Volume 04 Issue 09-2024
26
International Journal of Advance Scientific Research
(ISSN
–
2750-1396)
VOLUME
04
ISSUE
09
Pages:
26-30
OCLC
–
1368736135
A
BSTRACT
Uzbek folklore has priceless heritage masterpieces, which include examples of folk art. These samples were
recorded, collected and published from various corners of our country during folklore expeditions
organized by Uzbek folklorists since the end of the 19th century. This made it possible to carry out
fundamental research on the study of historical roots of specific genre features, literature, versions, plots
and leading motives of folklore works. Work in this regard continues consistently today. Despite the fact
that certain achievements have been made in Uzbek folklore studies, the current spiritual and educational
need requires folklorists to pay special and comprehensive attention to the research of Uzbek folk tales.
K
EYWORDS
Fairy tale, ritual, plot, religious views, "strange thing", hero.
I
NTRODUCTION
The historical roots of the leading motifs, epic
images and artistic details that make up the plot
of the magic tales of the Uzbek people go back to
the mythological imaginations, beliefs and
ancient rituals of our ancestors. That is why the
process of gradual development of many epic
images and motifs includes the stages of "myth,
ritual, folklore".
Journal
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Research Article
SOME REMARKS ON THE STRUCTURE OF UZBEK FOLK
MAGICAL TALES
Submission Date:
Sep 20,
2024,
Accepted Date:
Aug 25, 2024,
Published Date:
Sep 30, 2024
Crossref doi:
https://doi.org/10.37547/ijasr-04-09-04
Zebiniso Rasulova
Doctor of Philosophy (PhD) in philological sciences, of the Republic of Uzbekistan Institute of Uzbek
language, literature and folklore, of the Department of Folklore, Uzbekistan
Volume 04 Issue 09-2024
27
International Journal of Advance Scientific Research
(ISSN
–
2750-1396)
VOLUME
04
ISSUE
09
Pages:
26-30
OCLC
–
1368736135
The study of the characteristics, classification,
historical roots and poetic functions of "strange
things" in magical fairy tales provides important
conclusions that serve as a basis for determining
the artistic and aesthetic properties of the fairy
tale genre. Because "strange things" have
acquired important structural importance in the
artistic construction of magical fairy tales, it has
become a tradition to group epic plots with such
"magical things" as a separate type when creating
an index of fairy-
tale plots. “In the Aarne
-
Thompson index, "strange things" are defined as
a separate category, in which plot motifs are
found in fairy tales and their specific artistic
functions are defined. The section "Strange
things" of the comparative index of plots of East
Slavic fairy tales also contains plots numbered
560-649 according to the catalog compiled by
Aarne-Andreev.
The genesis of the "strange things" found in the
magical tales of the Uzbek people is directly
related to ancient mythological imaginations,
primitive religious beliefs (fetishism, totems,
animism), the process of "imaging" certain
objects in taboos and rituals. There are many
types of "strange things" in magical tales, which
are distinguished by their function in the epic text
and their poetic interpretation. Each of the
"strange things" has its own mythopoetic nature,
epic
interpretation
and
artistic-aesthetic
function.
In the depiction of "strange things" in magical
tales, there are specific epic laws of using
imaginary fiction and artistic-aesthetic factors
underlying it.
One of the most important characteristics of
Uzbek folk magic tales is the participation of
"strange things" in the plot of this type of fairy tale
"strange things" directly related to magic are one
of the poetic tools that shape the construction of
the plot of magic-fantasy tales and constitute the
main component of the art of the fairy tale genre.
The well-known fairy tale expert K.Imomov notes
that magical fairy tales are distinguished from
other types of fairy tales by their unique poetic
construction, "magical things - sword, ring, flint,
mirror, comb, karaok, juvoldiz, nina, etc. are used
in fighting against terrible forces, mallet and
gourd, wooden horse, knife, hummingbirds play a
crucial role in overcoming oppression and
violence, and horse, dog, deer, cat, mouse, various
plants, medicines, ants play a decisive role in
performing difficult tasks" he writes.
The epic hero accomplishes tasks and conditions
that are difficult to fulfill with the help of "strange
things", therefore one of the main goals of the epic
journey of the hero of a fairy tale to a "foreign
land" is to acquire such unusual things. Therefore,
in Uzbek folk tales, the magical power contained
in magical items such as "charm ring, sword,
mirrored globe, hot khumcha, ur tokmok, open
table, flint, mysterious stick, apple" acts as an
auxiliary force around the hero, most
importantly, it is a story typical of fairy tales. and
image-creating means of artistic influence".
A series of epic motifs associated with strange-
magical things creates the plot of the fairy tale and
sets in motion the epic reality of the adventures of
the characters, while giving mystery to the
details, it is the basis for the development and
Volume 04 Issue 09-2024
28
International Journal of Advance Scientific Research
(ISSN
–
2750-1396)
VOLUME
04
ISSUE
09
Pages:
26-30
OCLC
–
1368736135
interconnection of the events of the plot. It also
plays an important role in revealing the character
of the heroes of the fairy tale, in particular, in
highlighting the epic image of the leading
character who is at the center of events.
In describing "strange things" in magical tales,
each of the Uzbek storytellers used a unique epic
style, using various poetic tools. What is depicted
as a "strange thing" in one tale may serve as a
symbolic detail in another. Therefore, in the fairy
tale "Dev Postin" , the girl who came in search of
her husband, the giant, marks her ring and puts it
in the water of the wash basin to let her know that
she has arrived. The ring flows with water and
falls into the giant's hand. Through the ring, the
giant knows that his wife has come looking for
him.
In this image, the ring is not a "strange thing", but
a symbolic detail that expresses the motif of the
message. So, in fairy tales, some items that are
present in everyday life can serve as both a
strange thing and a symbolic detail. But they
differ significantly in terms of their typological
commonality. In particular, Sh. Shomusarov
distinguishes between them: a) strange things
meet only in the plot of magic-adventure type
tales, have magical power, help the hero to
achieve a certain goal, are donated, presented or
found to the hero by patron powers; b) shows that
the symbolic details are ordinary things, do not
have special magical power, their entry into the
artistic fabric of the fairy tale is determined by the
fact that they are not motivated in connection
with patron powers .
In folklore studies, certain experiments have been
carried out on the classification of "strange
things" in fairy tales. In particular, in the opinion
of the famous scientist V. Ya. Propp, it is
appropriate to classify "strange things" in magical
tales not according to their function, but
according to the sources of their occurrence.
In our opinion, taking into account that "strange
things" perform an important compositional task
in the artistic construction of a magical fairy tale,
it is appropriate to group them according to their
function as follows:
1. Multifunctional or multitasking "strange
things". An example of this is a magic ring, a
mysterious mirror.
2. Monofunctional or single-task "strange things".
An example of this is a hammer, a flying carpet,
and a hot khumcha.
Many "strange things" appear in fairy tales with
mutual functions. For example, a hero can find
information about the necessary reality through a
magic book with a magic mirror, and a magic ring.
All three of these things can acquire an artistic
function as a means of communication. They also
pave the way for new adventures of the hero.
One of the multifunctional "strange things" in
Uzbek folk magic tales is a magic ring.
In the fairy tale, it is described that when the
magic ring falls into the hands of good, open-
minded, pure-minded, hard-working, brave and
generous people, it is used for goodness and
creativity, and when it is used for evil in the hands
Volume 04 Issue 09-2024
29
International Journal of Advance Scientific Research
(ISSN
–
2750-1396)
VOLUME
04
ISSUE
09
Pages:
26-30
OCLC
–
1368736135
of selfish, stubborn, evil, bitter, greedy, miserly
people. Therefore, the well-intentioned hero of
the fairy tale tries to protect his ring like the apple
of his eye, not to reveal the magic associated with
it to anyone.
In the plot of epic works, the ring plays an
important role in the development of events, in
connecting the expressed idea to each other. In
the depiction of events, it is observed that the ring
is interpreted in one task or in several artistic
tasks at once. The artistic functions of the ring in
Uzbek folk magic tales can be grouped as follows:
1) a means of giving happiness to an epic hero;
2) twisting, that is, a means of transforming the
hero of a fairy tale from one appearance to
another;
3) a means of conveying from one place to
another, that is, bringing the distance closer;
4) a magical item that informs, warns of distant
realities or has the power to reflect reality;
5) a generous material provider;
6) a companion and miraculous helper for those
who go on a journey in search of happiness;
7) creator, builder and creator;
8) talisman or talisman-releasing tool;
9) deadly magic weapon.
In the Uzbek folk tale "Oypari" some of these
artistic functions of the "magic ring" are
interpreted. Therefore, the "magic ring" has an
important place in the development of events in
the fairy tale.
One of the single-purpose "strange things" in
Uzbek folk magic tales is ur tokmok. In fact, the
reason for the appearance of the ur doll in the plot
of fairy tales was the tightening of antagonistic
relations between people, the increase of
injustice, dualistic-mythological imaginations.
Because in fairy tales injustice and injustice are
eliminated through the hammer, and justice and
truth are established. A complete example of this
is the plot of the fairy tale "Ur Tokmok". In the
fairy tale, the old man rescues the stork from the
trap, and for this, the stork presents the old man
with various "strange things", but the old man
loses these things due to his naivety on the way,
and then the old man recovers the stolen things
from the children with the help of "knock" and
"knock" is hypocrite. The stories of brutally
punishing children are told.
In some fairy tales, a magic ax is brought along
with the mace. For example, in the tale "Three
Sons" it is told that the old man bequeathed to his
children one big ox, one magic hat, one magic
table and one magic ax. The secret of the cap was
that whoever wore it could not be seen by anyone.
Looking at the table and saying: "Open the table"
- all kinds of food and delicacies in the world
would be ready in front of a person in an instant.
And if the ax was called "Cut, ax", it could
immediately repulse the attack of thousands of
enemies.
Sometimes in fairy tales it is called "ur stick", "sur
stick", "ur club", "sur club" instead of "ur
Volume 04 Issue 09-2024
30
International Journal of Advance Scientific Research
(ISSN
–
2750-1396)
VOLUME
04
ISSUE
09
Pages:
26-30
OCLC
–
1368736135
hammer". For example, in the fairy tale "Gul
Uzuk", the boy (hero) saw two shepherds fighting
with sticks while walking on the road. Then the
boy said: "Why are you beating with sticks?" he
asked. They said: "These sticks have many
properties, this stick in my hand is a stick, and the
stick in his hand is a stick. If "hit the stick!" says
he beats a person to death if "sur tayok!" "He will
revive a dead person," he said. The boy bargained,
gave a thousand coins for each of the sticks, and
clipped them to the saddle of his horse.
So, "strange things" are the main component of
the art of magical-fantasy tales, they give mystery
to the details of the events in their plot. At the
same time, it gives impetus to the development
and interconnection of plot events in them. It
plays an important role in revealing and
determining the character of the heroes of the
fairy tale, in particular, in highlighting the epic
image of the main positive hero.
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