American Journal Of Philological Sciences
5
https://theusajournals.com/index.php/ajps
VOLUME
Vol.05 Issue06 2025
PAGE NO.
5-7
10.37547/ajps/Volume05Issue06-02
Typology of Artistic Composition in Uzbek Story
Ulkanboeva Matluba Hasanboy qizi
Doctoral candidate of the Institute of Uzbek Language, Literature and Folklore, Uzbekistan
Received:
10 April 2025;
Accepted:
06 May 2025;
Published:
08 June 2025
Abstract:
This article analyzes the continuation of tradition in the construction of artistic composition in youth
prose and its renewal in contemporary interpretation. Based on examples, it examines how skillfully organized
compositional integrity can become an important factor in revealing the author's artistic intent and aesthetic
position. It also analyzes how some compositional devices, having become an interperiodic literary tradition,
continue to exist in contemporary storytelling.
Keywords:
Artistic composition, artistic image, plot, narrator, compositional contemplation, artistic elements,
tradition, innovation.
Introduction:
We all know that poetic text elements
play an important role in the analysis of a literary work.
The reader tries to understand the writer's true artistic
intention through the plot, artistic image, and details.
There is another important aspect in understanding the
deeper meaning of a literary text. This is the
composition of a poetic text. Compositional thinking
plays a key role in understanding the essence of a work
of art. Because if poetic elements such as characteristic
event, vivid artistic image and details, rich language are
not skillfully combined, it will be difficult for the creator
to achieve the intended goal. While acknowledging that
a work of art is a systemic whole, we must not forget
that the composition of skillfully arranged poetic
elements is the foundation of a literally perfect story.
Literature review
In the research of such literary scholars as Suvon
Meliyev, Dilmurod Quronov, Ulugbek Hamdamov,
Bahodir Karimov, Uzoq Juraqulov, Komiljon Hamrayev,
one can observe that special attention is paid to the
composition of a literary work in the process of
interpretation
and
analysis.
For
example,
compositional thinking and structural analysis played a
key role in presenting new conclusions in the section
"The Triad Principle in the Structure of the Novel "Days
Gone By" included in Suvon Meliyev's doctoral
dissertation. The scholar emphasizes that its structure
(structure, composition M.U.) plays an important role
in revealing the main artistic idea of the novel "Days
Gone By" and scientifically analyzes that the novel is
built on the basis of a triad. The new approach to
analysis allows us to draw new conclusions from the
novel's text. Since the principle of triad prevails in the
structure of the novel "Days Gone By," this means that
he acts as the first organizer in actualizing and clarifying
the scale of the artistic idea and meaning developed in
the work. Such a structural feature, characteristic of
our great novel, opens the way to its profound
philosophical
meanings.
[1;84]
Analyzing
the
composition of a work and the interrelationship of
images based on this experience expands the
geography of the artistic meaning understood within
them. These are new, well-founded interpretations.
The renowned scholar Ulugbek Hamdamov, in his
article "One Period: Two Writers - Two Paths,"
reflecting on the uniqueness of Qodiriy's and Chulpan's
prose, draws attention to the compositional structure
and the differences in the plot of the novels "Days Gone
By" and "Night and Day." He rightly asserts that later
writers were followers of these two literary traditions
[2;55-63].
Literary scholar Komiljon Hamrayev's monograph titled
"Story Composition" is noteworthy for combining
compositional thinking and the conclusions drawn
around it, and providing new conclusions: "Firstly, story
composition is considered a purely artistic-historical
category, formed and refined according to the laws of
evolution; secondly, considering artistic composition as
American Journal Of Philological Sciences
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American Journal Of Philological Sciences (ISSN
–
2771-2273)
a holistic artistic phenomenon allows for the correct
definition of theoretical criteria inherent in the whole
through the analysis of parts; thirdly, composition is a
phenomenon that harmoniously expresses content and
form, fully encompassing the properties of the genre
(story genre), and preparing the ground for a correct
understanding of the poetic criteria of the story;
fourthly, composition manifests itself as a product of
the creator's artistic idea, determining the functionality
of regulatory processes in the epic depiction. From
these conclusions, it follows that compositional
thinking can be the main key to revealing the writer's
true artistic intention.
In one of the literary debates in modern literary studies,
the
renowned
theoretical
scholar
D.Quronov
substantiated his thoughts through compositional
thinking, which confirms our views. In particular, it is
worth mentioning D. Quronov's article "Two Words in
Defense of a Thief," written in response to Suvon
Meliyev's article "The Magic of Kindness"[4], published
in the "Literature and Art of Uzbekistan" newspaper
[5;35-40]. In the article, the scholar justifiably objects
to S. Meliyev, who assessed the story "The Thief" as a
work serving the interests of the regime, with the
following argument: "In this structure, there are not
two, as we are accustomed to, but three supporting
points: the mahalla - Qobil bobo - the officials. As we
saw above, each of these points acquires a generalized
meaning when it is separated from the context and
connected with reality: mahalla - the symbol of the
masses, Qobil bobo - the symbol of an individual in a
totalitarian regime, officials - the symbol of a
totalitarian state" [5;38].
D.Kuronov comes to the following conclusion from the
triad of images in the story's composition and the real
reality symbolically expressed through them: "The high
level of intellectuality we observe in the story, the
desire to model life situations expressing the author's
concept (unlike existentialism, where the model also
creates an illusion of reality), leads to this thought.
Further research will show how close our assumption is
to the truth, as well as the reasons and factors for this
similarity. However, this alone gives grounds to assert
that A. Qahhor did not always remain in the grip of the
dominant ideology, within the framework of the
templates of socialist realism, and sometimes
possessed inner freedom in moments of creativity.
Professor D. Quronov, in his article "Compositional
Thinking in the Story "Tulip in the Snow's Embrace,"
reflects on the division of plot events into parts and
how each element serves to reveal the author's artistic
intent [6;46-51]. The scholar puts forward important
views on the theory of compositional thinking. Also, the
compositional integrity and its significance in Cholpon's
other works are examined using this story as an
example. "In Cholpon's other prose works, the
possibilities of compositional thinking are also
effectively utilized. In particular, in the novel "Night,"
the images of Zebi and Maryam are set side by side, the
rivals complement each other and generalize one fate;
The contrasting technique used at the composition
level in "The Baker Girl," the uniformity of the
beginning and end in the story "The Breakfast" - all
serve to express a certain thought in this way" [6;51].
This literary-scientific experiment lays the foundation
for a new methodology in literary studies. Thus, artistic
composition is connected not only with the plot and
fabula of the work, but also plays an important role in
the arrangement of artistic images and details in the
work.
METHODOLOGY
Based on the above-mentioned scientific and literary
experience, one can trace the evolution of
compositional thinking in 20th-century Uzbek short
story writing and analyze how this tradition continues
and is being renewed in modern short story writing,
and put forward new considerations. We believe that
using the methods of historical-comparative and
structural analysis will yield good results. In the
following reasoning, we will use these methods.
RESULTS
From the above considerations, it becomes clear that
the depiction of the characters in Chulpan's story "Tulip
in the Snow's Embrace" in a tripartite relationship
(Sharofatkhon - Eshon - mahalla) pursues a certain
literary goal. Just as in mathematics it is possible to
reduce a nine divided by three to a whole three, so in
literature it is also possible to reduce the real reality
and convey the picture of a vast existence through a
micro-artistic world. This is similar to how D.Kuronov
saw the tragedy of an isolated individual and indifferent
crowd in the Soviet system behind the images of Qobil
bobo - officials - mahalla. Indeed, the tragedy of the
triad observed by our prominent scholar in "The Thief"
is a logical continuation of the triad in the story "Tulip
in the Snow's Embrace." There is no doubt that Cholpon
created a reflection of the reality of his time, implying
a lonely individual through the image of Sharofatxon, a
despotic regime through the image of Eshon bobo, and
an indifferent crowd through the symbol of the
mahalla.
Placing images at three points and showing the
contradiction in the reality of the era continued to exist
as a literary tradition. In Shukur Kholmirzayev's story
"The Lame Crane," the lame crane represents a lonely
individual, the herd represents an indifferent crowd,
and nature represents absolute power. If we consider
American Journal Of Philological Sciences
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American Journal Of Philological Sciences (ISSN
–
2771-2273)
that in the socio-political reality of the era in which the
writer lived, collectivization nullified the value of the
individual, and the intellectual dreaming of
independence was forced to fight alone against
absolute power like a lame turtle, then the analysis is
justified. The anxiety of loneliness made the writer
delve deeper into his world, expressing his true artistic
intentions and conclusions, hiding them behind
symbols. And in literature, such an undesirable
tradition was formed. In this series, a number of classic
stories were created, such as "My Little Thief," "The
Lantern Father," "The Thief," "The Pomegranate," "The
Horror," "The Uzbek Character," "The Bandit Eagle,"
"The Lame Turna," "Fishing," "The Tree in the
Courtyard," "The Little Pink Thing." It can be said that
this literary tradition continues in contemporary youth
short stories.
Raxshona Ahmedova's story "The Teacher's Silence" is
also built on three supporting points, just like above.
Abdusamad domla - other members of the assembly -
"elder." The author does not explain what kind of
official is "big." He portrays him as a full-fledged hero.
The character of the "elder" is depicted in the
description of his relationship and treatment of
Abdusamad domla.
"Why didn't you let me out to the field?" asked the
"elder," his face burning with fire as about twenty or
thirty people sat in the room, lifting them one by one.
"Aziz Akbarovich," said Absamad domla, gathering his
courage, "we've been all in the field for two months,
there's no study, we're falling behind the
program..."[7;127]
During the conversation, the "elder" loses his
composure and raises his hand at Abdusamad domla.
The violation of personal rights and despair brought an
end to Abdusamad domla's life. Abdusamad domla,
humiliated by his pride for being unable to remain
silent at the gathering, fell silent forever. It is
unfortunate that the other members of the 20-30th
assembly are also silent, leaving the victim alone and
remaining empty spectators. The author, touching
upon the painful points of the cotton policy, uses this
literary tradition as a template in the works of
predecessors, but raises a new problem of the new era.
The story begins after the climax. Transition from a
state close to a solution to a node. After the knot is tied,
we return to Abdusamad domla's distant past, and then
to the knot again. The development of events is
introduced as "reproduction." And finally, the climax
appears. The solution is achieved through the
culmination. With his individuality in the construction
of the story, the author managed to capture the
reader's attention. With a triple in the arrangement of
images, he realized his main artistic idea.
CONCLUSIONS
In conclusion, it can be said that R. Ahmedova, drawing
nourishment from Uzbek literary experience and
traditions, looks at the problem of the new era and
demonstrates her creative position. This indicates that
literary traditions continue in modern Uzbek prose.
Raxshona Ahmedova, like her predecessors, places
images at three points while maintaining her
uniqueness in the overall composition.
When analyzing a literary work, utilizing the
possibilities of compositional thinking alongside the
nature of the image, plot, and artistic details can pave
the way for new interpretations.
REFERENCES
Miliyev S. Poetics of Global Scientific and Artistic
Interpretation. Doctor of Philosophy (DSc) dissertation
- T.:2020. - 226 p.
Hamdamov. U. Abdulla Qodiriy and Uzbek Literature -
T.: "Yangi asr avladi," 2022.- 208 p.
Khamraev K. Story composition - T.: "Nurafshon
business,"2020 - 140 p.
Literature and Art of Uzbekistan. 1995. June 23.
Ivanov. D. Reading and Perception Exercises - T.:
"Akademnashr," 2013. - 336 p.
Quranov. D. On Literature and Others - T.:
"Akademnashr," 2019 - 142 p.
Ahmedova R. An incomprehensible confession of love -
T.: "Read book" Publishing House, 2023 - 190 p.
