Volume 04 Issue 08-2024
82
American Journal Of Philological Sciences
(ISSN
–
2771-2273)
VOLUME
04
ISSUE
08
P
AGES
:
82-87
OCLC
–
1121105677
Publisher:
Oscar Publishing Services
Servi
ABSTRACT
This article examines the realistic depiction style in artistic literature, the art of creating images, and the unique
methods of conveying social life scenes in a credible manner to the reader, using the works of Shukur Khomirzaev as
an example.
KEYWORDS
Social environment, realistic depiction, character's psychological world, artistic depiction.
INTRODUCTION
Conciseness and Simplicity Define the Short Story
Genre
. Life events depicted simply and clearly in short
stories quickly capture attention compared to lengthy
novels and novellas. The short stories of A. Chekhov
and A. Kakhkhar provide readers with a broad
understanding of life, social changes, and the setting
and time more effectively than large novels. Stories
such as “The Request,” “The Cover Band,” and “The
Death of a Clerk” (by L. Chekhov), and “The
Pomegranate,” “The Thief,” “The Patient,” and
“Horror” (by A. Kakhkhar) are unforgettable because
the life events and characters they portray leave a
lasting impression with their naturalness. This same
quality is reflected in the works of Shukur Khomirzaev
in contemporary Uzbek prose.
METHODS
Research Article
REFLECTION OF CONTEMPORARY ISSUES IN ARTISTIC LITERATURE (AN
EXAMPLE FROM THE WORKS OF SHUKUR KHOLMIRZAEV)
Submission Date:
August 21, 2024,
Accepted Date:
August 26, 2024,
Published Date:
August 31, 2024
Crossref doi
https://doi.org/10.37547/ajps/Volume04Issue08-14
Matluba Murodova
PhD, Associate Professor, State Academy of Choreography of 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 08-2024
83
American Journal Of Philological Sciences
(ISSN
–
2771-2273)
VOLUME
04
ISSUE
08
P
AGES
:
82-87
OCLC
–
1121105677
Publisher:
Oscar Publishing Services
Servi
In the author's stories, a clear depiction of real-life
landscapes is presented. In some stories, the plot
systems are clearly derived from life and not
fabricated. This is why Shukur Khomirzaev’s work has
always attracted the attention of the academic
community. Specifically, Professor Umirali Normatov,
in his conversation with Shukur Khomirzaev, describes
the distinctive qualities of the author's style as follows:
"You need to create a mental image of a sophisticated
reader. The events you write about are often rich in
drama and emotions, but you keep them as hidden as
possible, trusting that the reader will grasp them on
their own"
.
Renowned literary scholar Matyoqub Qoshjonov
acknowledged the innovative aspects of Shukur
Khomirzaev’s work, stating: “Shukur looks at
certain
unnoticed aspects among his contemporaries and
seeks to extract meaningful lessons from seemingly
insignificant relations. In our conversation with the
writer, he recalled the words of Chinghiz Aitmatov:
“Chinghiz Aitmatov told us to write a bit c
older, not to
overwhelm with excessive emotion
”
.
Indeed, the writer depicts aspects of life that are often
overlooked by many, presenting them in various
shades to emphasize that universal and national
spiritual values should always be evident in human
consciousness. He illustrates this through character
conflicts, contradictions in real life, and the struggle of
ideas. Harsh realism demands that societal events be
reflected as they are. Matyoqub Qoshjonov
emphasizes:
“There is a dangerous aspect to this.
To
depict things as they are, one must avoid mixing
emotions. If emotions are included, you will definitely
present it as a beautiful girl. If emotions are not
included, you will speak plainly. Even when emotions
are included, they must be at the level of intellect, so
that the measure is the same and can be accepted
universally, whether by Arabs or Africans. If you
achieve this level, your depictions are realistic and
stark
”
.
RESULTS
In the process of becoming acquainted with Shukur
Khomirzaev’s work,
we are convinced that the author’s
creations arise from the core of real-life events and the
fates of his characters. Most of the characters created
by the writer are people living in mountainous districts
and villages. Consequently, the author contrasts them
with city dwellers. As a result, the mountain people are
portrayed as uniquely sincere, simple, straightforward,
and rough, even though they may be unaware of
worldly knowledge. They are depicted as individuals
who have a deep understanding of national values,
national history, and the past. In contrast, city dwellers
are
portrayed
as
highly
cultured,
arrogant,
disconnected
from
nature,
and
emotionless.
Ultimately, the author does not spare any aspect of the
era, characters, or environment in his depiction. This
situation is evident throughout the stages of the
Volume 04 Issue 08-2024
84
American Journal Of Philological Sciences
(ISSN
–
2771-2273)
VOLUME
04
ISSUE
08
P
AGES
:
82-87
OCLC
–
1121105677
Publisher:
Oscar Publishing Services
Servi
writer's work. For instance, the story "Green Field"
begins with the following lines:
“First of all, I must say that the people from our side
are quite reserved. This has historical roots.”
.
Indeed, the writer begins the topic with references to
the history of the Uzbek people and their brave,
honest, and honorable past. By doing this, he indicates
the lineage of the characters and their customs and
values, skillfully portraying the heroes of his era, both
with skill and disdain, as representatives of their time.
The experiences of the protagonist are narrated
through his own words. This stylistic method is
prevalent in many of the writer’s stories.
The protagonist recounts his adventures, and although
the work is short, it addresses significant social issues,
the ills of the time, and the tragedies of oppression and
violence. These tragedies are linked to the flaws of the
Soviet era's politics, which created and allowed such
individuals to thrive. The protagonist comments on
this:
“Later, you wonder if our virtue has not become
outdated, if we could afford to be a bit careless.”
Thus, Shukur Khomirzaev conveys to the reader that
the time has come to openly address the betrayal and
roughness towards life, humanity, and nature. This is
vividly illustrated through the psychological world and
behavior of his characters. Additionally, the writer uses
the language of ordinary people to discuss society and
social life, revealing the spirit of the era with harsh
realism.
If we examine some artistic details in the story’s plot, it
first discusses the tragedy caused by the excessive
exploitation of influential people. In the story, the
reality appears quite simple: the protagonist, traveling
with his family in his personal car to his native village,
must pass through the territory of a famous “dictator”
who runs a collective farm. The writer begins the story
by describing the protagonist’s anxiety about
encountering this “dictator.”
So, who is this "dictator" that the protagonist fears so
much? The writer explains:
“He is one of those who
replace regional committee secretaries. Imagine
someone like that. They all look alike. They climb to
power through manipulation and deceit, becoming
heroes. Then they find ‘uncle’ in higher institutions; in
short, they are self-made men. However, their hearts
are dark, and they show no respect for people.”
Through the words spoken by the protagonist in the
story, the reader recognizes the truth of the depiction.
The writer fully reveals his intention through this
description of the "dictator." Indeed, this portrayal is
entirely devoid of artistic embellishments, as the writer
employs few artistic devices to uncover the essence of
the character. However, this description provides
information about the past of the reality depicted and
Volume 04 Issue 08-2024
85
American Journal Of Philological Sciences
(ISSN
–
2771-2273)
VOLUME
04
ISSUE
08
P
AGES
:
82-87
OCLC
–
1121105677
Publisher:
Oscar Publishing Services
Servi
directs the reader’s attention to the history of the
"dictator’s" rise.
It is known that such individuals were often those who
sent national resources to the central government
while holding positions such as collective farm
directors or chairpersons of collective farms. They
were figures who, without regard for public health, the
beauty and wealth of nature, were willing to engage in
any reprehensible acts and were part of the central
authority’s le
ss reputable members. These individuals,
instead of improving the reputation of the Uzbek
people, earned the title of the Soviet era’s martyrs.
They were traitors and sellouts to the nation.
The writer creates a portrayal of such figures in the
story, critiquing the painful manifestations of social ills:
oppression and violence, which pose a danger to the
development of any society.
DISCUSSION
In the story, the psychological state of the protagonist
vividly illustrates the violation of human rights. For
instance, when a relative or someone from the
"dictator’s" village gets admitted to a university, the
rector of the institution attempts to win favor with the
"dictator" because he too fears them. Similarly, the
protagonist is embarrassed and anxious about his
family while the lesson is "leaking" away, yet he too is
afraid of the "dictator." Another depiction shows a
government employee considering it an honor to
receive instructions from the "dictator," as he serves in
the same region. Thus, he is also afraid of the "dictator"
because he works in the area under the dictator's
control. Through these small details, the writer
mercilessly exposes the flaws of a society where
dictators live during the years of stagnation.
Particularly, the protagonist feels regret for his
cowardice upon hearing from the government
employee that the dictator has been removed from the
party and dismissed from his position.
Here, the writer places the ordinary protagonist in
various situations, fully portraying him in the reader's
mind. The story reflects the protagonist's true tragedy:
the loss of self, sacrificing even basic human qualities
for a position, fear of being pursued by the "Green
Field" authorities, and the resulting trampling of
fundamental human rights.
In the narrative, the protagonist, while driving, reflects
on his fears and failures:
"I was driving the car. I’m on
the road. I’m laughing, and then I say to myself, 'Am I
really like this? Why were you so afraid that day? Why
were you embarrassed in front of your wife and
children? How much did it affect your nerves? Aren’t
you going to pass by and scold yourself, coward!'"
The reader ponders how the protagonist will resolve
this situation and marvels at the artistic solution unique
to Shukur Khomirzaev. The writer continues to
ruthlessly reveal the protagonist’s moral world. To
Volume 04 Issue 08-2024
86
American Journal Of Philological Sciences
(ISSN
–
2771-2273)
VOLUME
04
ISSUE
08
P
AGES
:
82-87
OCLC
–
1121105677
Publisher:
Oscar Publishing Services
Servi
confess to his wrongdoing, the protagonist reflects:
"...scolding myself and calling myself a coward,
naturally, as I gather my courage, do you believe that
on the turn where the road from the department
passes, a single green 'Niva' appeared and I braked so
hard that my head hit the roof? My thoughts must
have drifted."
At the end of the story, this depiction is intensified:
"But I will tell you one thing without hiding
–
whether
on the city streets or in hunting grounds, when I see a
green 'Niva,' my heart recoils. Why is this? I can’t
understand. Maybe it's something I need to think
about. Is that right?"
The writer concludes the story with this thought,
prompting readers to reflect. This situation alerts
people to the fact that such flaws can occur in any
society. The story also hints at the presence of
individuals around such officials who, like the
protagonist, "greet the shadow of the 'boss'." This
reflects the writer's merciless stance towards the
protagonist, showing that he can evoke a range of
responses from the reader: on one hand, eliciting
sympathy, and on the other hand, generating a feeling
of hatred, despite the reader's understanding of the
situation.
Consequently,
Shukur
Khomirzaev
effectively infuses his characters with qualities unique
to his style: courage, honesty, and a realistic approach.
CONCLUSION
Naturally, the loss of identity and the philosophy of
replacing positions is a significant tragedy that poses a
threat to society. Such individuals lack a heart. For
them, the homeland seems like an object that can be
sold as long as its peace is not disturbed. It is worth
noting that the social flaw ruthlessly exposed by the
writer
—
a flaw deeply rooted in the people's lives
—
is
not confined to a single district or region. Its impact is
much broader. Every reader who understands the
writer's intention while reading the story will be
convinced of this. Therefore, the real-life events, the
protagonist's psyche, and behavior in the story are a
result of the life circumstances depicted.
The pursuit of the "Green Niva" becomes a terrifying
shadow over the protagonist's psyche and is elevated
to the level of a symbol in the work. The writer calls
attention to the danger posed by these "Green Nivas,"
warning against them. At the end of the story, the
writer reminds us, "Be brave! You’re human, after all!
Remember your ancestors." This hints that we are
descendants of noble, courageous figures like
Alpamish, patriot Tamyris, and Shirok. The writer not
only calls the protagonist but also the reader to live
bravely, without fear of "Green Nivas," and to live
truthfully and courageously. Undoubtedly, the
evocation of such feelings in the reader is the writer's
unique artistic mastery.
Volume 04 Issue 08-2024
87
American Journal Of Philological Sciences
(ISSN
–
2771-2273)
VOLUME
04
ISSUE
08
P
AGES
:
82-87
OCLC
–
1121105677
Publisher:
Oscar Publishing Services
Servi
REFERENCES
1.
Normatov, U. Etuqlik
–
Tashkent: Literature and
Art, 1982, p. 358.
2.
Qoshjonov, M. Selected Works. Two volumes.
Literary Portraits. Volume 1.
–
Tashkent: Literature
and Art, 1982, p. 384.
3.
Qoshjonov, M. Selected Works
–
Tashkent: Gafur
Ghulom Publishing House of Literature and Art,
1983, p. 359.
4.
Kholmirzaev, Sh. Selected Works, Three Volumes.
Volume 1.
–
Tashkent: “Sharq”, 2003, p. 400.
5.
Kholmirzaev, Sh. Selected Works, Three Volumes.
Volume 2.
–
Tashkent: “Sharq”, 2003, p. 454.
Internet sources:
6.
http://naukarus.com
7.
www.xabar.uz.
8.
https://uza.uz/uz/posts/
9.
http://library.
10.
http://library.ziyonet.uz/ru/book/download/42436
11.
https://ru.wikipedia.org/wiki
