realm. His famous work, the Baburnama, is one of the rare treasures of world literature and historical scholarship. In this work, the author provides detailed and sincere accounts of his life, the political events of his era, cities, natural landscapes, and the customs of the people. The clarity of language, vivid descriptions, and authenticity make the work uniquely valuable.

The Baburnama is not only a historical document but also a literary masterpiece. It includes valuable observations on the nature, climate, flora, and fauna of Fergana, Samarkand, Kabul, and India, reflecting Babur’s broad worldview and keen powers of observation.

Babur’s poetry also deserves special attention. His divan contains ghazals and rubais celebrating love, loyalty, longing, patriotism, and human virtues. Poems written during his years away from his homeland express deep feelings of nostalgia and yearning. Babur was also a builder; he established gardens in Kabul and India, paying attention to landscaping and beautification. The gardens he created later became famous as “Babur Gardens,” standing as vivid examples of Eastern architecture and landscape art.

Today, Babur’s legacy serves as a model for younger generations. His life demonstrates that hardships and trials should not deter a person. On the contrary, those who face challenges with courage achieve great heights. The name Babur symbolizes glorious history, strong will, and profound intellect. His birth anniversary reminds us to revisit our history and rich cultural heritage. Studying Babur’s legacy, promoting his works, and instilling them in the consciousness of youth is our sacred duty, as a nation aware of its history has a bright future.

References

Baburnama. Tashkent: “Yulduzcha,” 1989.

Zahiriddin Muhammad Babur. Divan. Tashkent: Literature and Art Publishing House named after Gafur Ghulam, 1965.

V. Zohidov. Babur and His Literary Heritage. Tashkent, 1960.

R. Nabiyev. Babur’s State and Diplomacy. Tashkent, 1994.

History of Uzbek Literature. Vol. 5. Tashkent, 1978.

National Encyclopedia of Uzbekistan. Vol. 2. Tashkent, 2002. Article: “Babur.”

“Humanistic Ideas in the Personality of Zahiriddin Muhammad Babur,” 2022.

Notre Dame de Paris 

On the City Island, Notre Dame de Paris,

Is our Cathedral, where we pray, where we chant,

It is a very tall and very elegant,

Old, medieval building, where my heart ever is.

The stained windows of blues, and reds, and ivory,

Enlighten this whole space with a peaceful ambience,

Of faith, of hopes, and love, and you feel the presence,

Of some holy spirit, there, holy memories…

We have built this big church to offer to Mary,

And to her divine Son, Jesus Christ, all our lives:

The future of our lives, as their past and glory…

Once a fire took its roof, but by miracle,

The place stood still, then the firemen could arrive,

To set flames off. Then we repaired it…

                                                      Mystical!

*****

Jesus is with us.

In Paris, there is a legend,

That Jesus lives, rue Cordelières,

In a hidden villa, where ends,

A lane… Since our past hundred years.

He reputedly reads a lot,

Of old scriptures and some novels,

Served by a guard of the angels,

He thinks, he prays there, for the most.

Some say, He sometimes walk the streets,

To museums, or bakeries,

Or cafes, anonymously…

To a beggar, apparently,

A man who gifted jewelry…

Could have been Him! 

                    Who knows? 

                               Him, Christ!

Timothee Bordenave is a French author of essays, fictions and poems. He has published about 25 books today, in France and internationally. He is also an international artist. He used to work directly libraries in Paris, where he was born in 1984 and still resides now.

Ghazal From My Notebook

You, What are you now that I am gone?

What are we now that I am gone?

I have been on my lonesome for the past year and four months.

What has changed since I’ve been gone?

I still think of you, every time I see a pair of Levi’s jeans or think of our old art teacher,

but your face has blurred in my mind since I’ve been gone.

I’ve replaced you

I didn’t want to, but times got hard while you were gone.

How often do you think of me, have you replaced me too

now that I’m gone?