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