The development of the epic genre in oriental poetry is manifested in the enrichment of the "nomadic plots" of oral folk art with the specific properties of written fiction and in the combination of the canons of oriental poetics. This literary and aesthetic event can be traced in the combination of the author's theme, content, architectonics and individual artistic style with the social problems of historical reality in his work. The interest of the authors of poems in the revival of themes and plots of past times, the creation of a relationship between poems in folk art and poems of written literature, the manifestation of nationality in the style of written literature creates an artistic synthesis of "nomadic" plots in Eastern epic poetry. This topic is revealed in the article on the example of the analysis of the ancient history of the love of Leyli and Majnun, created in the Arabian steppes, with poems written in Persian-Tajik and Turkic literature. The artistic, aesthetic and ideological principles of Alisher Navai's epic work contributed to the renewal of the centuries-old traditions of oriental poetry. Nizami Ganjavi as the first master of the epic style in his literary environment, and Alisher Navai as a prominent creative figure and statesman of the Timurid Renaissance era, turned in their works to wise folk thinking and the unfading traditions of folklore. Sheikh Nizami in his poem "Leyli and Majnun" turned directly to the creations of oral folklore to express his socially useful thoughts, often expressing his ideological idea not with instructions, but with living episodes and images from folk art. The great thinker, creatively using the artistic traditions of his mentors, gives his poem a new romantic-realistic spirit.