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VOLUME:
Vol.06 Issue06 2025
10.37547/philological-crjps-06-06-03
RESEARCH ARTICLE
The Individuality of The Writer in Creating the Character of
An Image in A Work
Kobulova Nodira Bahodirovna
Doctor of Philosophy (PhD) in Philology, Senior Lecturer, Navoi Innovation University , Uzbekistan
Received:
12 April 2025
Accepted:
08 May 2025
Published:
10 June 2025
INTRODUCTION
In modern Uzbek prose, it is important to analyze the
problems of the prose style of each writer, the creative
mastery of the writer’s character in creation skills, the
creative mastery of reality and its expression in a work.
In classical literature, the main issue is the struggle of the
hero against his own passion. In social realism literature,
the issue was posed differently, that is mobilization against
those who were not ours was declared. In classical
literature, human beings were considered as the children of
Adam and Eve. In realistic literature, humanity was
divided into two groups: reds and whites, poor and rich also
ours and strangers. Therefore, modern literature was
deprived of the traditions of classical literature for several
decades and the relevance of the topic was considered more
important than the poetic idea. Dozens of “hot topics” such
as collectivization, industrialization, women’s liberation,
the development of protected lands, friendship of peoples
and the consolidation of the victories of socialism were
promoted as the supposed literary trends of each decade
and literal works were created according to them. Social
issues have always been in the focus of literature but as a
result of the extreme socialization of 20th-century
literature, the real human figure became invisible, that is a
person was turned into a servant of ideas. Even in the
60years and partly 70years of the last century, the weight
of sociality was high in literature, so it was difficult to find
a place for the hero’s everyday life in the work. This was a
feature of characteristic not only of Uzbek literature, but
also of Soviet literature. Since the 60years, Odil Yakubov,
Pirimqul Qodirov and later Shukur Kholmirzayev began to
pay attention to reflecting the full-fledged image of the
hero, showing that his everyday life also plays an important
role in their works. A group of writers, called the prose
writers generation of the 70years - M.M. Do’st, T. Murod,
I. Qobul, Kh. Sultanov, E. A’zam, Kh. Do’stmukhammad
and others, paid special attention to the depiction of the
hero’s everyday life in their works.
In the 80years of the last century, literary criticism
expressed many opinions about the lack of originality in
the prose of the heroes of this generation. Erkin A’zam in
his article "Unbroken from the Roots"-“Ildizidan uzilmay”
cites an example of Odil Yakubov’s comment on the prose
of young people: "Odil aka, warmly supporting the
research of young people, expressed one wish: "I want
them to increase the weight of social content in their works
." The depiction of the hero’s life and character against the
background of everyday life in the prose of the generation
ABSTRACT
The article analyzes the works of the writer Erkin A’zam "Suv yoqalab", "Jannat o’zi qaydadir" and studies the stylistic research
of the creator in creating a character in these works. The formation of character against the background of everyday life, th e
influence of the period on stylistic research in creating a character are analyzed in this article.
Keywords:
Style, prose, character, model, creative individuality, depiction of everyday life, literary criticism.
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of Erkin A’zams led to a decrease in the weight of social
content in it.
For several decades, it was believed that literature, should
be prioritized as a skill. The hero’s combative stance was
also a extra feature of this. Therefore, the hero's
involvement in the intricacies of everyday life seemed
strange to most literary people. Erkin Azam explains this
situation: "Our understanding of life and literature has
changed for three or four years. Our critical brothers
distracted us: write about GES, write about BAM, write
about big topics, expose, strike! Writing a person was not
a picture. He considered it a minor issue. Now this topic
has become the main theme. This main topic fully reveals
his identity not only with his social activities, but also with
his everyday life. The depiction of the hero against the
backdrop of everyday life is described in detail and
extensively in Erkin A’zam’s stories "Javob" and " Other
Days after the Holiday"-“Bayramdan boshqa kunlar”. For
example, when Nuriddin Elchiyev was faced with a
difficulties, his summary of his life path is seen firstly in
his analysis of his family environment, character and
behavior of his wife and children.
Elchiyev’s beating by hooligans, that is, receiving a
physical blow, is not a very important issue in the work,
but the main goal is to show the triangle of man - family -
society. His beating is a means to open his spiritual world,
his spirituality about world. We see a similar situation in
"Other Days after the Holiday". However, in this work, the
writer approaches the depiction of everyday life and its
impact on the character of the hero more broadly and in
more detail than in the story "Javob". It is important to note
that Erkin A’zam’s later works, especially "Suv yoqalab",
"Qarzdor", "Jannat o’zi qaydadir", written in accordance
with the directions of theater and cinema, which are
completely subordinated to episodes consisting of scenes
of everyday life. The direction of life beliefs, worldview,
spiritual images of the main characters such as Bolta
Mardon, Bahrom Muallim(teacher), Domla are realized in
family relationships. In our opinion, the influence of the
melodrama genre played an important role in the rise of the
image of everyday life to the leading status in these works,
which take into account the features of theater and cinema.
The term "melodrama" means a drama synthesized with
songs and music, which means that melodrama is close in
nature to its forms.
"Melodrama" is a genre associated with the democratic
views of the audience, - writes the Russian literary critic V.
Frolov. – (If it is a good melodrama) it grows out of folk,
national character traits. This genre which is folk and
interesting in its idea, depicts an ordinary person in the
family, in the circle of his closest and dearest, expressing
their joys and sorrows, family relationships and
contradictions, spiritual and moral problems.”
The work “Suv yoqalab” consists of thirty-six episodes
expressed by means of natural landscape of society,
scenery, monologue, internal monologue, dialogue,
conversation, dream imagery. Firstly, we can dwell on the
national and folk spirit of the work. According to national
customs, often when a person reaches a certain age, say,
during retirement, a person has a desire to pray. Secondly,
an elderly person wants to do some good deeds for those
around him, for the neighborhood, for the people and the
country. For example, in the novel "Lolazor", when Nazar
Yakhshoyev reaches a certain age, he wants to have a
beautiful garden and he also involves Saidkul Mardon in
this work. With such desires, Bolta Mardon also wants to
bring water to the withering gardens of his village. Because
of his chairmanship, he had one unfulfilled wish that does
not come true in his soul: he could not bring water to his
village. He had another unfulfilled wish does not come true
in his soul: the dream of "love in his young ages." The
mulberry tree is a symbol of this wish. These are the
foundations that strengthen patriotism and nationalism in
the work. The depiction of everyday life, family
relationships and dialogues deepen this patriotism and
nationalism and give the plot of the work a special shine.
"It is a very difficult task to graft a folk style into literature
at the level of style, to raise this situation to the status of
art," writes Sanobar Tulaganova. – In our view, the
bloodline of Erkin A’zam’s style is seen in his ability to
transform this folk method into a style to a natural artistic
phenomenon.” Also, it would be more accurate to say that
Bolta Mardon’s appearance at the work “Suv yoqalab” is
his last work for the people and homeland as a meeting
with them before his death – his farewell. At that time,
through this work he receives dua from someone,
encourages someone, advises someone, teaches someone
and comforts someone.
“The next day.
The coffin bearers who buried the deceased are filling the
street.
Many people, both familiar and unfamiliar to us from
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yesterday, are in this line. This is the son who mourns with
a loud voice; this is the “water thief” whose father is ill;
they are Hasan and Husan, born within an hour; this is the
evil-minded Bazar Sariq who wishes death on others; this
is the old man who is in love with the crowd, the idler
Jumakul, the husband who has eaten a piece of bread from
his jealous wife…
O’rin Jaga is far from the crowd – he comes alone. Without
a mustache. It is difficult to recognize him. He wipes his
tears with his sleeve every moments.”
In this episode, the folk custom has found its vivid
expression in concise sentences: at a funeral, resentment is
forgotten, in difficult moments, all good and bad, unite.
This work by Erkin A’zam can be called a domestic
melodrama. Because in most of the thirty-six episodes
covered by the plot, the main character Bolta Mardon
mainly communicates with family members: Bolta Mardon
is dissatisfied with the behavior of his eldest son Amir, is
offended by the actions of his middle son Kadir, feels sorry
for the condition of his daughter Zulfiya, is dissatisfied
with his wife, confides in his youngest son Batir.
Theoretically, the conflict of the melodrama is manifested
in "quiet" conflicts. However, it is closely related to the
customs and spirituality formed in the family and society
and to the lives of the characters unfolding against the
backdrop of domestic life, as we can see in the example of
"Suv Yokalab". It is worth noting that Erkin A’zam’s
works “Suv yoqalab”, “Qarzdor”, “Jannat o’zi qaydadir”
prove that the genre features of melodrama were improved
in Uzbek literature.
The writer’s work “Qarzdor” begins with the internal title
“UKA, TOGA, AMAKI, JIYAN…”. The plot of this work,
like that of “Suv yoqalab”, consists of several episodes. In
the first episode, the lively and folk “rumors” of two
women who “came out” reveal Bakhrom’s attitude to
Fayzihol and Fayzihol’s family situation. In the second
episode, Bakhrom meets his poet friend who came from the
city and in the third episode, Bakhrom’s family situation is
described in his own language:
“ – Grandfather is lying down. There is no one to look after
him. Brother is busy, sister is also busy. Then - the army,
worries about marriage. This oil was connected but it
didn’t work .”
In the fourth episode, Bahrom is taken on a tour of the
classroom where he teaches. In all the remaining episodes,
Bahrom is depicted in the context of family life concerns,
his running around, his relationships with his brother,
uncle, nephew. Therefore, in these episodes, scenes of
everyday life are depicted in a folk interpretation. “The
Debtor” is written in prose but it is not difficult to translate
or translate it into a dramatic form because it has strong
question-and-answer and dialogue features. Therefore, we
have reason to freely call this work a daily melodrama.
When determining the genre of original works, the form
elements of some of them and the inner breath of some are
taken as a basis. Taking these into account, it is not entirely
correct not to call “The Debtor”-“Qarzdor” a melodrama
because of its prose expression. There is another reason
why these works of Erkin A’zam have not been called
melodramas until now. Particularly, theoretical textbooks
and manuals published in the Uzbek language usually
provide information about only three genres: drama,
tragedy, comedy. It is necessary to include tragicomedy
and melodrama in this list and study their scientific and
theoretical foundations. Thanks to the services of
Abdukakhor Ibrohimov, Sharof Boshbekov, Erkin A’zam,
we have also created excellent examples of tragicomedy
and melodrama genres.
"The Debtor" tells the story of a family’s financial hardship
during the transition to a market economy period. In such
economically difficult times, the hero of the work works as
a taxi driver additionally, to his teaching job to support his
family financially but usually Bahrom’s responsibility was
to solve the family problems of his mother, brother and
other relatives. The husband of his immortal sister leaves
his livelihood to fate and does nothing more than work as
a maid in a teahouse, his brother goes to work to Russia,
gets married to a woman there, forgets his children and this
leads extra dutuies to Bahrom's responsibility to send his
sick mother and nephew to the Chess Olympiad... As the
poet says, "Giving helping hands to others,"- “Birovlarning
g’amdan egik boshini silayverib” Bahrom becomes
exhausted and eventually "explodes":
Bahrom becomes even more furious:
- Is there another place in this world that is peacefull
whithout problems?! Damn your father! The whole clan
and region was crowded into one neighborhood: brothers
and sisters, aunts and uncles and cousins! It all touched my
soul! Even if you run away, you will still be able to do it!
My brother will do the right thing without coming back!
Long live Bahriddin!
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- Be grateful, my son! Say Asta'furillo!
- Damn your father! You owe everything, you debtor!
"The Debtor" is a compact work. It can be easily read in
30-40 minutes. However, in it, the spiritual suffering,
psychology, mentality and lifestyle of a family and society
in a precarious situation of transition from one system to
another find their real and vital artistic expression.
"A crossroads on a highway through the hills. A
checkpoint: a colorful barrier, a colorful booth, a wagon
mounted on rubber wheels.
In the near place, under the young willows, there is a small
kitchen: a light table and chairs, a passenger’s dining room.
Around there, there are in the heat of the sun, an
"enterprising" diligent woman, wearing a hat that is made
from newspaper as an umbrella, is selling all kinds of food:
soup, ayran, yogurt, mountain herbs, apples and sweets .
This is not just a simple picture of village life. This picture
reflects the real reality of the past ten years after
independence. As mentioned above, the difficult lifestyle
during the transition from one system to another, the daily
life of the villagers and in general, the spirit of the times,
are clearly visible. Even today, such scenes are
occasionally encountered, but they are not as typical as in
the nineties and early two thousandths, in any case, instead
of such “eating - houses”, cozy and formal teahouses have
arisen today.
The genre of the work “Where is the Heaven” is defined as
“dramatic work”. In our opinion, this term expresses the
meaning of a literary type rather than a genre, as if it were
a “prose work”. If we take into account that family
disputes, “quiet” conflicts, disputes over household issues,
the opposition of the American way of life to national and
folk customs determine the components of the plot of the
work, and the high status of musicality in it, then we should
call the genre of the work a melodrama. Therefore, the
work does not meet the requirements of drama, comedy or
tragedy in our experience.
The writer places his characters in the triangle of Uzbek,
American and Russian worldviews under the pretext of a
family dispute. The lady wants to prepare the whole family
for the American way of life, Domla hesitates and in the
end decides to stay in Uzbekistan, the promised "paradise
life" with national traditions and a sense of patriotism. In
this dispute, his daughter Clara, who returned from
Moscow as an orientalist, goes over to her father's side.
Although Clara studied in Russia and married a Russian
man and often speaks with her parents in Russian or
Persian, her national pride and national culture ultimately
show their true nature. The writer describes the highs and
lows, the black and whites of folk life well, choosing the
most necessary, most necessary details of everyday life
depending on the situation and circumstances and through
them manages to reveal a certain aspect of the characters'
manner.
Also, in the comments given by the author, the expression
of household details that provide the “weather” of the
images of the upcoming event, action and situation:
household appliances, kitchen items and everyday
necessities - utensils are used intensively and through them
the vitality of the characters' behavior is ensured. For
example, the introduction to “Heaven is a Rule” begins
with the following comment by the author:
“A secluded corner of the stage in front of the curtain. A
lady reclining on a light armchair, with quiet glasses on the
tip of her nose, a calculator in her hand, is calculating the
total something. Under her feet there was a huge suitcase
that looks like a chest. The clothes and things taken from it
are piled up on the dining table.”
At the very beginning of the work, the writer presents the
reader or audience with a pile of everyday necessities,
clothes. “Light armchair”, “quiet glasses”, “calculator”,
“huge suitcase”, “clothes”, “lash-lush”-small things,
“dining table” – all of these, first of all, increase the
reader’s interest and secondly, serve as a key to entering
the general spirit of the episode. Then comes the lady’s
internal monologue. In this internal monologue, the
character’s profession, worldview, psychology and
character are embodied in her div with the help of
household appliances.
“Lady. Four “boucle” suits – seventy-six dollars – three
hundred and four dollars. Six sweaters – twenty-eight
bucks – one hundred and sixty-eight bucks. Five pairs of
“boat” shoes – sixty-six… Price. Forty tights, only forty-
four – twenty-two dollars. Salt. Where did the other things
go? (He bends down and looks in the suitcase, finally a
bunch of shiny bracelets come out. He takes one out of its
case and looks at it.) It’s going well, though! How many
bucks? .. ”
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The author uses the words "kostyumchik" instead of
"kostyumchik", "bucks" instead of dollars, "sakkiz
koqand" instead of soums, and "tuzu-uv" instead of "tuzuk"
in order to exaggerate the individual characteristics of the
heroine. As a result, at the very beginning of the work, a
sketchy, albeit incomplete, character of the heroine begins
to take shape before the reader’s eyes. Her "private
entrepreneur", her natural whimsicality, her self-interest,
her way of passing over the heavy and under the light,
becomes somewhat clear.
The creator characterizes each heroine by her social
background, profession, and habits. Speaking from the
point of view of their goals and aspirations, along with their
individual images, their spiritual world, their spiritual
world, becomes more and more noticeable. In this regard,
the characters of Rahmatullah Jiydaliy, Tursuniy, Klara
stand out with their original character, behavior, life
aspirations and views. Along with the characters of Domla
and Khanim, the main qualities and virtues, shortcomings
and flaws, spiritual levels of these characters are revealed
against the background of everyday life. The writer does
not set these characters the task of solving major social
issues or ideological struggles, but aims to show them
vividly against the background of everyday life and he has
been able to do this successfully.
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A’zam Erkin. Ertalabki xayollar. 230page
A’zam Erkin. Ertalabki xayollar. 247page
Фролов В. Судьбы жанров драматургии. Москва:
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“Erkin A’zam badiiy olami”:/ S.To’laganova. Yozuvchi
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