American Journal Of Philological Sciences
355
https://theusajournals.com/index.php/ajps
VOLUME
Vol.05 Issue04 2025
PAGE NO.
355-358
10.37547/ajps/Volume05Issue04-87
Interpretation of National Character in The Depiction of
The Hero
Kosimova Azizakhon Botirali qizi
English teacher at the Department of Foreign Languages, Fergana State University, Uzbekistan
Received:
28 February 2025;
Accepted:
29 March 2025;
Published:
30 April 2025
Abstract:
This article analyzes the methods of expressing national character traits in the creation of literary
characters. National character is understood as a set of distinctive spiritual and moral features formed on the
basis of a particular nation’s experience, worldview, values, and mentality. The study examines how national
character is reflected in the portrayal of characters in Uzbek and English drabbles, illustrating examples and
analyzing the balance between national identity and universal human values. A comparative approach is also
employed in analyzing short literary works from both literatures.
Keywords:
Drabble, image, character, hero, short story, upbringing, national upbringing, analysis, method.
Introduction:
In literary studies, in order to vividly and
vividly depict any artistic text in the reader’s
imagination, writers strive to demonstrate their full
talent and use various methods to ensure the
perfection of their work. One of the key elements that
enhances the overall value of a literary work, keeps the
reader’s attention engaged, and at the same time
reveals the writer’s inner experiences is the portrayal
of a human figure, commonly referred to as a hero or
character in literary terminology. As we know, at the
center of any literary work stands the hero, who
embodies the ideological and artistic essence of the
piece. In the dictionary of literary studies, the term
“character” is defined as follows: the word “personage”
is derived from the Lati
n word “persona,” meaning
“individual” or “theatrical mask,” and refers to the
human figure in a work of fiction
—
a participant in the
events of the literary work, and the subject of
emotions, experiences, and speech [1, 223].
The literary scholar A.A. Qayumov provides the
following definition of a literary hero: ‘‘While creating
a literary work, the writer is primarily influenced by
real-life events. The author endeavors to depict the
features of the character he creates as vividly and
distinctly as possible. In this process, the artist employs
imagination and creative perception, presenting the
individual characteristics of the introduced character
through an artistic and aesthetic lens” [2, 13]. Thus,
writers endeavor to portray the characters they create
in a comprehensive and nuanced manner, striving to
emdiv qualities that align closely with both the form
and content of the literary work.
METHODS
In world literature, both positive and negative
characters inherently possess the ability to influence
the
reader’s
psyche,
either
consciously
or
unconsciously, leaving a profound impact. Specifically,
the reader draws conclusions from the work, and the
fate of the protagonist serves as a life model or moral
example. In essence, literary characters are positioned
at the core of the narrative, acting as a mirror for the
author’s inner world. Through the portrayal of these
characters, the writer facilitates an unspoken dialogue
between themselves and the reader, which ultimately
conveys broader social messages to the public. The
selection of the theme, idea, and character is a
deliberate process on the part of the writer, emerging
through the writer’s artistic mastery, imagination, and
creative capacity. In essence, the coherent depiction of
characters primarily serves to uncover a range of issues
and situations, while also functioning as a defining
element of the era, environment, and, crucially, the
writer’s inner world and imaginative framework.
Human fate, rooted in a long history, remains a
American Journal Of Philological Sciences
356
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American Journal Of Philological Sciences (ISSN
–
2771-2273)
universally relevant theme, through which the cultural,
traditional, and national identities of various peoples
are portrayed. An analysis of literary works from both
Eastern and Western literature reveals that writers
from these two cultural spheres craft characters that
maintain their cultural integrity and national identity,
reflecting the uniqueness of their respective
backgrounds.
In recent years, during the rapid process of
globalization, the scope of themes in literary works
being created in world literature has evolved and
developed. At the same time, the methods of
portraying characters have always remained a relevant
topic for writers. Indeed, the human figure is almost
always depicted using similar tools and details.
“Portraying an individual as a vast
world has become a
leading principle in our literature” [3, 351].
RESULTS AND DISCUSSION
In the comparative analysis of works from two distinct
literatures, particularly in drabbles, we can observe
both divergent and, in certain instances, parallel
aspects of national character in the portrayal of
characters.
First, in English literature, the protagonists’ lives are
governed by their ability to make autonomous
decisions at every stage of life
—
whether it involves
selecting an occupation, planning for the future, or
even making choices related to marriage. This reflects
a national characteristic of the English people, namely,
their independent and free-spirited nature.
Second, characters in English drabbles are generally
portrayed as deep thinkers who make decisions
grounded in logic and practicality. Furthermore, for
these characters, rational analysis and the critical
evaluation of the situation hold greater importance
than emotional responses. When crafting characters,
the writer takes into account not only personal
perspectives but also the character's nationality,
culture, and, crucially, their national spirit, which
manifests in the unfolding events of the narrative.
Another defining characteristic of these characters,
when compared to those in Uzbek literature, is their
ability to adapt their relationships to changing
circumstances, as well as their distinct notions of
loyalty and faithfulness. For example, in Dolores Rup’s
drabble “Jumboq,” the characters speak to each other
in an abstract, cold, and so
mewhat cryptic tone (“
- Tuf-
tuf, ko‘z tegmasin, yuzingizdan oy balqdi, chiroyingiz
ochildi, Vatson”. –
Kechiring, Xolmas, bu gal jinoyatni
ochishga tishingiz o‘tmasa kerag
-ov!) [4, 69], In Kurt
Homan’s work “Ko‘r
-
ko‘rni qorong‘uda toparkan”
(Blind Man Finds Blind Man), on the other hand, the
characters are depicted as a disloyal married couple.
“Priscilla, my darling, she means nothing to me. Will
you ever be able to forgive me?”
The woman blushed and softly replied:
“Yes, John. To love is to forgive.
“You
are an angel!" he exclaimed.
The man kissed his wife, slung his rifle over his
shoulder, and walked out into the street.
No sooner had he left than Priscilla bent down, peered
under the bed, and whispered:
Come out, Miles.” [5, 56].
In the work under analysis, the choice of such
characters by the writer reflects not only the artistic
concept of the author but also the mentality and
lifestyle of the English people, depicting situations that,
while occasionally occurring, are not seen as tragedies
within the family context. The concept of nationality in
these characters, although similar in some aspects to
those of other nations, reflects a distinctly different
national upbringing when it comes to the family.
Indeed, the characters Priscilla and John, who are
raised in the English environment, will be analyzed
below. For this reason, their feelings of love, loyalty,
and trust toward the family are not fully developed. The
English people, especially American families, have been
shaped by certain upbringing and customs that have
evolved over time.
In American culture, until the 1950s, the family
structure typically consisted of a husband, wife, and
two or more children, with the man usually being the
primary breadwinner, while women were primarily
responsible for household chores and raising children.
However, after the 1950s, certain changes in the family
lifestyle began to emerge. For example, families with
only one child became more common, and there are
even families where the parents do not wish to have
children at all. Additionally, it became more common
among young people to form families without
marriage. It is also widely accepted by parents if
unmarried men marry women with children.
Furthermore, “blended families” (families formed with
children from the spouses' previous marriages) are now
an accepted and supported family structure in
American culture [6, 78].
Not only in America but also in the mentality of the
English people, modern national upbringing includes
late marriages, having children at a later age, and
certain approaches to child-rearing. In Uzbek culture,
there are views on national upbringing that differ from
the above characteristics, and although these views
may not be typical in Eastern countries, they are traits
that significantly contribute to an individual's sense of
identity and place in society. The idea of late marriage
American Journal Of Philological Sciences
357
https://theusajournals.com/index.php/ajps
American Journal Of Philological Sciences (ISSN
–
2771-2273)
and having children has both advantages and
disadvantages, which are well known to all of us, but it
is essential to touch upon some differing views on child-
rearing. While Uzbek people tend to use strict discipline
when educating their children, in the English mentality,
parents who physically discipline their children are held
accountable. Children are often placed in a separate
room to reflect on their wrongdoings and come to an
understanding of their mistakes.
If we bring these ideas together, we can see that
through these characteristics of English culture, the
portrayal of adult characters in writers' works reflects
these traits. In the work “Ko‘r
-
ko‘rni qorong‘u
da
toparkan”, the protagonists are depicted in a family
where the concept of “family” is not instilled, and the
sacredness and importance of nurturing it are not
conveyed. It is safe to say that the characters lack any
sense of nationality. The purpose of writing such works
is to help the reader draw relevant conclusions from
the actions and fates of the characters.
CONCLUSION
Thus, the English people, considering that life is only
given once, prefer to live it in the way they desire. For
them, raising children and guiding them to adulthood is
not considered a priority task; rather, achievements in
their professional lives take precedence over family
and children. This characteristic distinguishes them
from the Uzbek national upbringing, where family and
children are considered more important than personal
career success.
The Uzbek people have always been known for
prioritizing the benefit of their homeland, family, and
loved ones over their own interests. In Uzbek literature,
particularly in drabbles, national character is more
closely tied to traditional values and relationships
within the family and society. In the portrayal of
characters, qualities such as spirituality, culture,
patriotism, respect for parents, responsibility toward
children, and social duty are often embodied.
The national character traits of Uzbek heroes are
clearly reflected in their compassion, respect for the
spirits of ancestors, attention to future generations,
and their deep interest and respect for long-standing
traditions. First and foremost, the works of Uzbek
literature and their protagonists show respect for the
general values of the traditional Uzbek family, always
prioritizing their responsibilities and love for their
family, people, and homeland. The second feature in
the interpretation of the characters of Uzbek heroes is
their sense of loyalty, their struggle against lies and
betrayal, and their belief in serving their homeland as
their duty. These traits have been present in the works
of writers and poets for centuries.
One of the distinguishing features of the characters in
the works of two cultural representatives is the
independent decision-making of the heroes in English
literature. As mentioned earlier, the protagonists in
Western literature make important decisions
independently in their lives, and this is considered a
normal situation for members of society. However, in
Eastern countries, particularly in Uzbek families,
decisions are made jointly by the parents. For example,
we can cite the protagonist of the work “Fate” written
by Uzbek drabble writer Kamoliddin Shukur as an
example:
“
- Do you know, my friend, there is no one in the world
happier than I am today!
Well, let me hear it then.
I… I have fallen in love with Sadoqat…
Congratulations.
But, my friend, do you know, I am the happiest person
in the world!
What are you saying? I am marrying Farogat…” [7, 133].
If the situation described above were to occur within
the context of English mentality, the writers would
likely conclude the depicted scenario with a different
ending, where the two lovers would be united despite
any difficulties or parental disapproval. This is because,
according
to
Western
customs,
individuals
independently choose their life partners and establish
relationships with those they desire. However, in Uzbek
culture, the opinions and decisions of the elders are of
great significance, and the future spouses for the
younger generation are selected by them. The
protagonist of the above drabble is depicted as being
the “victim” of the elders, marrying not the one he
loves, but the girl chosen by his parents. In this case,
the writer’s artistic purpose is to express the traditions
and national values of Eastern countries through the
portrayal of the character. Despite the protagonist
being "happy," marrying the girl chosen by his parents
reflects the deep-rooted values of the Uzbek people.
Such expressions of national identity are common
among many Eastern nations and are incorporated into
the works of writers.
Thus, the works created in the cultures of the two
peoples and their protagonists reflect the social,
economic, spiritual-educational, national culture,
values, and social systems of those peoples. In the
family relations, customs, and beliefs of the English
people, inheritance, wealth, and, in one word, financial
matters are always prioritized by law. When compared
to the Uzbek people, this characteristic fundamentally
differs and reflects a culture with many aspects that can
be cited as examples.
American Journal Of Philological Sciences
358
https://theusajournals.com/index.php/ajps
American Journal Of Philological Sciences (ISSN
–
2771-2273)
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