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VOLUME:
Vol.06 Issue01 2025
10.37547/philological-crjps-06-01-10
Page: - 47-53
RESEARCH ARTICLE
Symbolism and Social Commentary in Cho
ʻ
lpon’s Stories
:
Landscape and Artistic Details
Durdona Ergasheva
Independent Researcher, International Kimyo University, Tashkent, Uzbekistan
Received:
22 November 2024
Accepted:
24 December 2024
Published:
30 January 2025
INTRODUCTION
In society, ideal individuals guide people toward specific
goals. This is because individuals unify around a common
ideal in pursuit of their objectives. As E. V. Osichnyuk
aptly emphasized, “The role of a societal ideal in an
individualʼs life is significant” [1].
By the beginning of the 20th century, the social and
cultural changes occurring in society were also reflected in
literature. An important question arose in the new era of
literature: What requirements should be placed on the
literary-aesthetic ideal? The resolution of this issue can be
found in P. Kropotkinʼs statement: “Artistic literature is not
devoid of a personal character; no matter how much the
author strives, their desires are reflected in their work.
They idealize what aligns with their dreams” [2].
In the first quarter of the 20th century, Korean creators
influenced by Western culture and art gained the
opportunity to create freely on various topics. Writers and
poets of the new era shifted their focus from creating the
image of an ideal person in line with the ideas of the feudal
backwardness era to producing works that reflected
transformations in the human psyche, the heroes of the era,
freedom, and the independent individual. In doing so, they
relied on examples from world literature.
At the beginning of the era, the issue of the ideal, like
poetic imagery, was interpreted with new meaning in both
Korean and Uzbek prose. Figures such as Lee Gwang-su
and Kim Dong-in in Korean literature, and Fitrat and
Choʻlpon in Uzbek literature, emerged in line with the
worldview of those seeking to transform national
consciousness.
“Although poetic images are developed and perfected by
certain creators, they form and attain completeness within
a specific literary environment, gradually becoming a
tradition over time. It is no secret that, in the early 20th
century, poetic imagery began to be constructed on a
purely secular, national, and social foundation” [3].
The Korean writer Kim Dong-in and the Uzbek writer
Choʻlpon highlighted their aesthetic ideals through their
ABSTRACT
This article examines Choʻlpon's symbolic use of natural elements, such as the "sea" and the "shore," to explore themes of societal
oppression, economic hardship, and the fate of women in his stories. By analyzing key characters and their interactions, the study
highlights how Choʻlpon portrays the inner struggles of his female protagonists against patriarchal and socio-economic challenges
of their time. The article also delves into the metaphorical implications of recurring motifs, such as the sea’s resilience and the
shore’s dominance, to shed light on broader issues of gender inequality and social injustice. Through a detailed exploration of
these symbolic representations, the research underscores Choʻlpon’s advocacy for women’s empowerment and his critique of
societal norms that perpetuate their subjugation.
Keywords:
Choʻlpon, symbolism, sea and shore metaphor, women’s fate, societal oppression, gender inequality, patriarchal norms, socio-economic challenges,
literary analysis, empowerment.
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stories, which often carried unexpected resolutions. In their
stories, the ideals they sought to convey were reflected in
every depicted event, action, and detail, guiding readers
toward a clear goal. In this context, the scholar P.
Turopovaʼs statement is particularly relevant: “The
creatorʼs ideal varies depending on the work created during
different periods and by different authors. At the same
time, the literary-aesthetic ideal is manifested in various
forms, influenced by the creatorʼs emotional experiences
and the needs of the era. Therefore, each creator may depict
their ideal differently based on the purpose of writing, their
worldview, and the demands of their time” [4].
The protagonists chosen by both writers, whether male or
female, are characterized by their natural behavior. The
stories penned by both authors stand out among the works
of their contemporaries due to the weight of their ideas. For
this reason, the artistic components employed in their
stories resonate deeply with the readerʼs heart. This, in
turn, demonstrates that the authors possess a distinct voice
and style of their own.
In the story "A Basket of Sweet Potatoes" by Kim Dong-
in, a hut is introduced as a significant detail. The author
describes the hut as follows: “Uch-toʻrt oy shu tarzda
ishlagandan keyin bir xaroba kulbani ijaraga olish uchun
pul ishlab topdi”, “Ijara haqini vaqtida toʻlamaganlari
uchun tez orada ularni bu kulbadan quvib chiqarishdi”,
“Ularning shahar darvozasidan tashqarida joylashgan
xarob kulbalardan iborat mahallaga borib yashashdan
boshqa choralari qolmadi”, “Bu daraxtlar qurib qolishiga
olib kelishi mumkinligini oʻylagan shahar maʼmurlari
qashshoq aholini, asosan xarob kulbalarda yashaydigan
ayollarni ipak qurtini qoʻlda terishga jalb etishga qaror
qilishdi” [5] (Trans: “After working like this for three or
four months, they earned enough money to rent a
dilapidated hut”, “Soon, they were evicted from this hut
because they failed to pay the rent on time”, “They had no
choice but to move to a neighborhood outside the city
gates, consisting of run-down huts”, “Fearing that this
might lead to the trees drying up, city officials decided to
employ the impoverished people, mostly women living in
these dilapidated huts, to manually collect silkworms”).
The detail of the hut in the story reflects the dire condition
of the impoverished people, symbolizing not only the
tragedy of the main character but also the tragedy of the era
as a whole.
“Aslida detal barcha janrlarda ham oʻziga xos oʻrin tutadi.
Lekin u hikoyada boshqacha ahamiyat kasb etadi...hikoya
qisqa hajmli asar. Qisqalikka esa tasvirda soʻzlarni tejash
orqali erishiladi. Ana shunda detallashtirish mahorati
yozuvchiga qoʻl keladi. Ijodkorning topqirligi tufayli
qoʻllangan detallar tilga kirganda hikoya gapirib
yuboradi...” [6] (Trans:“In fact, details hold a unique place
in all genres. However, they take on a different significance
in short stories... A short story is a concise form of writing.
Conciseness is achieved through the economical use of
words in the description. This is where the skill of detailing
benefits the writer. When details, cleverly employed by the
author, come into play, the story begins to speak for
itself...” [6]).
In Kim Dong-inʼs story, the detail of the hut transitions to
the detail of a house when a turning point occurs in
Ponnyoʻs life. “ “Uyga kelgach, u shu uch von pulni
erining oldiga qoʻydi va oʻzining daladagi sarguzashtini
unga kulib gapirib berdi”, “Shu voqeadan keyin xitoy Van
Ponnyoning uyiga tez-tez kelib turadigan boʻldi”,
“Shundan soʻng Ponnyoning eri ham indamasdan issiq kan
ustidan turar va uydan chiqib ketardi” [5] (Trans:“After
coming home, she placed the three won in front of her
husband and, laughing, told him about her adventure in the
field”. “After that incident, the Chinese man Van began to
visit Ponnyoʻs house frequently”. “From then on, Ponnyoʻs
husband would silently get up from the warm floor mat and
leave the house” [5]).
Nature and the seasons have always inspired writers and
poets in depicting human nature. The Korean writer Kim
Dong-in subtly highlights the changes in the character of
the simple girl Ponnyo by briefly referencing the seasons.
The transformations in Ponnyoʻs psyche and her steps into
a “new life,” as well as the profound meanings the author
hints at, are reflected in the spring and autumn seasons:
“Yoz kunlarining birida Pxenyan chetidagi qaragʻayzorni
ipak qurti bosdi” [5] (Trans: “One summer day, the pine
forest on the outskirts of Pyongyang was infested with
silkworms” [5])
In classical poetry, the pine tree often symbolizes
uprightness and steadfastness of character. However, in the
phrase “qaragʻayzorni ipak qurti bosdi” (trans: “the pine
forest was infested with silkworms”) the author alludes to
the corruption of human thought. This is significant
because it was in this setting that Ponnyo first stepped onto
the path of moral downfall. Unemployed and desperate,
Ponnyo found work by chance but was not happy about it,
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as she observed that some young and beautiful women like
herself were neither working nor climbing trees but instead
spending their days playing games and socializing.
Eventually, Ponnyo was drawn into this group.
The author then shifts to the next season:
“Yana kuz keldi. Kuzda kambagʻallar yashaydigan
mahalla ayollari tunda shahar yaqinidagi xitoylarning
pushtalariga shirin kartoshka – batat va karam oʻgʻirlagani
tushishar edi. Bu tungi “yurishlar”ga Ponnyo ham
qoʻshilar, qishloqda yashagan paytidagi koʻnikmalarni
eslab, qorongʻuda birovning kartoshkasini chapdastlik
bilan yulib olardi” [5] (Trans:“Autumn came again. In
autumn, women from the poor neighborhood would sneak
out at night to the fields near the city owned by the Chinese
to steal sweet potatoes and cabbages. Ponnyo joined these
nightly escapades, using the skills she remembered from
her time in the village to deftly pluck potatoes from the
ground in the darkness” [5]).
In Kim Dong-inʼs depiction of autumn, Ponnyoʻs life
begins to settle, mirroring the calmness of the season. She
now lived in relative comfort, and her beauty flourished
even more. Along with immorality, she began engaging in
theft. However, these nightly “escapades” turned out to
open doors of opportunity for her. During one such night,
Ponnyo was caught by the landowner, a Chinese man
named Van. Instead of punishing her, Van invited her to
his home. From that point on, Ponnyo not only continued
stealing sweet potatoes but also started visiting Vanʼs
house, where she would receive “three won” each day.
The period of abundance in her life is symbolized by the
latter part of autumn, marked by its cold winds and falling
leaves. Autumn, blending with the chilly breath of winter,
encapsulates the struggles, regrets, and sorrows hidden
within the seasonʼs essence—reflecting the inner turmoil
and unfulfilled desires that plagued the author.
“Qish oʻtdi. Bahor keldi” (trans: "Winter has passed.
Spring has arrived" [5]).
In the sentence "winter has passed," the author refers to the
end of Ponnyoʻs era, the completion of oppressionʼs work,
while in "spring has arrived," he implies the beginning of
a new life for the Chinese woman, Wan. Through this
natural phenomenon and its artistic interpretation of
attitudes toward women, the authorʼs main purpose
becomes clear.
Kim Don, while portraying the moral conflicts between
Ponnyo and the Chinese woman Wan, justifies Ponnyoʻs
actions based on the character of her husband. For instance,
Ponnyo was sold by her father to an old, lazy man, and as
the head of the family, her husband was not only supposed
to take care of her but also protect her. According to the
Confucian norms adhered to by the Korean people, Ponnyo
was expected to obey her husband without question, submit
to him, and live contentedly with what she had. However,
the author logically argues that these customs fail to hold
under the circumstances that arose.
This is first observed in the initial argument between the
husband and wife:
“ – Bugʻdoy solingan qopni bir chetga olib qoʻying.
Oʻtishga xalaqit beryapti!
– Oʻzing olib qoʻy! Uxlashga berasanmi, yoʻqmi, ajina?!
– Menmi?...Katta qopni men qanday koʻtaraman...
– Nima, oʻrgatishmaganmi? Yigirma yoshga toʻlguncha
nima qilgansan? Qopning ogʻzidan ol-da, sudra”(Trans: "–
Move the sack of wheat to the side. Itʼs blocking the way!
– Move it yourself! Are you going to let me sleep or not,
you witch?!
– Me? … How can I lift such a big sack?
– What, no one taught you? What have you been doing
until the age of twenty? Grab the mouth of the sack and
drag it!" [5]).
From that moment on, Ponnyo became disillusioned with
family life. The responsibility of providing for the family
was placed on her shoulders by her husband, the head of
the household. This burden is symbolized by the detail of
the sack. Trapped within the figurative "sack," Ponnyo
suffers emotionally, her dissatisfaction with life growing
stronger. Consequently, she violates family rules, breaks
marital traditions, and steps outside the bounds of morality.
In truth, the author depicts the complexity of social
problems during a period of colonial oppression and
decline, illustrating how a woman caught in such a vortex
is forced to violate spiritual and moral norms.
In the story, the use of phrases like “bugʻdoy solingan qop”
(sack filled with wheat), “katta qop” (big sack), and
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“qopning ogʻzi” (mouth of the sack) enhances the intensity
of the conflict in the plot and the eventsʼ progression.
These details influence Ponnyoʻs character and her
subsequent actions.
“Bugʻdoy solingan qop” (sack filled with wheat)
symbolizes a stable family and abundance, while “katta
qop” (big sack) signifies the womanʼs fragility and her
inability to shoulder such a heavy responsibility. However,
the husbandʼs casual remark, “qopning ogʻzi” (mouth of
the sack), creates the impression that he granted her
freedom.
The phrase “qopning ogʻzi” (mouth of the sack) opened
signifies that Ponnyo broke family rules and ventured into
the neighborhood in search of money. The writer portrays
Ponnyoʻs, or rather the eraʼs womanʼs, step toward a new
life in this way.
The economic crises, shortages, and poverty that arose in
the country significantly altered peopleʼs consciousness,
worldview, and attitude toward social existence. This, in
turn, created conditions for the emergence of negative
factors and became a pressing issue for society. It appears
that under the influence of political, social, and economic
processes, Kim Donʼs literary and artistic thinking entered
a new path of development. Concerned about the nationʼs
future and the fate of its people, Kim Don sought to convey
to readers the problems caused by negative factors with
profound reflection in his stories.
In Choʻlponʼs story "A Tulip in the Snow", similar details
are employed to reveal the character of Sharofatxon, with
one of the most significant details being the ball (koptok).
“Bir, ikki, uch, toʻrt...besh; besh...olti! Yetti, sakkiz,
toʻqqiz, oʻn...
Kichkina, qizil ipdan bezalgan toʻp (koptok) aljib qochib
ketib, yertoʻla ogʻilning devoriga yondoshib oʻskan yosh
qantak oʻrikka borib tegdi-da, sakrab hovuzgʻa “shoʻp”
etib tushib ham ketdi...” (Trans: "One, two, three, four...
five; five... six! Seven, eight, nine, ten...
The small ball (koptok), decorated with red thread,
wobbled and darted away, hitting the young wild apricot
tree growing against the cellar barnʼs wall. It then bounced
and went ʼplopʼ straight into the pool..." [7]).
In Choʻlponʼs depiction of the ballʼs bounce, he
metaphorically paints a portrait of the young (small) and
beautiful (decorated with red thread) girls of that era. Like
the ball, the girls do not stay in one place; they are lively
and cheerful, and Sharofatxon is one of them. However, it
is known that stagnant water in a pool, over time, begins to
stagnate and emit a foul odor. The ball that falls into the
pool (symbolizing the young girls of that era) becomes wet
and no longer bounces, representing the fate of girls who
no longer have control over their lives.
The pool serves as a symbol fully reflecting the figure of
the eshon (a religious elder). Sharofatxon, sacrificed to the
eshon, sees her dreams and desires vanish like the soaked
ball that will no longer bounce. The author expresses this
through lines such as “...the street is so dark” and “...there
isnʼt even a single star in the sky to guide” [8]. Here, the
girl who has entered (or rather, been forced to enter) the
dark street is likened to a starless sky, symbolizing the loss
of hope and freedom.
“Gullarning ramziy obraz sifatida sheʼriyatga kirib kelishi
qadimgi
odamlarning
eʼtiqodlari,
ilk
tasavvur-
tushunchalari, totemistik qarashlari bilan bogʻliq” (Trans:
“The symbolic representation of flowers entering poetry is
connected to the beliefs of ancient people, their early
perceptions and concepts, and their totemistic views” [7]).
"In some prose works, alongside plants, certain flowers
have been widely used to depict human nature, virtues, and
physical appearance. Flowers have often symbolized the
beauty of girls, expressions of love, or longing. In creating
the character of Sharofatxon, Choʻlpon draws upon the
tulip (lola), a flower that blooms early in spring, bringing
warmth to the heart after the cold winter. He transfers the
tulipʼs characteristics to the image of Sharofatxon: the
tulip, blooming and delighting the eyes, represents
Sharofatxon at the peak of her youth, catching the attention
of suitors; the untimely picking of the tulip symbolizes her
being offered by her father as a sacrifice to the eshon; and
the "tulip covered by snow" signifies her being given to the
eshon (or the wedding ceremony). Choʻlpon describes this
as follows:"
“– Nimasini aytasiz, yigitlar, dunyo oʻzi shunday teskari
dunyo ekan...Lolaning ustiga qor yogʻdi-da!.. – dedi”
(Trans: "– What can I say, boys? The world itself is such
an upside-down place... Snow has fallen on the tulip!.. – he
said" [7]).
Similarly, the detail of the mahalla (neighborhood) is used
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in the stories of both authors. In Kim Donʼs story, phrases
such as “...they moved to one of the ruined neighborhoods
where poor people lived” [5], “They had no choice but to
live in the ruined huts located outside the city gates” [5],
“Most of the residents of this neighborhood survived by
begging” [5], and “The couple, considered the poorest of
the poor living in the neighborhood of the destitute, often
went hungry” [5] illustrate that, despite the Kabo Reforms
of that period, social stratification persisted among people.
At the same time, the author aims to show that the residents
of these neighborhoods from the lower classes were driven
solely by the struggle to fill their stomachs. Ponnyo, who
began living in such a mahalla, fell into a bottomless pit of
immorality. In her struggle to survive, she completely
forgot the upbringing and values instilled by her lineage
and parents. Through this, the writer lays the groundwork
for Ponnyoʻs subsequent actions.
Choʻlpon, in his various stories and novels, approaches the
issue of womenʼs fate from different perspectives. For
instance, the main character in the story "Novvoy qiz" (The
Baker Girl) is a young woman who bakes and sells bread
to support her elderly mother and make a living. The story
provides clear and vivid depictions of human nature and
the fate of women:
“Xoin erkakning marhamatsiz koʻzlari bilan aldangan
qizning soʻnik koʻzlari bir-biriga yoʻliqishdi. Erkak
magʻrur, zaharli va sovuq bir kulish bilan kuldi. Qiz juda
bir ogʻir jirkanish bilan yuzlarini burdi” (Trans: "The
lifeless eyes of the deceived girl met the merciless gaze of
the treacherous man. The man laughed with a proud,
venomous, and cold sneer. The girl turned her face away
with a deep and heavy sense of disgust" [7]).
The author, through phrases like “merciless gaze”
(marhamatsiz koʻzlar) and “venomous and cold sneer”
(zaharli va sovuq bir kulish), portrays the ruthless character
of an unscrupulous man like Oʻlmasboy. On the other
hand, through “the girlʼs lifeless eyes” (qizning soʻnik
koʻzlari) and “turned her face away with a deep sense of
disgust” (ogʻir jirkanish bilan yuzlarini burdi), he
highlights the tragic fate of the girl.
The scholar D. Quronov, who studied Choʻlponʼs works,
evaluates it as follows: “Qahramonlar ruhiyasidagi
kontrastlilik, bir tomondan, boʻlib oʻtgan ishning qiz uchun
tom maʼnodagi fojiayu, Oʻlmasboy uchun oddiygina
koʻngil xushligi: ikkinchi tomondan, qiz uchun fojianing
kutilmaganda yuz berganiyu, Oʻlmasboy buni oldidan
rejalashtirib qoʻygani bilan quyuqlashadi” (“The contrast
in the charactersʼ emotions, on one hand, reflects the event
as a true tragedy for the girl, while for Oʻlmasboy, it is
merely a fleeting pleasure. On the other hand, the intensity
is heightened by the fact that the tragedy was unexpected
for the girl, whereas Oʻlmasboy had premeditated it” [9]).
In this story, Choʻlpon compares the girlʼs helplessness to
the “sea” (dengiz) and the fickle nature of the man to the
“shore” (qirgʻoq). In his poem "Xalq", where he likens the
sea to the people, the author uses the detail of the “sea” to
depict the dire state, helplessness, and lack of protection of
one drop (the girl) from the people (xalq). “Dengiz shu
qadar buyukligi bilan hamma vaqt qirgʻoqlardan yengiladi.
Achchigʻi kelganda, gʻazabi qaynaganda zoʻr-zoʻr
toʻlqinlar, kichik-kichik mavjlarni qirgʻoqning tosh-metin
gavdasiga qarab otadi. Qirgʻoq, yuqorilarga koʻtarilib
ketgan marmar qirgʻoq, koshki pinagini buzsa! Bechora
toʻlqinlar, mavjlar sinib, mayda-mayda boʻlib, yana
dengizning koʻksiga tushdi. Dengiz ularni yana silab-sipab
boshini bir yerga qovushtirib, toʻplab, yana qirgʻoqq otadi.
Yana boʻlinish, yana parchalanish...Tuganmas olishish!”
(Trans: “The sea, despite its vast greatness, is always
defeated by the shore. When angered and boiling with rage,
it hurls mighty waves and small ripples toward the
steadfast, stone-like div of the shore. The shore, the
marble shore towering high above—if only it would show
the slightest crack! But the poor waves and ripples break
apart, shattering into countless pieces, only to fall back
onto the chest of the sea. The sea gathers them again,
caressing and soothing them, uniting their broken parts,
and once more hurls them at the shore. Again, division,
again, fragmentation... A never-ending struggle!” [7]).
The elements mentioned in the text—“sea” (dengiz),
“shore” (qirgʻoq), “wave” (toʻlqin), and “ripple” (mavj)—
are not merely descriptions of the landscape but also serve
as symbolic details that reveal the characters, nature, fate,
and destiny of the girl and Oʻlmasboy.
The girl, who until then had only worked tirelessly,
knowing nothing beyond baking and selling bread to
support her sick mother, represents the sea (dengiz). She
was defeated by Oʻlmasboy, symbolized by the shore
(qirgʻoq), who ruined her life. She was enraged, disgusted,
and tormented by what had happened, but ultimately, she
shattered into fragments before her destiny, like ripples
breaking upon the shore.
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The author conveys this through phrases such as “...qiz bu
safar iztirob va qiynoq aralash bir yuz bilan toʻppa-toʻgʻri
erkakning koʻzlariga tikildi-da...”, “Qiz juda ogʻir bir
jirkanish bilan yuzlarini burdi”, “...titragan lablari orasidan
mana shu ikki ogʻiz soʻzni zoʻrgʻa chiqara oldi”, “Butun
borligʻida toʻlib-toshgan iztirob va gʻazab, horgʻinlik va
darmonsizlikni sezdirmas edi”, “Koʻksi qisildi, dami
ogʻirlashdi, hansiradi”, “Shundan soʻng qiz – dengiz oʻz
ojizligini bildi va butun qahr va gʻazabini oʻz taniga
singdirib olib, paranjisini boshiga tashladi-da...” (Trans:
“...the girl, this time with a face full of pain and anguish,
looked straight into the manʼs eyes...,” “The girl turned her
face away with a deep sense of disgust,” “...from her
trembling lips, she could barely utter those two words,”
“Her entire being was filled with torment and anger,
exhaustion and helplessness, yet she did not show it,” “Her
chest tightened, her breathing grew heavier, and she
panted,” and “After that, the girl—the sea—recognized her
weakness, absorbed all her fury and anger into herself,
threw her veil over her head, and...” [7]).
Choʻlpon uses the detail of the sea (dengiz) to reflect the
girlʼs nature and inner state, portraying the familyʼs
struggles, economic hardship, and, on top of it all, her
mother lying on her deathbed and the absence of anyone to
support her. The story concludes with an unexpected
resolution for the reader. The sea, once defeated by the
shore, eventually overcomes it:
“Dengiz – qiz qullarday jim turib soʻzladi.
Qirgʻoq – Oʻlmas togʻlarday tinch turib tingladi.
Qirgʻoq agʻdarildi.
Togʻ yiqildi.
Dengiz mavjlari va toʻlqinlari quchogʻiga olib, ularni
qirgʻoqlardan saqlash: qoʻriqlash qaygʻisiga botdi” ("The
sea—the girl—spoke quietly, like a servant.
The shore—Oʻlmas—stood still, listening calmly like a
mountain.
The shore collapsed.
The mountain fell.
The sea, with its ripples and waves, embraced them,
engulfed in the sorrow of protecting and shielding them
from the shores").
While reading the story, it becomes evident that its ending
was meant to be tragic. Choʻlpon entrusted the girl, whose
life was incomplete and widowed, with the responsibility
of protecting other girls. This is why the story concludes
with: “Dengiz mavjlari va toʻlqinlari quchogʻiga olib,
ularni qirgʻoqlardan saqlash: qoʻriqlash qaygʻisiga botdi”
(“The sea, with its ripples and waves, embraced them,
engulfed in the sorrow of protecting and shielding them
from the shores”) (Trans:The author imbued the sea—the
girl—with renewed strength, revealing that his ultimate
aim was to protect women and shield them from ignorance
embodied by the shore).
The life of the girl resembles the sea—furious and crashing
against the shores in anger when her honor was tarnished,
yet calm and serene before judgment was passed on the
shore. Orphaned at a young age after losing her mother, her
life was filled with suffering. Worn down and battered like
waves against the coast, the girl eventually began to see life
differently and embraced a tranquil path. Now, she had to
protect others like herself from men like Oʻlmasboy, who
exploited and destroyed lives like cliffs dominating the
shores.
It seems that the baker girl from Choʻlponʼs story “Novvoy
qiz” ("The Baker Girl") deserves a rightful place among
aesthetic ideal characters. This is because her character was
crafted in accordance with the demands of the time,
emdiving Choʻlponʼs thoughts and reflections about
women who kept pace with their era. As the scholar A.
Akopova noted, “...har bir estetik idealning oʻziga xos
tabiati bor”[2]. (“...every aesthetic ideal has its own unique
nature” [2]).
In the story penned by the Korean author, the life of the
Korean people is depicted against the backdrop of the
hardships they faced. It portrays their suffering during a
period of spiritual impoverishment, the loss of human
values, and the reasons behind the erosion of compassion
and mutual respect. Ponnyoʻs actions—her descent into
immorality and her willingness to resort to any vile act for
survival—profoundly provoke the reader to reflect. On one
hand, this indicates a decline in faith, and on the other, what
might seem like a mere moral failing symbolizes the
tragedy of an entire nation.
Kim Dong-inʼs mastery lies in his ability to illustrate the
deepening of immorality through the fate of one woman,
emphasizing not only the environment but also the
indifference of those around her.
CURRENT RESEARCH JOURNAL OF PHILOLOGICAL SCIENCES (ISSN: 2767-3758)
https://masterjournals.com/index.php/crjps
53
As an advocate of “pure literature,” Kim Dong-inʼs story
is artistically and ideologically profound. It represents a
novelty for the emerging modern Korean prose, marking
an evolution of classical and medieval literary traditions to
a new level. As the renowned writer Chingiz Aitmatov
aptly put it: (Trans: “...har bir yangi asar hayotni yangicha
talqin etishni, yangicha uslub, yangicha shakl, yangicha
badiiy tashbehlarni talab etadi” “Trans:…every new work
requires a fresh interpretation of life, a new style, a new
form, and new artistic imagery” [12].
The story vividly portrays two distinct periods in the
countryʼs
history—the
transition
from
feudal
backwardness to the Japanese annexation era—depicting
the social environment, peopleʼs lifestyles, poverty, and
ignorance through generalized images. The writerʼs skill is
revealed in new dimensions, successfully conveying the
social issue to the reader with fresh narrative approaches.
The story thoroughly exposes the social conflicts arising in
Korean society during this time.
Kim Dong-inʼs portrayal of Ponnyo and Choʻlponʼs
depiction of the baker girl both highlight the exceptionally
harsh and tragic destinies of women during this period.
Choʻlpon avoids idealizing the baker girl, instead
portraying her with all her complexities. In contrast, Kim
Dong-in, in some instances, depicts Ponnyo as someone
who indulges in her emotions, particularly evident in her
behavior after the Chinese man, Van, gets married.
Both stories reveal conflicts shaped by the social
environment—fate versus misfortune, poverty versus
wealth, humility versus cruelty, strength versus weakness,
and trust versus mistrust. In the conclusion of the Korean
writerʼs story, the protagonist dies as a result of violating
societal moral norms. However, in the Uzbek writerʼs
story, the girl, whose honor was tarnished by a selfish man,
ultimately triumphs.
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Akopova, A. (1994). Aesthetic ideal and the nature of the
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Turopova, P. (2020). The process of transformation of the
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Kim, Dong-in. (2011). Gamja. Seoul: The Planet. p. 5.
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