ALISHER NAVOIY NOMIDAGI TOSHKENT DAVLAT O’ZBEK TILI VA ADABIYOTI UNIVERSITETINING ONA TILI VA ADABIYOT FAKULTETIO’ZBEK TILI VA ADABIYOT YO’NALISHI 13-GURUH TALABASIRAHMONQULOVA GULSEVAR SAMID QIZI

Father-Son Relationship in the “Alpomish” Epic 

Abstract  This article analyzes the father-son relationship in the “Alpomish” epic, a unique example of Uzbek folk oral creativity. It demonstrates that the relationships between Alpomish and his son Yadgar in the epic’s plot express family loyalty, heroic heritage, and generational continuity. The article illuminates the ideological-artistic features of the epic, its plot motifs, and differences in various variants based on the research of literary scholars such as Hamid Olimjon, V.M. Zhirmunsky, Hodi Zarif, Bahodir Sarimsoqov, and To‘ra Mirzayev.

The father-son relationship is linked to ancient folklore roots, comparative analysis with world epics, and national values, emphasizing the epic’s significance in folk education.   Keywords. “Alpomish” epic, father-son relationship, family ties, heroic epic, generational continuity, Uzbek folk oral creativity, folklore studies, Hamid Olimjon, V.M. Zhirmunsky, Hodi Zarif, Bahodir Sarimsoqov, To‘ra Mirzayev, plot motifs, national values, variant comparisons.  

The “Alpomish” epic, one of the largest and most perfect examples of Uzbek folk oral creativity, not only expresses the spirit of heroism and patriotism but also deeply depicts family relationships, particularly the father-son bond. In the epic’s plot, themes such as family, intergenerational connections, loyalty, and protection occupy a central place. These relationships reflect the nation’s national customs, moral standards, and way of life, as the epic has been passed down orally from generation to generation over centuries, shaped by historical conditions.

In this article, we analyze this theme based on the research of literary scholars, particularly drawing from the opinions of experts such as Hamid Olimjon, V.M. Zhirmunsky, Hodi Zarif, Bahodir Sarimsoqov, and To‘ra Mirzayev, to broadly illuminate the father-son relationships in various variants of the epic. The studies of these scholars have made significant contributions to exploring the ideological-artistic features of the epic, its plot structure, and system of characters.  

Literary scholars have studied the father-son relationship in the “Alpomish” epic within the framework of the epic’s overall ideological-artistic structure. Their opinions help illuminate the ancient roots of the epic, its plot motifs, and national characteristics.  Hamid Olimjon, in the foreword he wrote for the 1939 edition of the epic, evaluates “Alpomish” not only as a favorite work of the Uzbek people but also of Turkic nations. He focuses on the epic’s artistry, similes, and exaggerations, emphasizing the system of characters.

According to Hamid Olimjon, the relationship between Alpomish and his son Yadgar stands at the center of the epic, which served as the cradle of the hero’s poetry. He writes, “Alpomish is considered his most beloved epic. ‘Alpomish’ was the cradle of his poetry,” through which he interprets the father-son bond as generational continuity and heroic heritage. Hamid Olimjon emphasizes the influence of folklore, comparing the epic to the works of Pushkin and Navoiy, where family motifs derive from folk creativity.  

V.M. Zhirmunsky, in his book “Uzbek Folk Heroic Epic” (1947) co-authored with Hodi Zarif and in his article “The Epic Tale of Alpomish and Homer’s Odyssey” (1957), compares the epic to world epics. He likens the hero’s return in the second part of “Alpomish” to Odysseus’s return: just as Odysseus meets his son Telemachus, Alpomish meets his son Yadgar and protects the family. Zhirmunsky meticulously analyzes the plot line, delving into the genesis of the characters Alpomish and Yadgar. In his view, this relationship stems from ancient folklore motifs (the hero appearing at his own wife’s wedding) and has similarities in European folklores. Zhirmunsky connects the basis of the epic to heroic tales, though this assumption was later deemed controversial.  

Hodi Zarif, the founder of folklore studies, analyzes the epic’s emergence period and motifs in his article “The Main Motifs of the ‘Alpomish’ Epic” (published in 1957-1959). He links the epic not to the 17th-18th centuries but to the pre-Mongol invasion period and emphasizes the presence of pre-Islamic beliefs. According to Hodi Zarif, the father-son relationship is one of the central motifs of the epic, representing tribal and national unity. He refutes the accusations of A. Abdunabiyev and A. Stepanov, defending the epic as a popular national epic.

Hodi Zarif studies the etymology of the word Alpomish and the place of the epic’s creation (Boysun – ancient Khorezm), linking family bonds to ancient conceptions.  Bahodir Sarimsoqov, in his article “Three Etudes on the Alpomish Epic,” refutes Zhirmunsky’s assumption, linking the basis of the epic not to heroic tales but to real historical events. In his opinion, the heroic epic directly reflects tribal and clan events, so the father-son relationship derives from the people’s specific historical experience. Sarimsoqov emphasizes that the epic is not based on heroic tales; rather, the tales are based on the epic, which helps interpret the father-son bond as a symbol of national unity and independence.  

To‘ra Mirzayev, in his article “The ‘Alpomish’ Epic, Its Versions and Variants,” illuminates a brief history of the epic, comparing various versions (Kazakh, Karakalpak, Tatar, and others) and Uzbek variants. He reminds that the epic became known in scholarly circles in the 1890s and analyzes variants recorded by various bards (Fozil Yo‘ldosh o‘g‘li and others). According to Mirzayev, the father-son relationship varies in the epic’s versions, but the common motif – generational continuity and family protection – remains preserved. He evaluates the epic as an example of oral creativity that has been sung among the people for centuries.  

The “Alpomish” epic consists of two main parts: the first describes the hero Alpomish’s birth, marriage, and adventures in the Kalmyk lands, while the second narrates his return and protection of his family. The father-son relationship becomes particularly evident in the second part. While Alpomish is in Kalmyk captivity for seven years, his wife Barchinoy (or Barchin) gives birth to a son – Yadgar (in some variants, Yodgor). During this time, in the Qo‘ng‘irot tribe, Alpomish’s brother Ultantaz (or similar characters in other versions) seizes power and persecutes the family: he insults Alpomish’s father, oppresses his son Yadgar, and tries to force Barchin to marry him.  When Alpomish returns, he disguises himself and saves his family.

Here, the father-son relationship takes a dramatic turn: Alpomish recognizes his son but initially fights or tests him. Yadgar is depicted as a young hero who has inherited his father’s bravery – he tries to protect the family but faces difficulties due to his youth and inexperience. With Alpomish’s return, the father-son bond strengthens: the father saves his son and teaches him heroic virtues, while the son continues his father’s legacy. The continuation of the epic (in some variants) is dedicated to Yadgar’s own adventures, emphasizing generational continuity.  

The father-son relationship in the “Alpomish” epic forms the ideological center of the national epic, expressing family loyalty, heroic heritage, and intergenerational unity. Hamid Olimjon’s artistic analysis, Zhirmunsky’s comparative study, Hodi Zarif’s motif research, Bahodir Sarimsoqov’s views on historical foundations, and To‘ra Mirzayev’s variant comparisons help to understand this relationship more deeply. This bond not only enriches the epic’s plot but also reflects the Uzbek people’s national values – family, homeland, and loyalty. The epic’s relevance today lies in its ability to educate the younger generation in the spirit of devotion and justice. These studies indicate the necessity of continuing to explore the epic within the framework of world folklore.

Student of Group 13, Uzbek Language and Literature Major, Faculty of Mother Tongue and Literature, Alisher Navoi Tashkent State University of Uzbek Language and Literature, Rahmonqulova Gulsevar Samid qizi

Echo of My Words —–

Don’t be angry…

I don’t surrender to anger

And your ideal worlds

Don’t concern me

I am a man with a permit

To cross the thorns of pain

To speak

I do as I please,

I tear the cheeks of lilies,

I strike the face of dew,

I cast my weight upon the moments

I cross the seasons,

I throw love with the butts of my cigarettes

And with all my pride, I depart!!

And I return,

I return to paint hope,

I flirt with the letters anew

I am a knight in the art of words

All the letters

In my chamber, captives

Until the impetuosity leaves me!!

I am a man, you

From the remnants of bygone eras

I carry the books of civilization in my palm,

I brush away the dust of ignorance if it touches my shoulder

Standing tall like a mountain

Untouched by wounds Nor by follies…

I write my mornings

And cast shadows upon dreams!

From the depths of history

I live, I and my voice

I am all images

And all voices

Who are you?

Who are you?!

What are you?

Nothing but an echo of my words!

Poet/ Aisha Al-Maharabi Aden City Republic of Yemen Bachelor of Philosophy, University of Aden Married and a mother Worked in the field of teaching Participated in several Arab festivals in Egypt, Tunisia, Algeria, and Jordan Hobbies: Reading and writing in the field of poetry and literature My works have been published in several Arab and foreign newspapers, and I have had several press and radio interviews. – My poetry collection, “Master of the Evening,” was published in 2013 by the University Publishing House, Yemen. – “And the Daisy Breathed” was published in 2014 by Khalid Ibn Al-Walid Publishing House. – “How to Tame Longing” was published in 2014 by Al-Jeel Al-Jadeed Publishing House. – “Stuck Behind the Eyelids of the Homeland” was published in 2017 by Fikra Publishing House. – “Peace Be Upon You, Dawn” was published by Abrar Publishing House in 2019. – “And Madness Has Its Meaning” was published by the Poets on the Window of the World Foundation for Culture and Creativity in 2023.

Dedicated to Jeannette Eureka, the Beloved of all of us:

Falling in My Sweetheart’s Love

So tough is to fall in a sweetheart’s love

Just fighting with eagles to survive a love

Because, eating a fruit by stealing tastes much

Offered fruit seems to be insipid as such

If there is no fear of being caught

No one will pinch a Lady of scout

Love needs daring and fools like a moor boy

A genius gentleman  cannot fully enjoy

Aristocrats and snobs  can praise a girl’s vanity

A rough-tough man can deeply appreciate the beauty

Love and lust have their different connotations

Love lasts, but lust loses instantly the compassions

Girls keep in your mind while love someone

Make sure your man loves only you and none

Lust is the first step to the actual love

If it is true it leads up to the divine love

God has created human beings not for worship

Angels are enough for worship men are meant to love

Love your neighbour love your companion

Love yourself before you love your woman

If you don’t love yourself first

It is not your love but merely a lust

Keep in mind that a good mind good find

If there is doubt in your mind the doubts you will find

Dr. Perwaiz Shaharyar

Editor, NCERT, New Delhi, India 

 

Very Tasty Sandrine

In the brume, there is nothing to do, the fog shifts through the pockets of pine forests, as they come and sit next to me. The Local girls…huh…the other day I was walking down a hillside and a pahadi girl was walking up with her wicker load of substance, and the moment she looked at me, a cry of despair escaped her: ‘Quelle gueule?’ she said, not wanting to be impolite, but her maidenly forthrightness escaped the confines of her restraint.

Monkey girls come, and sit next to me. I know them by their tits. Monkey boys, never come, they are too proud. The other day a male monkey, came a little too close to me, and I unslotted the button of my umbrella, and it made a sword-sheatheing noise, and the Monkey just calmly looked at me, nodded his head, bossively and said: ‘Ça va pas? Je suis juste en train de chier…’.

Girls come, and sit next to me, unperturbed. I know Sandrine, because her left nipple is longer than her right one. She is the colour of a Bordeaux Clairet Rosé (C.R.) with a fine strawberry-tétin, jutting at the front. Claudette is older, she has sagging, paps but the nipples are still of fine provenance, un Jambon de Paris on dirait, but whether she has ever made a trip to the capital is anybody’s guess, her accent is certainly Provincial.

The Simian twins, Élodie and Lucidie are distinguished by the fact that for the younger sister the nipples become red in the summer and blonde in the winter, just like a fine blonde of Southern French provenance, while for Lucidie, a darker (brunette) nipple lends to auburn tints by the time of the solstice. Marie-France has the finest Bordeaux, she is convoitied by all the Bandariennes in the coin, she was the 2014 winner of the Miss Branch contest. Florence has cherry lips, laitières I mean, she resembles a Bourgogne in that sense.

These young girls come, and give the old man a company. I do not know what they find in me?

Sixteen short-stories of Kashmiri writer Arjun Razdan have been published in twenty-one literary journals in ten countries, equalling twenty-two publications. This former French Government scholar, started writing fiction in 2012 and was first published in 2016. He awaits the publication of his first roman The Gusts of Alien Wind

The Enigies of Benin,

The Enogie of Evboesi,

Ogiefo Festus, That First of His Name.

Koh, Baba. Lamogun.

Plain how those sons crashed!

Against Elegbe?!!! How they crashed…

They can not know they can not

Do how they crashed. Ah, crash!

In the tele-vision they crashed,

And for change, and it occurs —

It harries without a tinge abode

Catered to fear, to any endear

Which may seal the fate of man

And wring him upon shores spelt

About momentums and securities,

Magnanimities however still

As cold steel watches and waits

To the coming seasons uncease

Slashing down the tomfoolery

To upraise the forest voices

Unanimously, unctuous, uncouth

As that crash! The heart beats

And the voice hears vodoo spells

Wailing to repel and return in form

The ruckus trucking the sacred,

That capital that’s chopping herds

And droves to sacrilege thereat

Wisdom wills umpteenth, wars

With eyes and animus minstrels

Sung at the bottom line,

Sung far as sands obliterate

The waters to form the continents —

Which holds the planets if not

The sacred fields of order

Wherein magnetism morphs

Polymorphic gravity — heat, light;

Co-planar forces forcing the hand

To hope to touch the feet

And wear a feat of hope from

The sundials trolling misery.

It can not be said unsaid,

As is the modicum of tantamount

Tunes thinning the tireless herd,

That its self spits fire and roars —

That bull that bullish, scrapes off

Tarrifs and sprouts plantations,

That bows to win ineluctably,

That modifies geographies at once

Inspired out of those telemetries.

Hearts ease. The Gods recommend

From the heights of Pergammus

With wine and rest and visual

Ventricles stretched about arouse,

Stun stings stint stow strength.

THE CONTRABAND

The moment I got down at Airport Heaven,

I went straight to duty-free shop.

All costly items short-supplied in Earth,

Were elegantly displayed, choice is yours!

Unselfish love was the hottest in demand,

But unluckily it’s container was empty.

Diligence, loyalty, gentleness were in front row.

Reliability, hardwork and maturity in side shelf.

Capability, creativity and sensibility were in a freezer.

Patience, trustworthiness, versatility in a decorated shelf.

Punctuality, integrity and courtesy were kept in torn baskets.

Accountability, skills and self-control sacks were empty.

Sociality, fairness and judiciousness were in deck ovens.

Cleanliness, openness and philanthropy, rot, in waste baskets!

All other rubbish qualities they boast up in Earth,

Thrown into an incinerator, were still burning.

God was interestingly watching my curiosity,

Well known that I was looking for something else.

He pushed a small wooden tray towards me,

Through underneath of his table.

It contained vials, tablets and capsules (contrabands?)!

Stealthily looking both ways, he said “hurry up!”

At once I picked up a vial which read “CHASTITY”,

Placed my chest in front of q r code

For scanning my heart and subsequent payment.

In reply to questioning glance of the God,

I nodded and added:

“Back home, my girl had almost all other items on black market,

Except this precious one I chose now”!

“Wait here for her arrival”, God replied.

MUHAMMADJONOVA O’G’ILOY BUNYODBEKOVNA

A review of Abdulloh Abdulmutiy Huda Said Bahlul’s book “Qulog‘im senda, qizim”

A book is a bridge of salvation between this world and the Hereafter, guiding us away from evil and towards good.

“Qulog‘im senda, qizim”… This book, written by Abdulloh Abdulmutiy Huda Said Bahlul, is a “treasure” that teaches girls and women to be chaste, well-mannered, and devout. This treatise is not only for girls but also an essential read for mothers who are not indifferent to their children’s upbringing. The reason is that it contains various noble virtues, illustrated through diverse stories and real-life examples, which call humanity only and solely towards goodness!

Every page of the book is an expression of a father’s boundless love and profound wisdom for his daughter. The author provides valuable advice on various aspects of life – from personal development to family relationships, one’s place in society, and most importantly, spiritual growth. These counsels are not mere dry admonitions, but are enriched with real-life examples and instructive stories drawn from the Holy Quran and Sunnah, allowing the reader to ponder deeply.

“Qulog‘im senda, qizim” is not just a book, but a manual for life. The advice and guidance provided within are beneficial not only for young girls but also for those with sons, and even for parents themselves. They help to approach child-rearing with a fresh perspective, to understand children’s hearts, and to guide them correctly. While reading the book, every individual reflects on their own life, the events around them, and most importantly, their inner world.

In conclusion, Abdulloh Abdulmutiy Huda Said Bahlul’s work “My Ear is with You, My Daughter” is an invaluable treasure that deserves a place in every home library, bringing comfort to the heart and spiritual nourishment. Every girl who reads this book will feel stronger, more confident, and spiritually enriched. I wholeheartedly recommend this book to all young people, especially to girls who are seeking firm principles and spiritual guidance in their lives. I am confident that the wisdom found within its pages will illuminate your life even in its darkest moments.

My name is Muhammadjonova O’g’iloy. I was born on September 11, 2010, in Qo’rg’ontepa district, Andijan region. I am a 9th-grade student at the 5th Specialized School.