THE ISSUE OF HUMANITY AND MORAL VALUES IN SHUKUR KHOLMIRZAYEV'S NOVELLAS

SCIENCE AND INNOVATION INTERNATIONAL SCIENTIFIC JOURNAL VOLUME 4 ISSUE 11 NOVEMBER 2025 ISSN: 2181-3337 | SCIENTISTS.UZ 12 THE ISSUE OF HUMANITY AND MORAL VALUES IN SHUKUR KHOLMIRZAYEV’S NOVELLAS M.O. Khamidova Candidate of Philological Sciences, Professor, Namangan State University https://doi.org/10.5281/zenodo.17693989 Abstract. In the works of one of the prominent representatives of Uzbek literature, Shukur Kholmirzayev, the ethical issues that are significant in modern society are revealed through the moral choices of the main characters, their life experiences and their loyalty to the principles of humanity. This article analyzes the role of humanity and moral values in the author’s novellas, as well as how these reflect his socio-spiritual worldview. The study discusses the artistic means through which moral ideals and human virtues are expressed in the writer’s creative works, and explores the social and spiritual purposes of his novellas. Keywords: novella, humanity, moral values, ethics, moral choice, socio-spiritual issues, artistic analysis, characters, spirituality. Introduction It is important to mention that literature is an important means of reflecting the spiritual and moral values of humanity. In particular, works written in the genre of the novella play a special role in depicting significant moral issues in social life. In the creative legacy of one of the brightest representatives of Uzbek literature, Shukur Kholmirzayev, the themes of humanity and moral values consistently occupy a central place. This article analyzes how the principles of humanity and moral norms are artistically expressed in Shukur Kholmirzayev’s novellas and discusses their significance for modern society. Indeed, in Kholmirzayev’s novellas, humanity and moral values stand at the core of his artistic vision. The author masterfully portrays the inner world of the individual, his moral choices, and the spiritual challenges he faces in life situations. The protagonists in his works often confront complex ethical dilemmas and demonstrate loyalty to the principles of humanity. In Kholmirzayev’s creative worldview, moral values such as honesty, patriotism, compassion, and justice occupy a crucial position. For example, in the novella “Tolqinlar” (“Bukri tol”), the main character embodies the ideal of humanity by upholding moral principles despite facing hardships in life. Through this work, the author invites readers to reexamine the ethical foundations of their own decisions and actions. Moreover, Shukur Kholmirzayev’s novellas also address social and spiritual issues, emphasizing the vital role of humanistic values in resolving them. The author conveys to readers the importance of adhering to moral norms when confronting injustice and inequality in society. In this way, his works possess not only artistic but also social significance, encouraging readers to think deeply and engage in self-cultivation. Kholmirzayev’s artistic language and style also serve as powerful tools for expressing humanity and moral values. His simple yet emotionally compelling style allows the author to reveal the inner world of his characters with great depth, leaving a profound spiritual impression on readers. The writer did not have to search far for his protagonists; he drew inspiration from the lives of people around him those he admired and felt connected to. Nearly all of the artistic images he SCIENCE AND INNOVATION INTERNATIONAL SCIENTIFIC JOURNAL VOLUME 4 ISSUE 11 NOVEMBER 2025 ISSN: 2181-3337 | SCIENTISTS.UZ 13 created reflect the lifestyle of his compatriots and close acquaintances. This dedication to authenticity—and his ability to find “a needle in the haystack” can be regarded as a mark of genius. Indeed, the artistic images created by Shukur Kholmirzayev stand among the finest examples of world literature [8]. From his earliest novellas, the writer began to realize the importance of depicting psychological conflicts and emotional turmoil. In particular, in the magazine version of “Tolqinlar” (“Bukri tol”), the character of Ma’murjon was portrayed rather superficially. Aware of this, the author sought in the book version of the work to explore the hero’s inner world more deeply—through his own internal voice, his “I.” At the center of the novella “Tolqinlar” stands the figure of Oyna sister, a woman rich in life experience, who has endured many hardships. From beginning to end, the author’s attention is drawn to two qualities of Oyna sister: first, she is a leader who is loyal to the public cause and stands firm in her principles; second, she is a noble and kind-hearted person with a generosity as vast as a river. In the novella, these two traits intertwine—her nobility, or in other words, her humanism, adorns her principles and elevates her humanitarian outlook. The writer skillfully shows how these two characteristics coexist within a single individual. Because of these qualities, Oyna sister trusts Mamurjon; and because of these same qualities, she is able to firmly oppose his flaws. For a young writer with limited experience, just entering the literary scene, to express such complex ideas is no easy task. Yet Shukur Kholmirzayev succeeded and his skill did not go unnoticed by the renowned writer Abdulla Qahhor of his time. In his novellas and short stories, Shukur Kholmirzayev treats the fate of his characters with great care and sensitivity. If, under the influence of a certain environment, a person strays from the moral norms of society, the reader senses the author’s disapproval sometimes even his quiet irony. However, when he describes a young person who, under the influence of a healthy moral atmosphere, finds the right path, we can almost see a satisfied smile appear on the author’s face through his writing. Kholmirzayev does not follow the “fashion” of writers who first make their characters err and then suddenly redeem them. When the situation demands, he knows how to punish his characters firmly. In “Tolqinlar,” Mamurjon, in the magazine version, belonged to the type of characters who undergo an abrupt transformation. However, in revising the story for book publication, the author masterfully compels Ma’murjon to confront himself—to look at his own ugly reflection as if in a large mirror—thus finding an original and psychologically profound form of punishment. The events depicted in “Tolqinlar” are related to the writer’s own family home, and one of the main characters, Oyna sister, is based on the author’s mother. The writer describes her as follows: “When Oyna sister was young, she was straightforward and outspoken. It is said that she was the first to declare her love to her husband. Her husband, Normurod Naimov, was the editor of the district newspaper—a very gentle and sensitive man. He would walk slightly bent, step softly, and speak quietly. Oynaxon, on the other hand, held a strong position in the family—she was the one who held the reins.” This autobiographical foundation adds emotional depth and authenticity to the novella, making “Tolqinlar” not only a moral and psychological narrative but also a heartfelt tribute to the author’s roots and the women who shaped his worldview. The novella “Tolqinlar” (“Bukri tol” “The Crooked Willow”) signaled the emergence of a new wave in Uzbek literature, sparking wideranging debate and discussion among readers and critics alike. The original title of the work, “Bukri tol” (“The Crooked Willow”), invites interpretation. Why this name? Why crooked? It is known that if a willow or any tree is properly nurtured, it SCIENCE AND INNOVATION INTERNATIONAL SCIENTIFIC JOURNAL VOLUME 4 ISSUE 11 NOVEMBER 2025 ISSN: 2181-3337 | SCIENTISTS.UZ 14 grows straight and tall. But the crookedness of the willow in the novella carries symbolic meaning. It suggests that when something—or more importantly, someone is not raised with proper guidance and moral education, that person grows up “bent,” astray, and morally deformed. The entire message of the story revolves around this idea. At its core, the novella presents a simple yet profound story—the misfortunes that befall a young man as a result of improper upbringing. For Ma’murjon, arriving at the district office (Raysovet), demanding money from petitioners, or deceiving others as Olmas sister points out seemed natural. He lived in an environment dominated by moral corruption and dishonesty. At first, Oyna sister distrusted him, but over time she began to believe in him perhaps this even influenced her willingness to let her daughter marry him. Another reason was that Ma’murjon had begun to heed Oyna sister’s advice and reprimands showing signs of moral growth. Yet, as the saying goes, “Only the grave can straighten a hunchback.” Ma’murjon’s final act in the story clearly illustrates this truth. At the end of the novella, Mamurjon notices a willow tree bent toward the stream, its trunk curved after being struck by a boulder that had rolled down from a cliff. Perhaps at that moment, he realizes that his own life resembles that of the willow—bent and broken by external blows and inner weakness. The characters in “Tolqinlar” (“Bukri tol”) are portrayed as sincere, simple, and deeply human. One of them, Sanam, grew up deprived of a father’s affection and later found no happiness in marriage. Her husband, Umarjon, died prematurely. In one poignant passage, Oyna sister comforts Sanam: “It’s winter outside the beasts are scattering the haystacks. Don’t deny it, my child, I know you’ve been crying again. But stop now it was fate, destiny. Otherwise, why would a mine that hadn’t harmed anyone for years collapse on Umarjon of all people? One dies by fire, another by water, they say your husband’s fate was written that way. You’re only tormenting yourself in vain. Be grateful you lack nothing. You have your mother’s protection over your head. May God make my Oyna’s head as strong as stone.” [7, p.4] This passage reveals the tangled, tragic fate of Sanam, while also conveying the tone of empathy and resilience typical of Kholmirzayev’s female characters. The cruel politics of the Soviet era did not spare the children of those persecuted during the purges. Ma’murjon, too, becomes a victim of that system. Through the events in the novella, the author powerfully captures the tragedy of those repressed their suffering, moral downfall, and spiritual endurance. At the same time, he incorporates autobiographical elements, reflecting moments from his own life and family history. The blending of biographical and fictional elements in the novella genre has often been noted in literary criticism examples of this can be found in the works of Sherwood Anderson, Leo Tolstoy, Maxim Gorky, Gafur Gulom, Oybek, and Abdulla Qahhor. In one particularly striking scene, Kholmirzayev describes Oyna sister’s encounter with her husband’s corpse: “Oyna sister hastily threw on the quilted coat she had draped over her shoulder and followed the policeman. At the station they said something to comfort her, but she could barely comprehend their words. Finally, they led her to a large courtyard paved with red bricks, towards a building with crumbling plaster. Passing through a dim, musty-smelling corridor, they reached a thick pine door. When it opened, the pale light revealed a man lying flat on his back in the middle of the room. His face was unrecognizable; metal rings glinted by his head, and the suffocating smell of warm blood filled the air. In an instant, Oyna sister rushed forward, knelt beside the body, SCIENCE AND INNOVATION INTERNATIONAL SCIENTIFIC JOURNAL VOLUME 4 ISSUE 11 NOVEMBER 2025 ISSN: 2181-3337 | SCIENTISTS.UZ 15 and, sobbing hoarsely, began to shake him desperately. When he did not move, she fainted beside him” [7, pp. 34–35] This passage demonstrates both the writer’s artistic mastery and his ability to make readers feel the pain and horror of an era. By drawing upon real-life experiences, Kholmirzayev exposes the moral and emotional toll of his time, depicting the full tragedy of life behind prison walls. Years later, those who had been wrongfully imprisoned were rehabilitated. One day, the same policeman who had once turned away from Oyna sister arrives at her door this time carrying a letter written by her late husband, Normurod, before his death. The painful events of life tested Oyna sister’s strength countless times, yet every hardship only made her wiser, stronger, and more steadfast. The lives of Oyna sister, Sanam, and Ma’murjon in Shukur Kholmirzayev’s novella “Tolqinlar” (“Bukri tol”) share striking similarities. Both Oyna sister and Sanam lose their husbands early, while Ma’murjon grows up yearning for the warmth of parental affection. The writer’s mastery lies in his ability to use every detail to reveal the main idea of the work. This is evident even in his description of the arrival of spring—a motif rich with symbolic meaning. The harmony between artistic idea and artistic image largely determines the success of the novella. “Spring entered Sanam’s garden behind the hills without asking anyone, without wondering whether there was anyone in the yard or not. The tips of the apricot buds burst open, showing faint white-pink streaks inside their brown shells. In the muddy field, foul-smelling yet beautiful early spring plants sprouted evenly. The rows of cherry trees bent over them also awakened: though there was still no sign of blossoms, tiny green leaves began to appear. Life continues in its own way—everyone with their own worries, their own sorrows.” [7, p.27] These lines symbolize the eternity of life. Spring always returns, while human beings like the seasons come and go. In this endless cycle, a person continues striving toward the great purpose of self-realization. The novella captures this noble aspiration with deep compassion and love. The landscape descriptions (or peyzaj) play a crucial psychological role, serving as a mirror for the characters’ inner states. The relationship between nature and human emotion strengthens the thematic depth of the work: just as spring symbolizes renewal and hope, the human soul seeks its own “spring” of happiness. Through the image of Sanam, the writer portrays a person searching for the springtime of her life. The characters of the novella are deeply faithful and humane bound by affection and loyalty. It is this emotional strength that allows them to endure the blows of fate and emerge stronger. Mamurjon, outwardly a modest and innocent young man, is revealed by the author to have hidden flaws. Under the pretense of hospitality, Mamurjon tries to trick Oyna sister into signing false documents something she, as a person of integrity, cannot tolerate. At first, Kholmirzayev approaches Mamurjon’s character with empathy, leading the reader to perceive him as a simple, humble individual. The author initially withholds any direct commentary on his inner world. However, as the story unfolds, Oyna sister begins to notice behavior in Mamurjon that does not suit a decent young man, and she reprimands him several times. A woman who has always lived honestly and purely, Oyna sister cannot bear to deal with flatterers or deceivers. The author conveys this tension vividly through dialogue: “Mamurjon, forgive me, while I remember, I’d like to say something: there’s one habit of yours I don’t like. Mamurjon looked at Oyna sister timidly from under his brow, lowered his head, and clasped his hands together. Then, mumbling, he asked: What habit, sisterjon? SCIENCE AND INNOVATION INTERNATIONAL SCIENTIFIC JOURNAL VOLUME 4 ISSUE 11 NOVEMBER 2025 ISSN: 2181-3337 | SCIENTISTS.UZ 16 This very habit of yours standing there with your hands clasped and your head bowed. It embarrasses me. If you don’t want to embarrass your boss, stop doing it.” [7, pp. 8–9]. Through this seemingly simple exchange, the author reveals what lies beneath Ma’murjon’s behavior a tendency toward deceit and hypocrisy. Oyna sister senses this and warns him. Yet, despite his flaws, Ma’murjon continues to draw the attention of those around him—Sanam, O lmas sister, and Oyna sister herself. Sanam, touched by his apparent simplicity and humility, eventually marries him. The characters of “Tolqinlar” are not products of fleeting political trends; rather, they embody timeless moral and psychological truths. Their inner struggles and humanity mark a new stage in the development of Uzbek novella writing. For this reason, “Tolqinlar” and its characters can rightly be regarded as a significant achievement and innovation in modern Uzbek pros e. In Shukur Kholmirzayev’s novellas, humanity and moral values are presented as central themes. Through his characters’ moral choices, emotional experiences, and spiritual reflections, the author artistically expresses humanity’s most essential virtues honesty, justice, compassion, and patriotism. These values, as revealed through textual analysis, serve not only the moral integrity of the individual but also the spiritual perfection of society as a whole. Kholmirzayev shows that adherence to the principles of humanity ensures social justice and stability. Conclusion Moreover, the emotional depth and expressiveness of Kholmirzayev’s artistic language and style enable readers to perceive moral and ethical dilemmas more profoundly. His works inspire spiritual growth and the development of moral consciousness, encouraging readers to reflect on their own ethical behavior. As a result, the writer’s creative legacy holds an important place not only in Uzbek literature but also in the broader process of society’s moral and spiritual development, offering new perspectives and approaches to the artistic exploration of humanity and moral values. REFERENCES 1. Khamidova, M. O. Shukur Kholmirzaev a creative exposer of person and society’s illnesses. International Scientific Journal Science and Innovation, Series C, Volume 3, Issue 1, January 2024, pp. 109–113. 2. Khamidova, M. O. Writing skills and artistic tools. Science and Innovation International Scientific Journal, Volume 2, Issue 4, April 2023, pp. 125–127. 3. Khamidova, M. The stylistic and artistic uniqueness of Shukur Kholmirzayev’s short stories. Namangan State University Bulletin, No. 4, 2021, p. 331. 4. Khamidova, M. O. 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