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NATIONAL SPIRIT IN THE WORK OF UTKIR KHASHIMOV
INTERPRETATION OF VALUES
Duysenbayev Olimjon
Karakalpak State University,
Candidate of Philological Sciences, Associate Professor
https://doi.org/10.5281/zenodo.15123178
Annotation:
This article discusses the universal essence of oriental mytho-
poetics and belief in the work of the writer Otkir Hoshimov, the rediscovery of
the creative nature in episodic scenes, legends and legends selected by the
author. Also, a number of issues such as the interpretation of national traditions
in the work of the writer, its methodological tasks, especially the completeness
and perfection of character, death and its artistic interpretation, national
traditions and values, and the human psyche in it are analyzed using the example
of the writer's story "Uzbeklar".
Keywords:
myth, mythopoetic, individuality, story, storyteller, hero, image,
episode, character, imagery, reality, nationality, tradition, value, nature.
Thus, O.Hoshimov, using Eastern mythopoetic views in his work, first of all,
draws attention to the universal essence of dogma. In the episodic scenes,
narratives, and legends chosen by the author, the content is re-evaluated in the
creator's nature and acquires aesthetic value. It is precisely in the writer's novels
and short stories that the priority of lyrical-philosophical analysis is measured
by the degree of development. In the tendency towards philosophical expression,
the influence of the traditions of Chingiz Aitmatov, Odil Yakubov, and Askad
Mukhtar is noticeable in Otkir Hoshimov's work. The peculiarity of the writer's
use of sources of oral folk art can be seen in the combination of lyrical fervor and
contemplation. If the epic breadth of the Kyrgyz writer is nourished by
intellectual and educational boundaries, then lyrical pressure supports the work
of O. Hoshimov. The creator approaches the nature and beliefs of the people with
special love. This aspect allows us to call him a patriotic writer. Although the
exchange of legends, narratives, and national traditions is prominent in the
artist's explorations, it does not undermine the originality of form and content,
or the artistic compositional integrity. The expression of various types of speech,
mythologisms in the reflection of the hero's psyche determines the author's
artistic and aesthetic views.
The ideological content of Utkir Hoshimov's works consists of the social,
spiritual, and psychological essence of man. This triad acquires creative integrity
through the attitude of the aesthetic point of view to national traditions. The
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writer's skill in creating characters and the degree of discovery of their spiritual
world is a product of the organic connection of traditions.
Tradition is the habits, customs, and values of a people. The unique nature
of each nation, the uniqueness of customs formed over centuries, ensures the
stability of traditions. Characteristics inherent in mentality, in the embodiment
of national values, accumulate the enormous spiritual potential of life's growth
and transformation. More precisely, tradition, which arises and develops as a
synthesis of psychological experiences and rich experiences, ensures the
integrity of the unique spiritual world of the people.
In Utkin Hashimov's work, the interpretation of national traditions
performs the following stylistic functions: characterizes the completeness and
perfection of the character. In particular, in the story "Uzbeks," death and its
artistic interpretation reveal the essence of three images. Consequently, the
national custom - the psychological analysis of the mother-child-daughter-in-law
relationship in the process of seeing off Iskandar Vahobovich's Otinoyi to her
final destination - comes to the center of the research. During the ceremony, it
becomes clear how tolerant and spiritually mature Otinoyi was. It is precisely the
fact that the hero was a neighborhood table-keeper, well-versed in superstitions
and customs, that logically proves the facets of his character. Episodic situations
in the work describe the image of the mother to a certain extent. However, the
strokes given along the way are not enough to reveal the essence of the image.
The author assigns several functions to the life tradition associated with the
hero's death. Consequently, the attitude of the residents of the mahalla towards
the deceased represents a generalization of the image of the Uzbek woman:
"When they reached the stop, a trolleybus arrived. As soon as he stopped,
about thirty men jumped down and grabbed the coffin.
"Who?" asked the intelligent young man in glasses to Kholmat-aka, who was
walking beside Iskander, wiping his tears on the sleeve of his robe.
- Otinayim!
"Hey!" the young man in the glasses crawled back onto the coffin,
pale.[1:260]
The shape of this image testifies to the high status of the mother in the
mahalla. True, according to our national traditions, it has become customary to
respect the deceased and refrain from speaking ill of them. However, here the
author describes the image of Otinoyi with characteristic details, preparing the
reader for a state of mind. The second plot line of the story reflects the
contradictions of the image of Iskandar. The complexity in the nature of this
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character achieves clarity through the child's attitude towards the mother. The
passionate lyricism used in the work, where appropriate, reveals the clarity of
expression and inter-character harmony.
During the ceremony, the series of events brought to life in Iskandar's
memories consistently enriches the image of the mother with new facets, and at
the end of the story, the character of the hero becomes an Uzbek national
essence.
Although the climax of "Uzbeks" is the interrelationship of the three
characters, the author directs the main attention to the study of the
generalization of the image of the mother. In the narration of events, the writer
emphasizes the naturalness of each picture, scene, and situation. The neighbors'
cries, children wearing robes crying "grandmother" in front of the coffin, and
Kholmat aka's depressed mood are the fruits of great kindness hidden in
Otinoyi's image. The child's falling into a state of stupor has a natural basis.
Moreover, Iskandar Vahobovich for the first time feels the grandeur of folk
traditions and Otinoyi's position among the people:
"Iskander realized that the truck wasn't meant to bring only tables and
chairs. Laylaktepa is far, four versts away. At first, he was surprised, but then he
seemed to understand that even the ten- or twelve-year-old children crawling
under his feet were wearing robes and tied belts. Maybe it's Kholmat aka's
children, maybe it's the neighbor's children...
...when they brought out the coffin covered with a paranji on the front and a
mursak on the back, everything was filled with heart-wrenching cries. Sister-in-
law, Aunt Bahri, Aunt Muattar, some girls, and daughters-in-law ran shouting
after the coffin.
- Oh, my mother!
- My unlucky mother!
- Children in robes and belts, with tears streaming down their faces,
chirped: "Grandma, grandma!" Uncle Kholmat's mustache is wet, he keeps
trembling:
- "You were our mother!"[1:261].
By depicting the nature of Iskandar, the writer discovers one truth: the
strength of faith begins with loyalty to national traditions and customs.
Especially, the noble traditions inherent in the mentality are stable in the
mahalla. The tragedy of an unworthy child is also connected with his alienation
from the people, more precisely, with the fact that he has almost forgotten
national values. Nevertheless, Iskandar Vahobovich's eyes were opened. In the
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chain of events, he looks at himself.
In short, the interpersonal, interpersonal, and interethnic commonality in
the work reflects the general nature of the system of events. Thus, objectively
created diverse facets of the image form the dramatic and emotional pressure of
the era and psychological image. In most interpretations, the author creates a
unique spiritual concept through the organization of harmony of national
traditions and the exaggeration of mutual solidarity. If one of the main roots of
this spiritual concept is directed towards the foundations of educational
upbringing, then the second root goes back to the restoration of the balance
between the psyche and universal values. More precisely, the essence of the
writer's work is the integrity of faith, moral qualities of a person, the
interpretation of national values, and the glorious traditions of the people.
Transporting a deceased person to their final destination is both an obligation
and a debt for Uzbeks, whether familiar or unfamiliar. This universal national
tradition is reflected in a number of other social views of the writer.
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Imomova G.M. Tipik milliy xarakterlar yaratishda badiiy nutqning roli:
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