American Journal Of Social Sciences And Humanity Research
68
https://theusajournals.com/index.php/ajsshr
VOLUME
Vol.05 Issue02 2025
PAGE NO.
68-69
10.37547/ajsshr/Volume05Issue02-16
Distinctive features of plot types in the novel "IMOM
MOTURIDIY"
Bobojanov Alisher
Lecturer at Berdakh Karakalpak State University, Uzbekistan
Received:
21 December 2024;
Accepted:
23 January 2025;
Published:
25 February 2025
Abstract:
This article examines the plot and compositional feature
s of Luqmon Borikhan’s novel Imom Moturidiy.
The narrative is constructed using chronological, retrospective, and concentric plot types, each distinguished by
specific conflicts and dramatic developments. The study explores the novel’s key plotlines, parti
cularly those of
Imom Moturidiy and Vosiq La’liy, Idris Shomiy, and Khalid Khalaj. Additionally, it analyzes the role of artistic detail
and stylistic elements in shaping the novel’s narrative dynamics and psychological depth. Through its plot
construction, the author harmonizes historical reality with artistic truth. From a literary perspective, this article
aims to investigate the novel’s poetics by elucidating the unique characteristics of its plot structure
.
Keywords:
Plot, composition, retrospective plot, chronological plot, concentric plot, dramatism, artistic detail.
Introduction:
The plotlines in Imom Moturidiy immerse
readers in diverse settings. The storyline involving
Imom Moturidiy and Vosiq La’liy explores themes of
friendship and betrayal, scholarship and humanity. The
narrative arc of Idris Shomiy delves into separation,
loss, slander, and conspiracy. Meanwhile, the plotline
of Khalid Khalaj portrays ambition, arrogance, vanity,
and ignorance, all intricately interwoven with historical
reality.
As V. Khalizev argues, there are two main types of
novelistic plots: chronological and concentric. In a
chronological plot, events are primarily linked by the
passage of time. "The structure of a chronological plot,"
writes Khalizev, "allows the author to explore reality
with maximum freedom across space and time" [2;88].
Although the novel’s retrospective episodes appear
fragmented and non-linear across different sections
and chapters, the depiction of past events ensures
narrative cohesion. Furthermore, the retrospective
plot structure effectively situates characters within a
specific time and space, reinforcing the story’s internal
logic.
The storyline centered on Idris Shomiy holds particular
significance. Chapters such as The Mysterious Letter,
Idris S
homiy, La’liy’s Torment, Javod’s Crime, The Day
the Secret Was Revealed, and Execution are arranged
in a sequence that, if read linearly, resembles a
chronological plot. However, rather than strictly
adhering to conventional chronology, the novel’s
structure emphasizes logical coherence, creating a
distinctive plot configuration. The interplay of events
within the retrospective plot framework highlights
their dialectical and chronological interrelations.
According to literary scholar T. Boboyev, artistic plots
can be categorized into chronological, retrospective,
concentric, and associative types [3;123-124]. A
chronological plot presents events in sequential order,
while a retrospective plot often begins with the climax
before using flashbacks to reveal prior occurrences.
Some plots are structured with such intense dramatic
tension that it becomes difficult to distinguish elements
such as exposition, complication, climax, and
resolution
—
this is known as a concentric plot. In
contrast, associative plots are not driven by a sequence
of events but rather by the internal emotional and
psychological turmoil of the characters.
The turning point in Idris Shomiy’s storyline is an event
that entirely upends his life, setting off a chain of
conflicts. His backstory
—
his upbringing, the tragic fate
of his father, his manipulation by the Mu‘tazilites, his
American Journal Of Social Sciences And Humanity Research
69
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American Journal Of Social Sciences And Humanity Research (ISSN: 2771-2141)
loss of family, and his eventual transformation into a
fanatical avenger sent to Samarkand
—
is not presented
through direct narration. Instead, it is revealed through
a re
trospective interplay of the author’s and the
characters’ perspectives.
Born as Aron, Idris Shomiy becomes consumed by
vengeance after his father falls victim to an anti-Muslim
conspiracy. His affiliation with the Mu‘tazilites, his
adoption of a new identity, and his recruitment into
their ranks lead him to Samarkand, where he seeks
retribution. As the plot unfolds, his increasingly
complex character is revealed through a combination
of episodic developments and deeper psychological
insights. The crucial conflict arises when Idris Shomiy
distorts the meaning of Imom Moturidiy’s letter to the
governor of Samarkand, triggering a series of
confrontations that escalate into broader political and
ideological struggles.
A striking use of artistic detail can be observed in the
passage where Khalid Khalaj approaches Imom
Moturidiy:
“As the governor rode toward Moturidiy, a sudden
wind began to blow from the front. … The wind grew
stronger, hurling dust and debris into the riders’ faces.
Suddenly, a massive walnut branch cracked and fell
across the path. His horse reared in terror, and Khalid
Khalaj, thrown off balance, suffered a crippling injury.”
[4;180,184].
This scene not only foreshadows Khalid Khalaj’s
downfall but also elevates Imom Moturidiy as a figure
of divine wisdom. The storm functions as an
externalization of internal conflicts, reinforcing the
novel’s interplay between character psychology and
environmental symbolism.
The characterization of the novel’s plotlines reveals the
following distinctive features:
1.
In the plotline of Imom Moturidiy and Vosiq
La’liy, there is a harmony between character
development and the logical progression of events.
2.
The plotline of Idris Shomiy is predominantly
driven by the sequence of events.
3.
In the plotline of Khalid Khalaj, character
development
and
event
progression
are
interdependent.
4.
In the family-oriented plotline, psychological
depth and character expression take precedence.
The first part of the novel consists of the exposition of
all plotlines and the development of conflicts. The
second part centers on the climax of events, while the
third part presents the resolution of overarching
conflicts [5;16].
Luqmon Borikhan’s Imom Moturidiy exemplifies a
synthesis of tradition and innovation in narrative
structur
e. The novel’s multi
-layered plot expands its
thematic reach, enhancing its epic scope. While the
novel employs a blend of chronological, retrospective,
and concentric plot elements, the dominance of
monologue-reflection as a narrative technique
positions
the retrospective plot as the novel’s central
framework. Through this structure, the author achieves
both a nuanced depiction of historical events and a
profound psychological exploration of his characters.
Ultimately, the novel’s plotlines not only convey
historical realism but also explore the moral and
philosophical dimensions of its protagonists. The
interplay of causality and consequence, particularly in
the arcs of Idris Shomiy and Khalid Khalaj, serves as a
driving force behind the narrative’s progre
ssion. Imom
Moturidiy stands as a testament to the enduring power
of historical fiction in illuminating both the past and the
human condition.
REFERENCES
Gachev G. The Life of Artistic Consciousness. Moscow,
1972.
Khalizev V. Drama as a Phenomenon of Art. Moscow,
1978.
Boboyev T. Fundamentals of Literary Studies.
"Oʻzbekiston", Tashkent, 2002.
Luqmon Bo‘rixon. The Novel "Imam Maturidi".
Tashkent, "Adabiyot", 2022
Sa’dullayeva Moxira. Issues of Artistic Mastery in
Luqmon Bo‘rixon's Short Stor
ies and Novellas. PhD
dissertation abstract in Philology. Urgench, 2023.
