Volume 04 Issue 06-2024
12
American Journal Of Philological Sciences
(ISSN
–
2771-2273)
VOLUME
04
ISSUE
06
P
AGES
:
12-16
OCLC
–
1121105677
Publisher:
Oscar Publishing Services
Servi
ABSTRACT
In the article, the role of folklorism in the stories of Isajon Sultan in the art of the work, their poetic functions, the
writer's skill in using folklore images and the possibilities of mythopoetic interpretation are highlighted.
KEYWORDS
Myth, mythology, mythologeme, mythopoetic interpretation, legend, mystery, narrative, image, motive.
INTRODUCTION
Folklore, which is a component of folk artistic activity,
is passed from mouth to mouth, from generation to
generation, from era to era, as an art of oral speech,
and ensures the longevity of the nation's spiritual
heritage. With the emergence and popularization of
writing, the emergence of written literature begins a
new era in the life of the epic traditions created by our
ancestors. It is important to study the relationship
between written literature and folk oral creativity in
preserving the common cultural heritage of each
nation. It is considered a powerful tool in bringing
peoples, nations, past, present and future together.
The importance of ancient traditions such as patriotism
and the superiority of spiritual values over materialism
is indisputable, but today this priority has weakened a
little, so our writers are trying to restore them through
their works. Traditions and customs act as a bridge not
only between one people, but also between different
nationalities and generations. Young people brought
up without national traditions and customs are cut off
Research Article
THE WRITER'S SKILL IN IMAGE CREATION
Submission Date:
May 31, 2024,
Accepted Date:
June 05, 2024,
Published Date:
June 10, 2024
Crossref doi
https://doi.org/10.37547/ajps/Volume04Issue06-03
F. A. Qurbonova
Senior teacher at QSPI, Uzbekistan
Journal
Website:
https://theusajournals.
com/index.php/ajps
Copyright:
Original
content from this work
may be used under the
terms of the creative
commons
attributes
4.0 licence.
Volume 04 Issue 06-2024
13
American Journal Of Philological Sciences
(ISSN
–
2771-2273)
VOLUME
04
ISSUE
06
P
AGES
:
12-16
OCLC
–
1121105677
Publisher:
Oscar Publishing Services
Servi
from the roots of national culture, become spiritually
impoverished, and lose their way in defining moral and
artistic values. Today, it is difficult to imagine the
restoration and development of our national values
and traditions without resorting to folklore.
People's writer of Uzbekistan Isajon Sultan is creating
fruitful works in this direction. "People's myths and
legends, Islamic narratives, various fantastic motifs,
mythological images, mind-boggling things that can be
studied through modern information are reflected in
Isajon Sultan's stories. Along with beautiful lyrical
stories such as "Aydinbuloq", "My Flower", "Bogi Eram
Stories", Isajon "Todd", "Aivon" ("Kismat"), reflecting
the general social mood of the period of limitation, the
spiritual life of a person. wrote the stories "Avliya",
"Manzil", "Arif" discussing its essence" [1.261].
In order to create a comprehensive picture of the
writer's artistic world, to clarify the position of the
author, it is necessary to analyze the folklore and
mythological symbolism of the works of art.
In folklore, there are a number of characters such as
giant, fairy, jinn, dragon, Ahriman, Semurg, Jo'mard,
Khizr, Zahhok, Hubbi, Haydar, Sust xotin, and most of
them have been transferred to written literature.
passed In the stories of Isajon Sultan, we witness the
revival of mythological characters in a new form.
The image of mythological creatures is often found in
world wonders. The Sphinx in Sophocles' tragedy
"Oedipus the King" and the one-eyed Cyclops in
Homer's epic "Iliad" are among them. Isajon Sultan
referred to the character of Catoblepas in the
mythology of the peoples of the world in the story
"Little Pink Creature". The event will take place in the
zoo. Adib, first of all, talking about the catoblepas, said
that the Greek philosopher Pliny reported about this
strange creature two thousand years ago, and later
found it in Flaubert's work. but there is a creature that
meets his eyes because of the extreme sharpness of his
gaze, and he notes that he will die without hesitation.
It seems that this animal is also a mythological image
used as a symbol of evil in Western mythology. But the
catoblepas at the zoo was completely different: “It
was a cute creature with a small div but a long neck.
His eyes are very clear, somehow reminiscent of the
eyes of a young child. His fingers are also small and light
pink in color. She blinks her long eyelashes and looks at
people, so innocent that the person who sees her
involuntarily likes her" [4.186].
When the hero of the story asks for an explanation for
this situation, the controller says that his appearance
changed over time and became this way. Talking about
Catoblepas (Little Pink Creature), the warden also
mentions his interesting habit: he cannot be indifferent
to evil and violence. On the ground where the
creature's nest is located, they bring a rabbit with legs
that are wobbly and whose eyes have not yet opened.
At that moment, a snake starts coming towards the
Volume 04 Issue 06-2024
14
American Journal Of Philological Sciences
(ISSN
–
2771-2273)
VOLUME
04
ISSUE
06
P
AGES
:
12-16
OCLC
–
1121105677
Publisher:
Oscar Publishing Services
Servi
rabbit. Seeing this situation, Catoblepas makes strange
noises, turns around and tries to free the rabbit from
danger. He starts to eat his fingers while screaming. (As
a suffering person eats his entrails). An incident of
oppression is happening here. Cruelty is not the snake
preying on the baby rabbit. The phenomenon of Sayyid
and Sayyid is a phenomenon that has been going on
since the beginning of nature. Oppression is
manifested here in the fact that the rabbit is shackled
with a chain and deliberately brought to face the
snake. Those who bring the cute pink creature here to
watch and the spectators are also oppressors, that's
the point. The rabbit escapes from danger. Amazingly,
claws that have just been chewed off grow back. The
sad part is that the catoblepas went so far as to eat
himself, and the rabbit he saved came back and lay
down next to the snake. The psychology of oppression
is reflected through the depiction of this situation. The
story is based on symbols. Here, the snake is the tyrant,
the rabbit is the oppressed, and the cathoplepas is a
symbolic image of a person who suffers from the
inside, even though he cannot openly fight against
oppression. These images, as well as the image of
society through the audience, are meant. The fact that
the language of the story is based on symbolic imagery
has increased the mythological character of the work.
In this story, Isajon Sultan, based on a creative
approach to the ancient mythological image, reworked
it in the syncretic context of contemporary poetic
thinking. The writer described an important human
condition through unreal reality.
The writer's story "Winter Tales" reflects the life of
Uzbek villages in the recent past. During the long
winter nights, the villagers gathered in one house,
chatted until dawn, prepared food, sat down to eat
together, and children also gathered in this house and
listened to stories from adults who knew more about
fairy tales. According to the writer, people like
Rozikvoy, who tell legends and stories, are not just
storytellers, but creators of children's imagination.
One of the mythological figures in the story is a
mermaid. The image of the mermaid first appeared in
Western literature, and its earliest examples date back
to Ancient Greek mythology. In ancient Greece, sirens
were depicted as beautiful mermaids. According to
legend, the sirens were originally assistants to
Persephone, the daughter of Zeus. One day he is
kidnapped by Hades. Sirens can't find him for long.
After not finding the kidnapped girl, they ask people
for help, but people refuse to help. After that, sirens
develop hatred towards humans and decide to take
revenge on them. Attracting sailors with their beauty
and sweet voice, they lead them to destruction [5. 23].
It can be seen from this that in Western mythology,
mermaids are embodied as malevolent characters. The
image of a mermaid is also present in the oral works of
the peoples of the East, and in some interpretations it
Volume 04 Issue 06-2024
15
American Journal Of Philological Sciences
(ISSN
–
2771-2273)
VOLUME
04
ISSUE
06
P
AGES
:
12-16
OCLC
–
1121105677
Publisher:
Oscar Publishing Services
Servi
is said that it appeared in the mythology of the Middle
Eastern countries before the Greek literature.
The mermaid in Isajon Sultan's story "Winter Tales" is
different from the fairies in Western mythology. He
does not harm people, on the contrary, he is
miraculous. He is depicted as falling into Razzaqboy's
net and trying to save him. It can be seen from the
children's words, "Tell me about the scary ones" after
the story ends.
In almost all works of the writer, only good things are
written. The author looks for beauty in every thing and
event. This situation can also be seen in the
interpretation of the image of the giant depicted in the
story.
The image of a giant in folklore and written fiction is a
product of our ancestors' imaginations related to
giants. In folklore studies, images are divided into
mythological and demonological images according to
their function in the work. While mythological
characters are portrayed as good characters who
patronize heroes, demonological characters are
characters who serve evil [6.83]. Giants are also among
the demonological figures. They are depicted as evil
creatures, harmful to people, in folklore examples. In
folk tales, we encounter giants such as the Leaf Giant,
the Yellow Giant, the White Giant, and the Brown Giant.
In myths, giants were embodied as evil characters.
Even after this image was transferred to written
literature, a negative connotation was attached to it.
For example, Ahraman the giant in Alisher Navoi's epic
"Farhad and Shirin" and the Yellow Giant in
Khudoyberdi Tokhtabayev's "Riding the Yellow Giant"
are among them. But the author has a different
approach to the image of a giant in "Winter's Tales".
One day Mamayusuf's brother's father had a fight with
his mother-in-law. When his mother-in-law gets upset,
he scolds her. Mamayusuf's father, who had gone to
draw water, was returning from the water, and he was
afraid to see a giant spinning like a black vortex on the
side of the road. The giant got very angry, took
whatever he could get his hands on and kept shooting
at Mamayusuf's father. "Mamayusuf's father ran away
without looking back. When he reached a certain place,
he looked and saw that something had become huge
and covered half of the sky. Two wild ducks are flying
below the clouds, and they catch him and put him in his
mouth. They say, "Don't be a boy, die." "I am a giant.
For a thousand years, I still serve my mother. Do you
make the wretch look like this duck? roaring" [7.58]. In
this story, one can see the oriental method of
education in the fact that the giant is angry with the
son who hurt his mother and punishes him.
CONCLUSION
In conclusion, it can be said that in his stories, Isajon
Sultan makes extensive use of the mythological
imagination and the method of folk images, which are
Volume 04 Issue 06-2024
16
American Journal Of Philological Sciences
(ISSN
–
2771-2273)
VOLUME
04
ISSUE
06
P
AGES
:
12-16
OCLC
–
1121105677
Publisher:
Oscar Publishing Services
Servi
present in the thinking of our ancestors, in order to
reveal the inner experiences and character of the hero.
In the writer's stories, the myth essentially expands its
sacred function and begins to fulfill its mythopoetic
function. In the plot of the story, it moves to the scope
of secondary content. That is, it serves as a tool for
deepening the essence of an event, revealing the
character of a certain character, and realizing a certain
artistic intention. Isajon Sultan created unique
examples of artistic mythologies based on world and
Uzbek folklore. In the writer's stories, the stylization of
motifs and subjects typical of folklore, the
transformation
of
mythological
images,
and
mythologisms based on religious and religious views
are clearly manifested. The use of folklore elements in
the story is seen as a means of emdiving the author's
worldview and aesthetic ideal. At the same time, it also
determines the creative individuality of the writer.
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