"PEOPLE BY MOONLIGHT": NATIONAL IDENTITY AND THE SEARCH FOR MEANING

INTERNATIONALSCIENCES, EDUCATION AND NEW LEARNING TECHNOLOGIES VOLUME 2 | ISSUE 9 | 2025 https://internationalsciences.org/ | Social Sciences and Humanities | November, 2025 4 DOI: https://doi.org/10.5281/zenodo.17784842 “PEOPLE BY MOONLIGHT”: NATIONAL IDENTITY AND THE SEARCH FOR MEANING Zikriddinova Mutabar Faxriddin qizi 3rd grade, Faculty of Philology, Jizzakh state pedagogical university Email: [email protected] ABSTRACT This article is devoted to exploring the artistic portrayal of national identity and the inner emotional world of the individual in Toghay Murod’s literary work People by Moonlight. The study examines the protagonists’ inner experiences, their search for a meaningful place within society, and the personal trials that shape their spiritual growth. Keywords: Toghay Murod, People by Moonlight, national identity, spiritual quest, artistic style, inner experiences, individual and society, spirituality, literary analysis, national values. INTRODUCTION A distinctive feature of the current stage of development in our literature is the broad scope of philosophical and moral–spiritual exploration. The artistic expression of such ethical and spiritual values arises not only from the psychological needs of individuals but also from literature’s own inner demand for meaning and renewal. It is particularly gratifying that Togʻay Murod’s creative pursuits emerge from a rich and diverse foundation of real-life material. As he illustrates life events and creates characters, the writer, as noted, “cannot remain a captive of his own imagination. There are certain forces that shape the direction of his pen forces superior to the writer’s will and no artist can ignore them. One of these forces is the logic of life” [1]. Regardless of its genre, genuine artistic creation always requires depth of thought and an independent worldview. Only when a writer feels spiritually free can a truly meaningful literary work come into existence. DISCUSSIONS AND FINDINGS Independence liberated writers from the countless visible and invisible psychological restraints that had long suppressed them during the Soviet era. The rejection of a single, rigid creative method one grounded solely in materialist philosophy and imposed uniformly on all opened unprecedented opportunities and a INTERNATIONALSCIENCES, EDUCATION AND NEW LEARNING TECHNOLOGIES VOLUME 2 | ISSUE 9 | 2025 https://internationalsciences.org/ | Social Sciences and Humanities | November, 2025 5 sense of creative freedom for artists. Yet, it should be noted that even during that period, there were authors who managed to portray the flaws and spiritual distortions of the time through subtle psychological analysis. For any creative individual, the totalitarian system that once deprived them of their identity, as well as the surrounding social reality, naturally becomes something they reinterpret through the prism of personal experience. Through this inner process, a deeper understanding gradually emerges. As People’s Writer of Uzbekistan Said Ahkmad pointed out: “Toghay Murod’s novella “People by Moonlight”, written with burning passion, anguish, and at times even a cry of the heart, is something I would call a “Song of”.” [2]. Indeed, through this work, Toghay Murod revealed yet another dimension of his literary talent. He masterfully depicted not only the spiritual world and unique moral outlook of our brave wrestlers and skilled horsemen, but also the everyday paths of ordinary people their personal reflections, their inner emotions, and the rich palette of feelings contained within their warm and loving hearts. Kayvoni Momo continued leading the bride through the traditional greeting ritual: “Greetings to my father-in-law, Who waters his oxen at the stream, Who plays his doira with joy, Who marries off his noble sons. Greetings! As bright as the stars above, With eyebrows like soft black fur, With a heart as radiant as daylight— Greetings to my mother-in-law!” The recited verses came from Kayvoni Momo, while the bows and gestures came from the bride: “To my sister Gulsum — Bright as a polished pot lid, Pure as the women of the house, With cheeks like ripe apples My respectful greetings!” Kayvoni Momo added humor as well. The neighbor Suvon, known for his height, complained: “Kayvoni Momo, why did you forget me? I am offended!” “Then let him hear this,” she replied: “Like the spout of a watermill, Like the collar of an adras robe Greetings to my tall brother!” Norboy the shepherd stood up: INTERNATIONALSCIENCES, EDUCATION AND NEW LEARNING TECHNOLOGIES VOLUME 2 | ISSUE 9 | 2025 https://internationalsciences.org/ | Social Sciences and Humanities | November, 2025 6 “Hey momo, and why doesn’t the bride greet me?” “Let her greet you as well; listen: Like straw packed tightly in a sack, Like a jackal startled from its den— Greetings to my shepherd brother!” This set the whole gathering laughing. “Oh, Kayvoni Momo, I was offended for nothing! A bride who greets well brings blessing, and a wedding with joy becomes even better.” In the novella, when Qoplon and Oymomo visit the shrine of Sufi Olloyor in hopes of having a child, the narrative incorporates numerous elements of folk oral tradition. These can be considered legends associated with Sufi Olloyor himself. According to one such legend, Sufi Olloyor had once been a powerful bey. He possessed vast wealth and had forty wives. His cruelty was so excessive that anyone who saw him would instinctively try to flee. One day, as he was riding through town, he looked down from a bridge and saw bright red blood flowing through the stream. Shocked, he ordered his guards to investigate. They discovered that a pregnant woman, trying to escape his tyranny, had hidden beneath the bridge. Terrified, she miscarried her child… It is particularly noteworthy that the novella’s success owes much to the profound influence of folk oral traditions. Throughout the narrative, Murod frequently draws upon elements of folklore. For instance, during the wedding of Qoplon and Oymomo, the author vividly highlights the customs characteristic of Surkhandarya. Through the descriptions of traditional songs, dances, and welcoming rituals, readers become so immersed in the atmosphere that they feel as if they are personally present at the celebration. Since Sufi Ollohyor was a man with a poet’s heart, he eventually asked himself, “Have I truly fallen this far?” and began to judge his own deeds. At last, he renounced the worldly life, abandoned all his possessions, and devoted himself entirely to worship and service to the people. Stories such as Olloyor bringing water to Vaxshimor or driving the snakes out of the area also captivate the reader’s attention. What is particularly noteworthy is that the legends in the novella differ significantly from those found in traditional folk narratives. Toghay Murod preserves the core meaning of each legend, yet he reimagines and reinterprets them in a realistic manner. Through vivid depictions of the characters’ movements, speech, and emotions, he enhances their plausibility and gives the impression that these events may genuinely have occurred. For instance, there is a very brief folk tale in which Sufi Olloyor sends a letter to the White Snake, the ruler of the snake kingdom in Vaxshimor, asking them to leave the area. Toghay Murod transforms this terse tale into the following vivid scene: INTERNATIONALSCIENCES, EDUCATION AND NEW LEARNING TECHNOLOGIES VOLUME 2 | ISSUE 9 | 2025 https://internationalsciences.org/ | Social Sciences and Humanities | November, 2025 7 It is said that Olloyor wrote a letter addressed to the White Snake, king of the serpents. He handed the letter to one of his braver attendants. “Go and deliver this to the White Snake’s kingdom,” he commanded. “I am afraid, master,” the attendant replied. “Then throw it near the border of their realm; the rest will reach them,” said Olloyor. The attendant tucked the letter into his belt. In this way, Toghay Murod breathes life into a legendary narrative. The attendant is so terrified that he loses all sense of himself; as he walks, he doesn’t even notice the hissing and rustling of the “guards” he passes, and he unknowingly steps directly into the presence of the White Snake king… Of course, modern readers may find it difficult to believe that a snake could read a letter, understand its contents, or draw conclusions from it. Therefore, Murod adds a realistic layer to the scene: “The White Snake shrieked with authority! He summoned all members of his realm to his dwelling! A human has come once and learned the way; now they will keep coming and bring unrest,-he warned. We must leave let us migrate to lands untouched by human steps.” He gathered all his tribes, cast himself into the waters of the Khojaipok River, from which he swam into the Surkhandarya. From Surkhandarya he climbed to Zakhartepa. But Zakhartepa displeased him. The White Snakes marched again. They set off toward Bobotog. There, in a place called Govurgon, they settled… And for two centuries now, Bobotog has remained the dwelling place of snakes.” [3] As we can see, through Toghay Murod’s creative reinterpretation, a simple legendary fragment is transformed into a gripping, emotionally powerful, and remarkably realistic episode one that blends seamlessly into the structure of the novella. Such passages appear frequently throughout the text. As critics note, “In Toghay Murod’s novella ‘People by Moonlight,’ the qualities unique to the writer become even more apparent. What is the story really about? At first glance, it seems to focus on the familiar theme of childlessness in our literature. However, that is not the true essence.” In reality, this novella is whose style recalls the rhythm and tone of folk epics may be described as a lyrical song about love, or more precisely, a heartfelt ballad about two pure souls who overcome all of life’s storms by leaning on love itself. As Odil Yaqubov notes, “A good song carries a note of longing; yet this longing does not burden the heart on the contrary, it refreshes the soul like a drink of cool water.” [4] Toghay Murod skillfully incorporates elements of oral folk traditions that define the national color of the region he portrays. It is important to note that he does not merely insert these expressions into the text; rather, he assigns them meaningful artistic and thematic functions, using them to reveal the inner world of his characters. For example, consider this excerpt from the INTERNATIONALSCIENCES, EDUCATION AND NEW LEARNING TECHNOLOGIES VOLUME 2 | ISSUE 9 | 2025 https://internationalsciences.org/ | Social Sciences and Humanities | November, 2025 8 song sung by the elderly woman whose decades-long hope for a child has rusted with time while she milks her sheep: Your child is your joy, turey–turey, Hold the little one as you sleep, turey–turey, Mothers of children will watch them, turey–turey, The childless will watch in silence, turey–turey… In this instance, the author metaphorically “kills two birds with one stone.” On one level, the song expresses Oymomo‘s quiet grief over her childlessness hinted at by the line “the childless will watch in silence.” On the other hand, the phrase is also meant literally: the sheep she is milking has just lost its lamb, slaughtered to provide meat. In both senses, the sorrowful tone of the song conveys a deep emotional undertone. Toghay Murod frequently and effectively draws upon folk materials and folklorism in his novellas. Proverbs and sayings such as “A foal takes the place of a horse,” “Stretch your legs according to your blanket,” “A poor man gets bitten even when riding a camel,” “A neighbor is one’s soul,” “If the cattle don’t resemble their owner, they’re worthless,” and “A donkey doesn’t recognize its owner, nor a cat its mistress,” appear throughout the text. Used in their authentic meanings, these expressions enrich the narrative and heighten the emotional resonance of the characters’ speech. CONCLUSION What deserves special attention is the fact that, drawing upon oral folk traditions, Tog‘ay Murod not only integrates existing proverbial expressions but also creates entirely original aphorisms and folk-like sayings, seamlessly weaving them into his works. For instance, in Evening When the Horse Neighed, one encounters original expressions such as: “Everywhere, there is at least one troublesome person,” “A bald man consoles himself while cooling his armpits,” “Say nothing to a bald man he will understand eventually,” “When a good rider falls, the wicked start mocking him,” and others. The language of Tog‘ay Murod’s works is remarkably delicate. His writings exhibit traces of the saj style found in folklore rhythmic parallelism, deliberate repetition, and musical phrasing. Through this stylistic device, he enriches the language of his narratives and employs repetition to introduce new shades of meaning, intensify emotion, and accurately convey the psychological states of his characters. REFERENCES: 1. Qo‘shjonov M. Hayot va nafosat. -T.: Fan, 1970. –B. 16. 2. T. Murod. Ot kishnagan oqshom. T., Sharq matbaa-nashriyot konserni, 1994. 3. Sharafiddinov O. Adabiyot, tanqid va yangi tafakkur. // “O‘zbek adabiyoti va san’ati”. 2001 yil. 19 oktyabr. INTERNATIONALSCIENCES, EDUCATION AND NEW LEARNING TECHNOLOGIES VOLUME 2 | ISSUE 9 | 2025 https://internationalsciences.org/ | Social Sciences and Humanities | November, 2025 9 4. Sarimsoqov B. Badiiylik asoslari va me’zonlari. Toshkent. 2004. 5. Umurov X. Adabiyot nazariyasi. Toshkent, «Sharq» 2002. 6. https://kh-davron.uz/yangiliklar/muborak-kin/3-fevral-atoqli-ozbek-adibi-togaymurod-tugilgan-kun.html