The Educational Significance of Uzbek Folk Tales

Annotation:

Uzbek folk oral literature, with its vast scope and ancient history, continues to inspire many researchers today. Among the genres of this creative tradition, the folk tale occupies a special place, reflecting the people’s historical experience, love for children, and worldview. Through tales, concepts such as good and evil, diligence and laziness, honesty and deceit are conveyed to children in an easy and comprehensible way. The main purpose is to enhance their educational and moral significance. This article analyzes the nature of Uzbek folk tales and their role in children’s upbringing and education.

Keywords: Uzbek folk tales, educational significance, moral value, characterization, spiritual upbringing, ethical values.

The Uzbek people have long been known for their love and care for children. Therefore, the genre of the fairy tale, which plays an important role in child upbringing, holds a significant place in Uzbek oral literature. Uzbek folk tales, with their rich culture and traditions, are not only entertaining stories but also an important source of education and moral development. Passed down from generation to generation, these tales teach children life lessons, moral values, and social culture. Thus, folk tales serve not only as entertainment but also as an essential educational and moral tool.

Folk tales reflect the culture, spiritual worldview, and traditions of the Uzbek people. Through them, children learn about their nation’s history, customs, and values, and grow up in that spirit. For example, in the tale Alpomish, the ideas of heroism, bravery, and patriotism are instilled in children, fostering national pride and a spirit of selflessness.

Tales not only broaden children’s imagination but also develop their creative thinking skills. Filled with fantastic events, interesting characters, and unique worlds, they help children generate new ideas and enhance their creativity. This plays an important role in nurturing imaginative and inventive individuals in the future.

In conclusion, Uzbek folk tales are not just entertaining stories for children but also an essential genre that plays a key role in their upbringing. They help children learn moral culture and traditions, develop imagination and creativity, and acquire social skills. Therefore, reading and learning from folk tales is of great importance for every child.

References:

1. Uzbek Folk Tales, two-volume collection. Compiled by M.I. Afzalov, H. Rasulov, Z. Husainova. Tashkent: G‘afur G‘ulom Literature and Art Publishing House, 1995–1996.

2. Golden Cradle. Tales. Prepared for publication by M. Afzalov, K. Imomov. Tashkent: G‘afur G‘ulom Literature and Art Publishing House, 1985.

3. Afzalov, M. About Uzbek Folk Tales. Tashkent: Fan, 1964.

4. Jalolov, G‘. The Poetics of Uzbek Folk Tales. Tashkent: Fan, 1976.

Rahmataliyeva Aidakhon Umidjon qizi was born on July 10, 2003, in Pop District, Namangan Region. She graduated from Secondary School No. 32 in her district and later completed her studies at the Faculty of Philology of Namangan State University. Aida has participated in various events organized by the Youth Affairs Agency, as well as in Zakovat intellectual competitions, and has been awarded several certificates. Her goal is to demonstrate her knowledge on the international stage and become a true professional in her field.

BARE

Then, as if I had bared my soul to the sky,

through words and tears I broke the endless dry,

through a gaze brighter than any star could be,

through a silent talk, more secret than secrecy.

Then, as if I had foreseen something near,

I told my unrest and omens, clumsy yet sincere,

my armor and my shields I cast upon the road,

my fears and sorrows I left in some other abode.

Those tremors and thoughts were part of my name,

wandering aimlessly since the dawn it came.

That night, a naked soul looked them in the eyes,

and, as in every tale, beheld fear’s disguise.

—

Ana Glendža was born on January 16, 2001, in Cetinje. She graduated in Psychology in 2023 at the Faculty of Philosophy, University of Montenegro, where she also enrolled in master’s studies the same year. She is currently in the final phase of her master’s program, working on her thesis titled “Diabetes as a Risk Factor for the Development of Depressive Symptomatology.”

She approaches poetry spontaneously – she writes when it finds its way to her. She perceives verse as a possibility to express those parts of herself she does not reveal to others, but also as a path to self-discovery, since through writing she often uncovers what she had not known before. She believes that the written word holds healing power – both for the author and the reader. Each poem, in her view, carries a fragment of the personality of its creator, while the reader has the freedom to discover new meanings and open the doors within themselves.

She is a member of the Association of Young Artists of Culture.

A Cup of Coffee

My morning cup of coffee

On the table of displacement

I taste the bitterness of life

And live the dark and terrible nights

I watch the violent storm inside

Eradicating my tent so far

And the dogs attack my innocent children.

I see the world as a foam

Cover the heinous crimes

While we are drowning so deep.

I smell the scent of blood

With every sip of my cup

And I see the faces of the children

Who immersed in their blood.

After awhile,

I woke up while I’m absent-minded sitting

On the table of displacement

Gazing inside my coffee

And listening to the silence of the the world.

NOBEL PEACE PRIZE 2025

He sent ICE into factories, fields;

seized workers, whisked them off to jail.

Alcatraz in the Everglades

is bursting with brown immigrants.

He wants the Nobel Peace Prize.

Sent National Guardsmen to LA,

threatens Portland, Chicago, and more.

He’ll quell protests in blue-state burgs

with military troops and guns.

He wants the Nobel Peace Prize.

He took health care away from millions;

food stamps, too, and meals on wheels.

He’s gunning for Social Security,

and all programs that help the poor.

He wants the Nobel Peace Prize.

Why? He’s ended seven wars!

Which? Don’t ask.  Big wars.  Bad wars.

When? Fake News is so unfair!

Broadcast license should be revoked.

Surprise! He didn’t get the Nobel Peace Prize.

HAMID OLIMJON – A MULTIFACETED PERSONALITY

Madina A’zamjon qizi Turg‘unpo‘latova

2nd-year Master’s student, Namangan State Pedagogical Institute, Namangan region

Abstract

This article analyzes the multifaceted creative activity of one of the prominent representatives of Uzbek literature — Hamid Olimjon. It highlights the poet’s contributions to literature, drama, translation, and public affairs. The paper discusses his poetic mastery, his skillful use of folk oral traditions in artistic works, and his role in the development of Uzbek literature. Moreover, Hamid Olimjon’s works are evaluated as the beginning of a new stage in the history of national literature and as bright examples of the harmony between humanism and artistry.

Keywords: Hamid Olimjon, Uzbek literature, poetry, dramaturgy, epic, translation, literary community, social activity, artistry, literary heritage, creativity, literary criticism, folklore, lyricism.

Introduction

The ocean of poetry is full of pearls and gems, and one of the finest divers who gathered these treasures was Hamid Olimjon — the “singer of happiness.” Despite his short life, he left a remarkable mark in literature through his poems, dramas, epics, and translations, as well as his masterful adaptation of folk epics. Whether he wrote about homeland, freedom, or love, his artistic words carried deep beauty and emotion, making him one of the most beloved poets of Uzbekistan. His works continue to serve as an example and a “school of mastery” for literary scholars and young writers alike.

Epics

Hamid Olimjon’s poetry is characterized by national spirit, sincerity, and purity. His “Zaynab va Omon” (Zaynab and Omon) develops traditional Uzbek epic themes in a new poetic form. Another of his famous epics, “Oygul bilan Baxtiyor” (Oygul and Baxtiyor), written in 1930, is among the finest romantic and modern Uzbek epics. It not only tells the story of pure love and devotion but also conveys the ideals of humanity, patriotism, and justice of that era. The poet’s epics promote love for the homeland, admiration for beauty, and respect for the working people.

Poems and Collections

His poetry collections — “Tong nafasi” (Breath of Dawn), “Sevgi haqida qo’shiq” (Song About Love), and “O‘zbekiston” (Uzbekistan) — stand out for their artistic depth, emotional sincerity, and lyrical richness. Through his heartfelt lines, Hamid Olimjon captured the sorrows and joys of the people, earning the title of a “true national poet.” His language is simple yet expressive, filled with vivid imagery and musical rhythm. He skillfully used proverbs, idioms, and poetic metaphors.

> “Na bo‘lg‘ay bir nafas men ham yanog‘ing uzra xol bo‘lsam,

Labing yaprog‘idan tomgan ki go‘yo qatra bol bo‘lsam.”

These lines from his “Ghazal” demonstrate his poetic craftsmanship, expressing the lover’s willingness to become even a tiny beauty mark on the beloved’s cheek. Such lines reflect the elegance of classical Eastern poetic tradition — the metaphor of the nightingale and the rose, the imagery of nature expressing human feelings, and the personification of wind as a symbol of longing.

Dramaturgy

Hamid Olimjon also made valuable contributions to Uzbek dramaturgy. His plays “Zebuniso”, “Semurg‘”, and “Parizod va Bunyod” were major successes in their time. In “Zebuniso” (1938), the poet depicted the life of the 17th-century scholar and poetess Zebuniso Begim, portraying her struggle for freedom and justice. The play emphasizes themes of women’s liberation, intellectual freedom, and moral integrity.

> “Meni zanjirga soling, ammo fikrimni emas,

So‘zimni bo‘g‘ing, ammo yuragimni emas.”

These powerful lines evoke the spirit of freedom and courage. Through Zebuniso, Hamid Olimjon expressed the voice of the enlightened, free-minded Uzbek woman of his time — a fighter against ignorance and oppression.

Translations

Hamid Olimjon also enriched Uzbek literature by translating masterpieces of world literature. During a politically restrictive period when free thought was dangerous, he found a creative way to express himself through translation. He translated excerpts from A. S. Pushkin’s “Dubrovsky”, “The Captain’s Daughter”, “The Bronze Horseman”, and “Ruslan and Lyudmila”; M. Yu. Lermontov’s “The Demon” and “The Singer”; and N. A. Nekrasov’s socially themed poems. He also translated revolutionary works by Maxim Gorky.

Olimjon’s translations are remarkable for preserving artistic beauty while adapting the rhythm and emotion of the originals into the Uzbek poetic tone. His translation of Pushkin’s “Eugene Onegin” exemplifies his mastery of language and poetic style. Through his translations, he connected Uzbek literature with world culture and broadened the intellectual horizons of his people.

Literary Community and Social Activity

In the 1930s–1940s, Hamid Olimjon was one of the central figures in Uzbekistan’s literary scene. He was active in literary gatherings, discussions, and critical meetings. He worked for “Sharq Yulduzi” (Star of the East) magazine and played a key role in founding the Union of Writers of Uzbekistan. Under his initiative, literary contests were organized in journals such as “Yosh Gvardiya”, “Guliston”, and “O‘zbekiston adabiyoti va san’ati”.

He also supported young writers and promoted the growth of Uzbek-language literature, inspiring others to express national pride through their creative works.

Conclusion

Although Hamid Olimjon’s life ended at the peak of his creativity, his literary heritage brought a new era to Uzbek literature. In his short life, he made significant contributions as a poet, playwright, translator, and public figure. After Uzbekistan gained independence, his name was immortalized — streets, schools, and literary awards were named in his honor. This is a reflection of the deep respect and love the Uzbek people have for their national poet. His name and spirit live on in the hearts of future generations.

Turg‘unpo‘latova Madina A’zamjon qizi — born on March 25, 2002, in Uychi district, Namangan region. She graduated from School No. 26 in Uychi and later earned her bachelor’s degree in Uzbek Language from Namangan State University. She is currently a 2nd-year Master’s student at Namangan State Pedagogical Institute. Madina is passionate about literature, and her articles have been featured in mass media. Her goal is to become a highly qualified professional and share her knowledge with future generations.

History

The strange submission of beaded stars

Falls on my back

I surmise a classical music strangely beautiful

It’s ringing is poised yet melancholy

The cuckoos nest is safe today

A sweet ecstasy of sun burnt smile

The flagrant dreams keep rolling

Tonight as it is known the songs will pray

For the fall of roman empire

Historic preservation is needed

The aura of narcotic mystery

The same time is preserved

It’s calling is a song perched halt.