In the image gallery of Yunus Oguz, the images of men - heroes, rulers, who played an important role in history, stand in the central position. This point is related to the writer's creative mission, his intention to keep alive and promote Turkish history with historical novels. However, in the writer's creativity, female images representing the gentle half of humanity also occupy a special place. In our opinion, Ulduza, the first female character created by the writer ("Female Star" story) is the initial variant, prototype of the female characters he created later. This character has a dual character, a hero who is both pure and tainted by the filth of time. By putting the pure, pure Star in a dirty environment, the author tests her moral endurance, the power of female dignity and puts her in front of a choice as a woman.
After meeting Ulduze Baybala, the hero of "Female star", he thinks that he understood the real essence of life, reality, and truth for the first time. He is like everyone else, he has found a way to live and lives happily without knowing what he needs anymore. However, over time, he feels that the wear and tear, spiritual erosion has begun within the Star. Ulduza is horrified by the laws of the "Supreme Majlis" where Beybala brought her. These ugly laws presented under the guise of freedom and liberty are the ultimate degradation of society. The penalty for breaking these laws is death. Lust and money are the real essence of this artificial world. This party is not for people who have pure feelings in their hearts like Star. At the moment when the star falls into this assembly, he realizes the futility of the path he took, he rebels, he realizes that the circle he fell into is not a ring and never can be.
However, what Ulduze will experience does not end there. What is more terrible than this party is the secret revealed years later - Beybala, whose lover he is, is actually her father. Against the background of all these events, Ulduza realizes the true essence of "Ali Majlis" and people like Baybala. This council and its slaves like Baybala are trying to suppress and extinguish the struggle for freedom. At the cost of her life, the star scrambles to save Nariman and thus the struggle for freedom. However, when Ulduza, who insulted his love, was walking towards the Caspian Sea with the intention of committing suicide, a bullet of provocation ended Narima's life with him.
At the end of the story, the author points to the symbolic points of the title, as well as the realist essence of the work: "...The square was roaring. And the women seemed to have turned white and gone to the sky. The women had turned into stars, and in the square, honor and mother and sister remained. The stars had disappeared. . The square was roaring. So self-awareness was beginning. No one knew what tomorrow would bring. The square was roaring. And there was still tomorrow ahead..."
As we mentioned, Ulduze is the only female character with a binary essence created by Yunus Oguz. It is impossible to accept this image as either necessarily negative or necessarily positive. In our opinion, this image played a basic role in the formation of female images that we find in the later works of Yunus Oguz. The purity and dignity of the star saved by her death was later reflected in the positive female images created by the author. Atabay Eldeniz's comrade-in-arms Momuna Khatun in the novel "Atabey Eldeniz", Genghis Khan's wife Borte in the novel "Chingiz Khan", Turkan Khatun, the mother of Sultan Muhammad Aladdin Kharazmshah, Sudaba Khatun, the wife of Khojend city judge Timur Malik and other female characters are male rulers created by the author. like his images, he is distinguished by his perfection and splendor.
However, the moments when the star "lost its way" and was covered in dirt also appear later in the works of the author of historical novels in the form of an image. It is the novel "The Queen and the Witch" that has caused various discussions and debates. In Yunus Oguz's novel "The Queen's Wife and the Witch", which sheds light on the conflicting historical period after the death of Tahmasib Shah, the main highlight is the inter-group struggle for power and its bitter consequences for the state. This merciless struggle between the supporters of Heydar Mirza and Ismayil Mirza is accompanied by palace intrigues. The main line of struggle in the work is the line between Parikhan and Kheyranisa. The character of Parikhan, the beloved daughter of Tahmasib Shah, evokes sympathy in the reader with her intelligence, breadth of thinking, spiritual strength and morals. But his lust for power deprives him of the chance to live his private life, enjoying his youth and beauty. Kheyranisa is an enemy of the Safavid Turkish dynasty. Kheyranisa, who set out from her youth with the sole intention of turning this Turkish kingdom into a foothold for the Persians, never forgets her mother's advice: "Shut up, my daughter, shut up! It's Aman's day. Don't talk such things and destroy our house. You know that your father is in the service of the Turkish king. Both the earth and the tree, even a stone has ears. If what you say reaches the ears of the Shah, he will destroy our entire generation. He will build a minaret from the skulls of the men of our tribe wearing hats. Do you want our generation to be destroyed? Do you think the Turks are fools?! Their dead are also powerful. We cannot wage an open war against them, nor should we show open sympathy for them. You should treat the Turk with the language of cunning, cunning, and intelligence. If you can do this, you are the happiest woman in the world. Don't you want the world to be at your feet? Then defeat your Turkish husband and take revenge on him for today!"
Romandakı cadugər obrazı yazıçının tapıntısıdır. Əsərdə mübarizə xətti yalnız Heydər Mirzə və İsmayıl Mirzənin tərəfdarları, Pərixan və Xeyrənisə arasında deyil, həm də cadugər və Xeyrənisə arasında mövcuddur. Cadugərlə Xeyrənisə bir medalın iki üzüdürlər. Yazıçı bu iki mənfur insanı qarşılaşdırmaqla oxucu üçün maraqlı, intriqalı süjet yaradır. Hər ikisi şeytani ehtirasların, arzuların əsiridirlər. Cadugərin şeytani əməlləri ikrah və nifrət doğursa da, onun Xeyrənisəyə aşiq olması, Xeyrənisənin onu istifadə edib atması oxucuda ona müəyyən qədər tolerant hisslər yaradır. Xeyrənisə isə bu dünyaya ancaq hökm etmək, nə olur-olsun ixtiyar sahibi olmaq üçün gəlib. İqtidar ehtirası bu qadının bütün mahiyyətinə hopub və o bu yolda hər şeyə hazırdır:
"...Cadugərin doğru dediyinə tam əmin idi. Ölüm qorxusu və şahlıq iddiası üz-üzə dayanmışdı. Hər ikisi qollarını açıb onu özünə tərəf çağırır, gəl-gəl deyirdi... Birində böyüklük, ucalıq, hamıdan üstünlük, özünün təsdiqi, həzz, ehtiras, digərində isə bütün bunlardan imtina vardı. İllərlə bunun uğrunda mübarizə aparmış, ən yaxın adamlarını bu yolda qurban vermiş, səbr etmiş, dözmüşdü. Gecə-gündüz qarşısına qoyduğu bu məqsədə doğru addım-addım irəliləmişdi. İndi hər şeydən imtina etmək!
İsmayıl şah onun oğlu Həsən Mirzəni Tehranda qətlə yetirəndə sinəsinə çəkilən dağı hamıdan gizlətmişdi, intiqam alacağına and içmişdi. Bəs Həsənin intiqamı?! İndi geriyəmi çəkilsin? Bu olası iş deyildi. Bəlkə də cadugər yanılırdı. Onun da səhv etmək haqqı vardı. Bəlkə də qəsdən belə deyir. Qəzvində bir yatağa girə bilməyəcəklərini zənn edirdi. Böyük sarayın güdükçüləri, söz-söhbəti, dedi-qoduları da çox olur. Özünün ifşa olunacağı, məhz özünün öldürülə biləcəyi qorxusu da ola bilərdi. İnsanlara etibar yox idi, bəlkə də Pərixan onu satın almışdı... Amma yox, bu sarsaq dəlicəsinə vurulmuş bir aşiqdir, onu kimsə döndərə bilməz. Olsa-olsa, özündən və ayrılacaqlarından qorxmasıdır. Əvvəl-axır bu olmalı idi.
Ölənəcən bir cadugərin yatağına girə bilməzdi ki! Bundan sonra onun yatağı hakimiyyətin güclənməsi naminə ən qüdrətli əmirlərə ortaq ola bilərdi".
Xeyrənisə obrazı Yunus Oğuzun mənfi kontekstdə işlədiyi yeganə aparıcı qadın obrazıdır. Yalnız bu əsərində yazıçı Şərin bir qadın timsalında təcəllisi fonunda vətənin və dövlətin mövcudluğu üçün təhdid olan hakimiyyət uğrunda mübarizənin fəsadlarını işıqlandırır, daha sonrakı yaradıcılığında yenə də "ana, dost, vətən" məqamında olan türk qadınlarının tarixdəki möhtəşəm obrazını bədii mətnə nəqş etməyə davam edir.
