PSYCHOLOGY AND EDUCATION (2021) 58(1): 5003-5009 ISSN: 00333077 5003 www.psychologyandeducation.net SYNTHESIS OF TRADITIONALITY AND DISTINCTIVENESS IN LITERARY HERITAGE Bekposhsha Rahimova Department of Uzbek Literature, Faculty of Philology, Urgench State University, Urgench, Uzbekistan.E-mail: bekposhsharahimova726@gmail.com ABSTRACT The article interprets Sirojiddin Sayyid's work "The First Wonder" and "One Hundred Oh, Zahriddin Muhammad Babur" in the narrative aspect. In a unique form and style, the ideological and artistic essence peculiar to Navoi and Babur is interpreted from the point of view of the contemporary poet, while preserving the leading features of the spirit of general content, emphasizing the importance of universal views for today. Keywords: tradition, literary heritage, epos, form and style, skill, period and hero, symbolism,literary creativity, originality, symbolic image. Article Received: 18 October 2020, Revised: 3 November 2020, Accepted: 24 December 2020 Introduction Inheritance is one of the most pressing and complex issues that is being studied relatively actively in world literature. It is associated with creative talent, will,power, skill, worldview as a law of the development of artistic creativity. In this process, tradition emerges as an important factor in ensuring heirdom. Since "tradition" is the past achievements of the literature of a certain period, the creative assimilation, continuation and enrichment of its ideological and artistic riches for later times, this phenomenon occurs on the principle of uniqueness in repetition. In other words, succession continues through this principle [1]. Ideological-semantic, formal and other manifestations of tradition are the attributes of permanence, which change and improve due to the creative approach to reality, the level of thinking, the period, the characteristics of the situation, the need for socio-aesthetic needs. There are two aspects, which are quite obvious, to this: the creator's mastery of the heritage, his individual potential, his style, and his ability to express the spirit of the time, especially his use of words. Verily, “each epoch differs from the other epoch by its specific political-social-psychological mood, the work of art grows out of this epoch- mood and sometimes serves only its own period, sometimes due to its symbolism, multi-layered meaning it is consumed by other epochs”[2]. In this process, as symbolism, multi-layered meaning becomes a tradition, the elements of the existing work do not disappear completely, they change and are redesigned and renewed. The experience of world literature shows that in each genre a stable image, motif and means of imagery live on in national interpretations. Not even exactly or by completely replacing the plot and images to a new content, but by repeating them in new situations and conditions, new aspects are opened. Because “it is not always necessary to create a new image, opening up new features of other existing images is also a means of creating an image”[3]. Obviously, tradition is an aesthetic phenomenon of constant change, and “traditionalism is a peculiar feature and way of action of Eastern literature, which has both general similarity and repetition, as well as novelty and discovery. The goals and aspirations of the poets, their results and achievements are always very similar ”(I. Hakkulov). This is an