American Journal Of Philological Sciences
96
https://theusajournals.com/index.php/ajps
VOLUME
Vol.05 Issue06 2025
PAGE NO.
96-99
10.37547/ajps/Volume05Issue06-27
Sobir O'nar's Poetics: Synthesizing Folkloric Traditions
with Realist and Paranormal Dimensions
Saydazimova Samar
Daughter of Sanobar Samar, Tashkent State University of Uzbek Language and Literature named after Alisher Navoi foundation doctoral
student, Uzbekistan
Received:
14 April 2025;
Accepted:
10 May 2025;
Published:
12 June 2025
Abstract:
This paper explores the synthesis of folkloric motifs, realist narrative techniques, and paranormal
elements in the modern Uzbek novella Chambilbelning oydalasi by Sobir O‘nar. The study demonstrates how the
author fuses metaphysical thinking with national traditions to articulate spiritual transformation and moral
renewal through the depiction of clinical death and out-of-div experiences. The work is evaluated through a
modernist lens, revealing its philosophical and symbolic complexity.
Keywords:
Uzbek literature, folklore, realism, paranormal, spiritual transformation, clinical death, modernism.
Introduction:
In contemporary Uzbek literature,
paranormal episodes have emerged as a significant
artistic device for revealing the deeper semantic layers
of the literary text. These elements are particularly
prominent in the works of recent short story writers,
whose creative endeavors reflect a growing tendency
toward modernist thought and a deeper investigation
into the psychological state of the individual.
Through the incorporation of paranormal phenomena,
contemporary authors explore alternative modes of
consciousness, psychological crises, the metaphysical
relationship between life and death, and the intricate
interplay between reality and unreality. These episodes
are not merely decorative or genre-based elements;
rather, they serve as expressive tools that reveal the
inner world of literary characters while simultaneously
addressing broader socio-philosophical issues within
society.
METHODS
The study employs a literary-analytical approach,
focusing on: The structural and thematic features of
Chambilbelning oydalasi. The classification of
paranormal episodes based on a five-fold typology:
illusionary-hallucinatory, mystical (featuring devils,
spirits), metaphysical (transcending space-time),
psychological-paranormal, and symbolic-allegorical.
Intertextual analysis with folkloric sources, especially
the Go‘ro‘g‘li epic tradition. Modernist literary theory,
particularly concepts of spiritual renewal and
postmortem consciousness.
RESULTS
The setting of Chambilbel, the symbolism of light and
transformation, and echoes of epic heroes reflect a
strong folkloric foundation. Realist Foundation: The
narrative realistically portrays the protagonist’s
psychological condition and physical transition into
clinical death, maintaining plausibility within the
fantastical elements. Paranormal Dimension: The
protagonist’s soul observing his div, the metaphysical
detachment from worldly time-space, and the poetic
vision of death as awakening are central paranormal
components. Modernist Markers: The novella
emphasizes existential questions, inner awakening,
moral redemption, and a conscious break from
material reality
—
hallmarks of literary modernism.
DISCUSSION
The literary corpus of Sobir O‘nar exemplif
ies such a
synthesis of complex artistic structure and oral folk
traditions. His ability to frame modern thematic
conAbstract This paper explores the synthesis of
folkloric motifs, realist narrative techniques, and
paranormal elements in the modern Uzbek novella
Chambilbelning oydalasi by Sobir O‘nar. The study
demonstrates how the author fuses metaphysical
American Journal Of Philological Sciences
97
https://theusajournals.com/index.php/ajps
American Journal Of Philological Sciences (ISSN
–
2771-2273)
thinking with national traditions to articulate spiritual
transformation and moral renewal through the
depiction of clinical death and out-of-div
experiences. The work is evaluated through a
modernist lens, revealing its philosophical and symbolic
complexity. Keywords: Sobir O‘nar, modern Uzbek
literature, folklore, realism, paranormal, spiritual
transformation, clinical death, modernismcerns within
a national-cultural context distinguishes his work
within the broader field of modern Uzbek prose. Of
particular interest is his novella “Chambilbelning
oydalasi” (The Moonlight of Chambilbel), which
presents a compelling artistic fusion of modernity and
folklore. In this work, the boundaries between the real
and the supernatural are skillfully blurred, resulting in
a narrative form that is both innovative and rooted in
cultural memory.
The novella presents two parallel narrative threads:
a) The first thread explores the mysterious
disappearance of the character Otaqul Qirg‘iy,
shedding light on his life and activities;
b) The second thread depicts the psychological
experiences of another protagonist who undergoes a
state of clinical death and subsequently returns to life.
Both narrative strands are unified by a shared
conceptual framework: the existential problem of
human beings and being itself; the relationship
between soul and div, life and death; and a broader
philosophical inquiry into the paradoxical narrowness
and vastness of existence. These themes reflect
universal human concerns and contribute to the
metaphysical depth of the work.
Additionally, the novella incorporates intertextual
references to the epic “The Birth of Go‘ro‘g‘li”. It
includes fragment
s such as the episode of Ravshan Ko‘r
and Gajdumbek fleeing from Xunxorshoh, where one
dies and the other takes refuge in a khanaqah (Sufi
lodge); the scene of Hiloloy’s death during labor and
her miraculous delivery in the grave; and Hasanbek’s
adoption of the orphaned child. These references not
only enrich the folkloric dimension of the narrative but
also reinforce the central themes of death, rebirth, and
spiritual continuity.
One of the most significant figures in the novella is
Otaqul Qirg‘iy, who ser
ves as a contemporary
embodiment of the traditional “white
-
bearded elder”
(oqsoqol)
archetype
within
Uzbek
collective
consciousness. He is portrayed as a discerning,
thoughtful, and sharp-tongued man
—
a quintessential
horseman of his era. However, fate leads him into
captivity: he is taken by thieves and forced to work as a
herder for wealthy strangers in the steppe.
This displacement constitutes a form of involuntary
social isolation and spiritual degradation for Otaqul.
Although his diligence and keen observation are
acknowledged in this new environment, the experience
leaves a profound psychological scar. Even when the
opportunity for freedom presents itself, he firmly
declares, “I will not leave.” This decision is closely tied
to deeply rooted notions of human dignity, moral
elevation, and honor.
Within the narrative, Otaqul Qirg‘iy is depicted as a
respected and wise figure among the people
—
a man
who has spent his life “on horseback,” whose minor
flaws are perceived as part of his virtuous character. As
the poet Abdulla Oripov has noted, “In the works of
Sobir O‘nar, national spirit and color are conveyed with
a natural sense of authenticity. Whether in a story or a
novella, he always finds a central motif - a red thread
that unifies the narrative. He
never wanders aimlessly.”
This
observation
is
especially
evident
in
“Chambilbelning oydalasi”.
Through the use of folkloric motifs, proverbial
expressions, and timeless values such as honor,
patriotism, and dignity, the author renders the national
spirit in an artistically resonant form. These elements
serve not only as cultural references but also as
structural and thematic anchors, grounding the
narrative in the ethos of Uzbek identity.
Otaqul Qirg‘iy is depicted as a figure who masterfully
performs epic tales, much like the traditional baxshi
storytellers. He is characterized by Rahmatilla Baxshi as
a “qumquloq,” a person deeply attuned to the power
of words and profoundly devoted to oral folk creativity.
His poetic duels with Mahkam Tojik in the desert
further affirm this portrayal. The relationships between
the protagonist and his elder and younger wives evoke
the figures of Yunus and Misqol in the Go‘ro‘g‘li epics,
thus anchoring the novella more firmly within folkloric
traditions.
The central character of the novella is presented as a
symbol of the modern human. He undergoes a clinical
death as a consequence of betrayal by a close friend.
Although this event is medically plausible, the author
expands it into an artistic and philosophical symbol of
spiritual renewal and social awakening. Despite its
paranormal nature, the episode remains consistent
with the artistic principles of realism.
After his death, the protagonist’s spirit leaves his div
and begins to observe his own life and those close to
him from an otherworldly perspective. From this
vantage point, he perceives the true nature of the
person he considered a friend and the genuine
attitudes of his loved ones toward him. This experience
results in a profound spiritual transformation. Upon
American Journal Of Philological Sciences
98
https://theusajournals.com/index.php/ajps
American Journal Of Philological Sciences (ISSN
–
2771-2273)
returning to life, the protagonist adopts a new
philosophical outlook. These episodes vividly illustrate
the boundaries between soul and div, life and death.
The paranormal aspects of the novella Chambilbelning
oydalasi are manifested against the backdrop of the
protagonist’s death, subsequent resurrection—
that is,
his experience of clinical death
—
and the depiction of
the emotions and sensations following death. In
particular, the sentences: “...an inexplicable lightness,
my feet lifted off the ground and I rose to the ceiling, I
watched the doctor leaning over me, my wife,
daughter, son, Abdumalik, all remained outside;
interestingly, I did not even consider that they were left
outside, I fell into a corner of blissful joy: you ride on
clouds, at least you can ima
gine that,” portray the
protagonist’s wandering between two worlds,
illustrating the liminal state between soul and div.
Regarding this work, the author states: “Whether this
corresponds to the truth of life or not, I do not know,
but as a writer, I tried
to convince.” In the novella, the
author does not depict paranormality as an objective
reality but rather in the context of spiritual and
emotional experience. Possibly, the events of the story
and the clinical death experience may partially
approximate reality. However, the author enriches this
event with emotional depth and effectively utilizes
“paranormal episodes,” drawing inspiration from the
rare example of oral folk creativity - the epic
Go‘ro‘g‘lining tug‘ilishi. The protagonist’s words, such
as, “
...from this heavy, noisy world, something like a
heavy bell severed my foot, I was free, light as the wind,
perhaps a spirit; through the rapidly passing events,
observation, and flow of feelings, I thought, ‘Now I
suppose I must be a spirit...’” clearly
affirm this state.
Through this episode, the author demonstrates the
boundlessness of human consciousness and the artistic
power of spiritual and inner transformations.
At the same time, the clinical death event serves not
only as a dramatic turning point in the plot but also as
a means to explore the profound layers of the human
psyche, to artistically interpret the ambiguous
boundary between life and death, and to symbolize
spiritual purification and the acquisition of wisdom.
Scientific sources do not provide definitive evidence
regarding the soul of a deceased person observing
those left behind. The sacred source, the Holy Quran,
states on this matter: “And they ask you, about the
soul. Say, ‘The soul is of the affair of my Lord. And
mankind has not been given of knowledge except a
little.” (Al
-Isra, 85).
The author's depiction of the soul through artistic
imagery brings the rarely explored theme of "post-
mortem consciousness" in Uzbek literature closer to a
modernist style. Through this, the writer:
a) analyzes life on a metaphysical level;
b) guides the reader not only through the plot but also
on an inner spiritual journey;
c) portrays the rarely encountered theme of "rebirth"
in contemporary Uzbek literature in a harmonious
fusion with folkloric motifs.
Another significant aspect of the novella is the artistic
function of space and setting. Chambilbel serves as the
central setting where the events unfold. It appears as a
desert, functioning as a borderland between this world
and the afterlife. Otaqul Qi
rg‘iy disappears precisely in
this location. The protagonist, who experiences clinical
death, also arrives at this very place as a matter of fate.
The meeting of the protagonist and Otaqul Qirg‘iy holds
extraordinary artistic importance. Both characters have
lost their place in society and have undergone spiritual
trials, which connect them not only through an inner
affinity but also genetically (through familial ties). The
two narrative threads converge in this setting. The
characters’ emotional pain and t
heir opportunity to
examine their lives from an external perspective are
made possible through this space. This, in turn,
emphasizes the narrative function of the setting and
underscores the aptness of the novella’s title.
Underlying the novella is the idea of how narrow and
yet how vast the world can be an idea manifested in the
fact that Otaqul Qirg‘iy disappears without a trace and
is held captive in a desolate desert, and that the
protagonist, who dies and comes back to life, also ends
up in the same desert. From the perspective of others,
both characters are presumed to have left this world;
yet neither returns to say “I am alive”
- one out of
shame, the other out of inability. Otaqul Qirg‘iy, a man
who had “spent his life in the saddle” and served as a
respected elder in his community, chooses to remain
missing rather than return to the people. This is
because, for individuals like him, concepts such as
honor and dignity are held dearer than life itself. This
sentiment is clearly reflected in his words:
“Say I
escaped alive and returned home - how can I live
among my loved ones after such disgrace, after this
shameful humiliation?” Otaqul Qirg‘iy’s decision to
disappear rather than return to his people, his home,
or his children expresses the elevated significance of
honor, pride, and dignity in his character. As a wise
elder of the people, he chooses silence over dishonor.
Through this character, the author illustrates how
deeply rooted the values of pride and honor are within
the national mentality.
One of the characters who drives the plot forward and
brings latent conflicts to the surface is Abdumalik. He
embodies a range of negative traits such as betrayal
American Journal Of Philological Sciences
99
https://theusajournals.com/index.php/ajps
American Journal Of Philological Sciences (ISSN
–
2771-2273)
and baseness, hypocrisy and deceit, pettiness and
insincerity qualities that render him unworthy of the
title “friend.” His unresolved feelings and spite toward
Yaxshigul culminate in an act of revenge that leads the
protagonist into a tragic accident. Although the
orchestrated plan of death unfolds as Abdumalik
intended, the protagonist's return from the grave after
Abdumalik himself had hastily and violently buried him
completely nullifies his malicious intentions.
Abdumalik's cunning, evident in all his affairs, also
proves “useful” in the act of “disposing of” the
protagonist. He meticulously performs all the funeral
rites and even regards the institute director's
attendance at the ceremony as a personal triumph. His
ability to adapt quickly to any situation, to shift like a
chameleon, and his awareness of every sphere of life
suggest a deeper explanation - his supposed
extrasensory perception (ESP). (An extrasensory
individual is someone believed to possess a
supernatural ability to perceive reality without the use
of sensory organs, and to influence others - both
humans and animals through non ordinary means).
This aspect is directly expressed by the protagonist:
“When I heard he had become an extrasensory healer,
I wasn’t surprised. At that time, it was common to see
miracle-workers who claimed to have spoken with
passengers of flying saucers, or fortune-tellers and
sorcerers who claimed to heal from a distance through
magical means”. The protagonist even notes that
Abdumalik secured a wife thanks to this so-called
“unique ability”.
CONCLUSION
Overall, in the novella “Chambilbelning oydalasi,”
philosophical concepts such as soul, div, death, life,
humanity, pride, and honor are expressed through
artistic
interpretation.
The
psychological
and
metaphysical layers of the narrative structure allow the
work to be interpreted as a sample of modern
literature. In particular, the harmony between folk oral
tradition and contemporary artistic thinking enhances
the literary value of the novella. At the same time, the
author’s philosophical refl
ections on life and death,
existence and nonexistence, and loneliness occupy a
central place in the text.
For example, the following lines affirm this perspective:
“A person’s sharpness, ingenuity, and the prestige and
status they gain all come from other people. If there
were no people, who would he be? Look at him now
alone and in captivity what is he? Even calling him a
slave would not be wrong. When life bends or breaks a
person, there is no need to search the skies for answers
in vain”. These reflections underscore the work’s
modernist orientation and its engagement with
timeless human dilemmas.
REFERENCES
Qozoqboy Yo‘ldoshev. From the speech delivered on
the 60th anniversary of the writer’s birth. 2024.
Samarkand.
Shaykh Muhammad Sadiq Muhammad Yusuf. (Tafsir
al-Hilal). Volume 6. Tashkent: 2008. pp. 10
–
11.
Sobir Onar. Selected Works: Novellas and Short Stories.
Sahhof Publishing, 2024.
Uzoq Jo‘raqulov. Issues of Theoretical Poetics: Author.
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literary-critical articles). Gafur Ghulom Publishing and
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Onar, S. Bibisora. Tashkent: Uzbekistan, 2011, p. 301.
https://zarnews.uz/uz/post/sobir-onar-adabiyotda-
yangi-mavzu-yoq-faqat-mahorat-bor
(Sobir Onar: “There is no new theme in literature—
only
mastery.”)
Jo‘raqulov, U. Illusions Without Borders. Tashkent: Fan
Publishing, 2006, p. 155.
Sobir Onar. The Mysterious Letters of Kunsuluv. Gafur
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