war is not a protest but a lack of protest death is not a protest but a lack of protest laughter is not a protest but a lack of protest peace is not a protest but a lack of protest revolution is not a protest but a lack of protest life is not a protest but a lack of protest
a soldier cannot say no a citizen cannot say no a suicide cannot say no a lonely shadow cannot say no
THE EXPRESSION OF FOLK PROVERBS IN THE TEXT OF THE NOVEL “O‘TKAN KUNLAR”
Abstract: This article analyzes the artistic and linguistic features of folk proverbs used in Abdulla Qodiriy’s novel O‘tkan Kunlar (Bygone Days). The study examines the role of proverbs in enriching the system of characters, their function in the speech of the protagonists, and their significance in reflecting the national mentality. The research also explores the ways in which proverbs are integrated into the text structure, their contextual meanings, and their stylistic functions.
Keywords: Folk proverbs, O‘tkan Kunlar, Abdulla Qodiriy, literary text, linguostylistics, paremia, speech culture, imagery.
Abdulla Qodiriy’s novel O‘tkan Kunlar occupies a special place in Uzbek literature. The work is distinguished not only by its high artistic value but also by its unique language and style. One of the novel’s greatest strengths is the masterful use of folk proverbs, which represent some of the finest examples of oral folk creativity.
Folk proverbs are forms of wisdom passed down from generation to generation, embodying the life experiences and intellectual heritage of the people. They are concise yet profound expressions that reflect the worldview and cultural values of a nation. Qodiriy employs this rich heritage skillfully; he does not insert proverbs mechanically into the text but integrates them harmoniously with the psychology of the characters, the development of the plot, and the ideological message of the novel.
Although O‘tkan Kunlar has been extensively studied, the linguistic and stylistic analysis of its proverbs has not yet become a fully explored field of research. Therefore, this topic remains highly relevant. The present article aims to identify the proverbs found in the novel, classify them into thematic groups, determine their contextual functions, and demonstrate their value within the literary text.
When discussing the integration of proverbs into literary texts, it should be noted that the use of folk proverbs in literature has a long tradition. However, each writer continues this tradition in a unique way. Qodiriy employs three main methods of incorporating proverbs into his novel.
The first method is the use of a proverb in its complete and unchanged form. In such cases, the proverb appears directly in the speech of a character or in the author’s narration, allowing the reader to recognize it immediately. For example, the proverb “The dog barks, but the caravan moves on” is used in this manner.
The second method involves adapting a proverb to fit the context. In such instances, the core meaning of the proverb remains intact, while the word order or certain lexical elements are modified. This technique allows the proverb to blend more naturally into the text.
The third method is the indirect expression of a proverb’s meaning. Here, the proverb itself is not explicitly stated; instead, its essence is conveyed through the actions of the characters or the reflections of the narrator. This is the most complex method and requires a higher level of literary competence from the reader.
Qodiriy’s mastery lies in his ability to combine these three methods harmoniously. As a result, the text gains multiple layers of meaning rather than remaining a straightforward narrative.
The proverbs found in O‘tkan Kunlar can be classified into several thematic groups:
1. Proverbs about human relationships and loyalty;
2. Proverbs about wisdom and life experience.
The first group is the most common in the novel. Since the central theme of the work is love and loyalty, Qodiriy frequently employs proverbs related to these concepts. Proverbs such as “A good friend is like one’s hands and feet; a bad friend is a headache” are used to evaluate the relationships between Otabek and the people around him. Such proverbs serve as criteria for assessing the character and behavior of others.
Proverbs related to love are primarily used to express the feelings and devotion between Otabek and Kumush. These proverbs not only create a particular emotional atmosphere but also enable readers to gain deeper insight into the inner worlds of the characters.
The speeches of older characters, especially Yusufbek Hoji and other experienced figures, contain numerous proverbs related to wisdom and life experience. Proverbs such as “A wise enemy is better than a foolish friend” enrich their speech and emphasize their image as wise and knowledgeable individuals.
These proverbs form the educational and enlightening layer of the novel. Through them, Qodiriy conveys valuable life lessons to readers, not through direct preaching but through artistic expression.
The novel portrays the complexity of life and the unexpected turns of human destiny. Accordingly, proverbs expressing ideas such as “The heart longs for what the eyes have seen” or “No one can escape death” are reflected throughout the work. Such proverbs are often used during moments of hardship, despair, and suffering experienced by the characters.
These proverbs allow the misfortunes faced by the characters to be interpreted from a folk-philosophical perspective and contribute to the tragic tone of the novel.
In contexts associated with positive characters, especially Yusufbek Hoji, proverbs about hard work and perseverance are frequently encountered. Proverbs carrying meanings similar to “Those who strive achieve their goals” reflect the characters’ active approach to life and their philosophy of diligence.
One of the most important stylistic techniques employed by Qodiriy is adapting proverbs to the individual speech characteristics of his characters. Through this method, each character acquires a distinct linguistic portrait.
Yusufbek Hoji’s speech is particularly rich in proverbs. This is not accidental: he is a man of experience, wisdom, and eloquence. The proverbs he uses are carefully considered and perfectly suited to the situations in which they appear. At the same time, they deepen and enrich his character.
In contrast, the proverbs found in Kumush’s speech perform a somewhat different function. They are more emotional and heartfelt, serving as expressions of her inner feelings and emotional struggles. Here, the proverb functions not as a logical conclusion but as a manifestation of emotion.
Negative characters such as Hamid also use proverbs, but they often employ them incorrectly or manipulate them for personal gain. Through this technique, Qodiriy reveals the hypocrisy and deceitfulness of such characters.
In O‘tkan Kunlar, proverbs simultaneously perform several stylistic functions.
As a means of description. Proverbs often provide a level of precision and conciseness that cannot be achieved through ordinary language. Instead of lengthy descriptions, Qodiriy can portray an entire situation through a single proverb.
As a compositional device. In certain chapters and sections, proverbs serve as compositional nodes. They may momentarily pause the flow of events, encouraging readers to reflect, or they may prepare the ground for subsequent developments.
As a means of preserving national color. O‘tkan Kunlar depicts Uzbek life in the nineteenth century. Proverbs play a crucial role in recreating the speech and communication style characteristic of that period. They strengthen the historical and national atmosphere of the novel.
As a means of revealing character psychology. In many cases, the choice of a particular proverb and the context in which it is used reveal important aspects of a character’s inner world and emotional state. This forms part of Qodiriy’s technique of psychological realism.
A linguistic analysis of the proverbs in the novel reveals several important features.
Lexical characteristics. Proverbs generally employ simple and widely understandable vocabulary. However, this simplicity is only superficial; each word is carefully selected and precisely placed. The novel also contains archaic lexical elements, enriching its historical and linguistic dimension.
Syntactic characteristics. Most folk proverbs consist of two parts: the first presents a condition or description, while the second provides a conclusion. This parallel syntactic structure is preserved in the proverbs found throughout the novel. Such a structure creates rhythmic appeal and facilitates memorization.
Figurative usage. Many of the proverbs in the novel contain metaphors, comparisons, and irony. These figurative devices elevate them beyond simple didactic statements and transform them into genuine artistic expressions.
Conclusion
In conclusion, O‘tkan Kunlar is not only a masterpiece of Uzbek literature but also an exemplary illustration of how folk proverbs can be effectively integrated into a literary text. Abdulla Qodiriy demonstrates remarkable skill in using proverbs: he incorporates them naturally into the narrative, employs them effectively in character development, and relies on them as one of the principal means of preserving national color and historical atmosphere.
The thematic and linguistic study of the proverbs in the novel reveals new layers of meaning within the text. This once again confirms the promising potential of studying Qodiriy’s literary heritage from the perspectives of modern literary criticism and linguistics. Future research may yield significant results through comparative analyses of the proverbs in O‘tkan Kunlar and those found in the works of other Uzbek writers.
Akbarova Farangiz was born on May 16, 2005, in Qumqorgon district, Surkhandarya region. She is currently a 3rd-year student at Termiz University of Economics and Service, Faculty of Pedagogy and Social Sciences, majoring in Preschool and Primary Education with a specialization in Foreign Language, Group 2.23.
Joseph C Ogbonna is a widely published poet. Some of his many works have been published by Synchronized Chaos, Spillwords Press, Micromance magazine, PoetryXhunger, Waxpoetry Magazine, Borderless, Orenuag Journal, Ihram and more than two dozen anthologies and magazines. He also has two self-published volumes to his credit. His works, ‘Napoleon to Josephine and Josephine to Napoleon,’ had been aired by the BBC Radio 3 for a historic documentary.
He is a graduate of Nigeria’s famous Ahmadu Bello University, Zaria, where he bagged a Bachelor of Arts in Economics and Education. He has PGD, MBA, M.Sc and M.Ed degrees from other Nigerian institutions of higher learning. He lives in Enugu, Nigeria with his wife, Chizoba.
Because I have engraved you Within the deepest chamber of my heart, I keep walking this long and winding road— From morning until evening, From evening into the depths of night, And then to morning once more. Yet my journey never seems to end.
Because I have rooted you Into the innermost depths of my soul, Each afternoon you arrive with a flower in your hand. Upon the sun leaning over the bridge, Gentle waves of light flow through my heart Like the murmuring currents of the river.
.
As the sun descends beyond the horizon, My hand resting in yours, Like birds returning home at dusk, My spirit stirs within its nest, Bright with laughter and life.
Because I have found you Within this chamber of my heart, Perhaps the stars of the sky illuminate My once-dark shelter.
A deer’s playful restlessness, A world filled with simple grace, A lamp of love glowing within the eyes— As though it longs to tell A secret beyond words.
Within the flowers, within the birds, Deep in the heart’s silent depths, Light blossoms in stillness. The echoes of laughter and tears Rise and mingle endlessly With the stars across the heavens.
It is because I have found you That our world is filled with joy, wonder, and enchantment. Every narrow path, every alley, every hidden lane Spreads its wings across the boundless sky.
And so we continue to drift, And so we continue to soar, While our light of hope
Lives on— Eternal and bright.
Chapainawabganj, Bangladesh
08 May 2026.
Md. Mahbubul Alam is from Bangladesh. His writer name is Mahbub John in Bangladesh. He is a Senior Teacher (English) of Harimohan Government High School, Chapainawabganj, Bangladesh. Chapainawabganj is a district town of Bangladesh. He is an MA in English Literature from Rajshahi College under National University. He has published three books of poems in Bangla. He writes mainly poems but other branches of literature such as prose, article, essay etc. also have been published in national and local newspapers, magazines, little magazines. He has achieved three times the Best Teacher Certificate and Crest in National Education Week in the District Wise Competition in Chapainawabganj District. He has gained many literary awards from home and abroad. His English writings have been published in Synchronized Chaos for seven years.
Once when he was in grade ten in 1990, his Bangla letter was selected as the best one from Deutsche Welle, Germany Radio that broadcast Bangla news for the Banglalee people. And he was given 50 Dutch Mark as his award. They would ask letters from the listeners to the news in Bangla and select one letter for the best one in every month.
From 17 to 30 September, in 2018 he received a higher training in teaching English language in Kasetsart University of Thailand for secondary level students through a government order from education ministry.
On 06 November 2015 he achieved Amjad Ali Mondal Medal for his contribution in education field by a development organization in the conference and felicitation function for the honorable personalities at Rajshahi College Auditorium.
On 30 December 2017 from West Bengal in India he was declared a ‘Literary Charioteer’ in Bangobandhu Literary and World Bango Conference and they awarded him with a Gold Medal in their International Literary Conference and Prize Giving Ceremony.
In 2018, he achieved Prodipto Lirerary Award in Prodipto Literary Conference at Kesorhat, Rajshahi for poems in Bangla literature. He received honorary crest from the administration of Chapainawabganj District Literary Conference and Cultural Function in 2021 and 2022 consecutively.
His poems have been published in many international online magazines such as Juntos Por las L Raven Cage Zine, and Area Felix. His poems have been translated and published in Argentine and Serbian, and he participated in many international online cultural meetings.
Merci didn’t know what to do next. A cute jock had asked her out. Parker wasn’t just Highmount High School’s best soccer player, but one of the state’s top wrestlers as well. Merci could just feel Parker’s strong arms around her now. She smiled.
Parker had asked her to go to prom, which was tonight. What should she do? How should she behave? What would be expected of Merci in the wee hours after prom was over? Had she been asked at the last minute because she wasn’t cute enough, feminine enough to have been asked by others first? Merci had just learned that Parker had broken up with another girl. Was Merci only an afterthought? The thought troubled her. After all, no one else had invited her, and now to have the reputed “love machine” invite her was a little overwhelming. Maybe Parker’s rep was just that, a rep. Merci decided to put her misgivings aside and just enjoy the evening.
Actually, Merci had been asked to prom by one boy, but when she politely declined, he got sore and told her he only asked her because no one else word. It was a pity invite, he’d snarked at her.
Now it was prom night. Merci stood before her cheval mirror, inherited from her grandmother, and looked at her reflection. She had chosen an A-line dress, in a pastel shade of blue. She hoped it would go alright with her date’s sequined black tuxedo. Merci’s father had told her that it made her look older, more adult-like, and she had beamed at the compliment. She fleetingly longed for her mother to have lived to see her attend prom.
“Merci,” shouted Dad from downstairs. “Your prom date is here.”
Merci drew a deep breath, released it and eased nervously down the staircase, careful not to trip. At the foot of the stairs she observed Parker, resplendent in tuxedo and vest and bow tie. As the two came together and held hands, Merci’s father said, “You take care of my girl, now, Parker.”
“I will,” she promised, and the two slipped through the door and to the car, where Parker drove them to Highmount’s first-ever LGBTQ prom.
This collection of poems starts off with a two page long paragraph, stream of consciousness type piece, from which it takes the name, “Dealer”. It definitely sets the tone for the rest of the book. Off the bat, you may assume it’s about a drug dealer, but that assumption’s promptly turned upside down when Salinas writes about “a dealer in the deep web of the night” found while looking for a car, “I was going to get a brand-used baby from a sketchy Spanish-speaking dealer, following a family tradition.”
Though the details are different, it’s the kind of scenario I could easily see someone from my white family in the rust belt playing out, and not a far cry from my limited misadventures on foot and public transit in So Cal.
Finally getting to a place “more of a junkyard than a dealer” that can only be described as “seeing through a veil of grainy radio static,” it’s the poetry in everyday life.
Generally what I like about prose poetry is performance. Even when it’s a scene I’m not connected to, the context is what can make or break it for me such as my preference for the Beat Generation’s novels, as opposed to their poetry which defined it for so many people. But Salinas’s work is different. Though I consider chap books to be the ‘zines of the poetry world, Salinas is both a poet and a ‘zinester. Dealer is mostly laid out like a ‘zine with funky photography, and some experiments with creative layout and hand drawn art.
I’m not sure how some of the most creative pieces such as “Discount Auto Dreams” and “Statement of Facts” could be read out loud without losing their charm. Spoofs of forms, or perhaps actual forms filled out the way you might if you were feeling snarky and had no intention of getting whatever the form is for, they’re 110% ‘zine material, or perhaps wingnut flyer or demo tape layout.
They’re the kind of pieces that make me feel at home reading Dealer compared to your average poetry chap book.
Somewhat similarly, I spent a little too long figuring out that the last line of “PO441 vs. La Yahualica Auto Electric” is actually a line. A mostly conventionally laid out poem unravels, and though I have some funny ideas about how a live reading might go, I mostly appreciate how the formatting gets creative to tie in with the end of the poem.
It’s not all mundane; coming out of Los Angeles in 2026, lines like “Tinted Fords and GMCs prey on the road, planning grand theft auto at gunpoint in federal uniform,” address the bigger picture also in “Hey Mula,” without flogging you over the head.
But still, it’s the poetry of everyday life that draws me in and wins me over. I can’t help but be sure Salinas knows someone who “used to say the border/was just a rumor in asphalt.” And, that “He said the line was real/only when the engine stalled,” as in “Federal Limits Do Not Apply.”
Another very cool aspect of this collection is that the poems are printed in both English and Spanish.
