European International Journal of Philological Sciences
26
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TYPE
Original Research
PAGE NO.
26-28
DOI
OPEN ACCESS
SUBMITED
24 December 2024
ACCEPTED
26 January 2025
PUBLISHED
28 February 2025
VOLUME
Vol.05 Issue02 2025
COPYRIGHT
© 2025 Original content from this work may be used under the terms
of the creative commons attributes 4.0 License.
Innovation in Isajon
Sultan's Prosecution
Saida Matnazarova
Teacher-intern at Urgench State University named after Abu Rayhon
Beruni, Uzbekistan
Abstract:
This article reflects on the importance of
folklorisms in the work of the writer Isajan Sultan. His
story” Robia Balkhi“, samples of folklorism in the
stories” in the footsteps of Khaz
rati Khizr " are analyzed.
Keywords:
Proverb, sayings, mythology, folk art, image
of Khizr.
Introduction:
The role, interpretation and depiction of
mythology in modern Uzbek prose is expanding day by
day. Legends and legends have come down to us from
many past eras and from ancient times. Legends and
legends emdiv the people's views on nature and life
phenomena, on good and evil, religious, philosophical,
moral and aesthetic concepts.
Isajon Sultan's work also refers to legends many times.
There are even works based on legends.
The reasons for the creator's appeal to ancient myths,
legends and legends are explained by the demands of
the world of creative fantasy and artistic thought. Of
course, each legend and legend is embedded in the
composition of the work with the demands of certain
events and incidents.
"Although they differ sharply from the author's text and
do not fall within the scope of the main plot of the work,
they increase its ideological and artistic height and have
a strong impact on the reader's emotions.".
The legends associated with Hazrat Khizr are also
extensive in the writer's work. The image of Khizr,
whose name is mentioned in his works "Following
Hazrat Khizr", "On New Year's Eve" and many others,
seems to have become a patron symbol for the writer.
The genetic roots of the image of Khizr are associated
with ancient cults and beliefs. The word "Khizr" comes
from the Arabic word "Khazara" ("evergreen"). Khizr
was created based on the mythological ideas of the
Turkic peoples about water, fire, heat, spring, fertility,
greenery and the water of life. Azerbaijani scientist M.
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European International Journal of Philological Sciences
Seyidov notes that the etymology of the word "Khizr"
is associated with the words "fire", "grass" (plant). .
The writer's story "Treasure" or "Following Hazrat
Khizr" also alludes to the supernatural powers of the
image of Khizr. In the author's story "On New Year's
Eve", the image of Khizr is embodied in the image of a
fortune teller who can foresee the future. The
mythological beliefs that happiness and luck will befall
those who see Khizr are also proven by the fate of the
hero of the story. The guard at the hotel gate later
realizes who he talked to and saw. He says, "The
person I saw must be Khizr." On New Year's Eve, when
they come to celebrate the holiday together and
cannot get inside, the events that will happen there
and the fate of people begin to come true one by one.
Then, when Khizr is seen, a large number of nobles,
worried about their fate, or rather, about their sins,
begin to come to the guard. They say that they will give
a lot of money and ask whether Khizr predicted
something about them. Khidr had also predicted this.
In the story “Following the footsteps of Khazrati Khizr”,
Khizr appears in the guise of a blessed saint. According
to M.Juraev’s book “Uzbek Mythology”, “According to
the imagination of the Uzbeks, Khizr appears to each
person three or seven times. He is said to appear in
different guises, in the form of people of different ages
and situations, in the form of “a white
-bearded
luminous old man”, “a madman”, “a blue
-haired
luminous old man”, “a homeless person”, “a beggar”,
“a beggar”, “an animal”, “a thing
-
object”.
Although the West and the East have their own
mythology, they do not differ sharply from each other.
It has even been found that there are similarities
between Greek mythology and the pre-Islamic myths
of the peoples of Central Asia.
The method of referring to mythology is also widely
popular in modern Uzbek literature. Writers such as
Ulugbek Hamdam, Nazar Eshonkul, Isajon Sultan,
especially often refer to ancient Turkic mythology.
The main part of the archaic myths preserved in Uzbek
folklore came as a result of the epic diffusion of ancient
Turkic mythology. In the oral creativity of ancient
Turkic tribes, cosmogonic, totemistic, animistic,
etiological and ethnogenetic myths, created on the
basis of a mythological understanding of the world,
occupied the main place. The skilled writer Isajon
Sultan used animistic and totemistic myths more in his
work.
The writer has about fifty stories. None of them can be
imagined without folklore. The writer's new style of
depiction and narration, folk proverbs and expressions
in the speech of the heroes, and legends are of great
importance in the artistic quality of the work.
In the work of Isajon Sultan, we can also see references
to Khorezm folk folklore. In his story "Tashkelinchak",
there are also places similar to the plot of the epic "Oşık
Gharib va Shohsanam". Its characters remind us of Layla
and Majnun. The construction of the prose plot on the
basis of a love story, the striving of the heroes of the
work for pure love, and the trials on the way to their love
are typical of folk epics.
In "The Story of Rabiya Balkhi", there are also many
references to parts and motifs similar to the plot of folk
epics. In the epic "Kuntug'mish", Holbeka puts her photo
in a chest and sends it to Kuntug'mish. Rabiya also sends
her photo to her lover Bektash with a letter. In this, she
is helped by a concubine named Suman. The image of
an old woman carrying a letter, a concubine, is also an
image found in many folk epics. This is also a factor
indicating that there is another aspect of the story
related to folklore, its connection with folk art.
The subject of the chest is also recognized as an object
that is often found in folk epics, having magical powers.
This folklore tool is also used appropriately in the story.
Haris ibn Kaab, who is aware of the love between
Bektash and Rabiya, orders Bektash to be thrown into a
well and says: "I will still drive a pin into his eyes, cut off
his hands and feet, and kill him in tortures beyond
human understanding." The well and the events related
to it are also found in many folk epics and folk tales. For
example, in the epic "Alpomish" and "The Story of
Yusuf", the well detail is used. In the epic "Ravshan" it is
described as a dungeon. Thus, these epic tools always
move from epic to epic.
"The Story of Rabia Balkhi" also refers to a popular
legend: "They say that when a princess is born, God
Almighty creates her prince. Rabia, with her
incomparable intelligence, recognized the executioner
of her fate." The view that everyone is created by Allah
with their own pair also prevailed here.
Folklore motifs are also widely used in the writer's
stories "Anaizorim" and "Munojot". The writer's story
"Munojot" talks about the tradition of naming.
Professor T. Mirzaev, referring to the interpretations of
the motif of naming in the epic in the variants of the epic
poem "Alpomish", wrote the following: in the epic
biography of the hero, naming him and praying for him
in this regard and predicting his future heroic path play
an important role. In the epic poem "Alpomish" this
situation is preserved within the framework of Islamic
religious teachings. Rare examples of proverbs and
sayings can be found in the writer's works. Isajon Sultan
skillfully places examples of folk wisdom in his works, as
a result of which the philosophical spirit of the work of
art is elevated, and the idealism is strengthened. And
sayings, while increasing the meaning, realize the
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European International Journal of Philological Sciences
imagery in prose works. The writer also used
phraseological expressions and figurative expressions
in his stories and tales. Proverbs and sayings are
sometimes used literally, sometimes as a summary of
the character of the work and heroes. As a result, the
value of the work of art has increased even more.
Isajon Sultan is an experienced and talented writer. For
this reason, he is able to select, first of all, progressive
ideas in folk art and, giving them a polish, draw
conclusions that can win the reader's heart.
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