The Role of Conflict in Revealing the Hero's Psychological State

International Journal Of Literature And Languages

123

https://theusajournals.com/index.php/ijll

VOLUME

Vol.05 Issue06 2025

PAGE NO.

123-126

DOI

10.37547/ijll/Volume05Issue06-35

The Role of Conflict in Revealing the Hero's
Psychological State

Rushana ZARIPOVA

PhD Candidate, Alisher Navoi, Tashkent State University of Uzbek Language and Literature, Uzbekistan

Received:

23 April 2025;

Accepted:

19 May 2025;

Published:

21 June 2025

Abstract:

This article examines the literary function of internal conflict in the psychological construction of a

character, with a focus on the works of Uzbek writer Abduqayum Yo‘ldosh. Through close analysis of the
protagonist’s inner monologue in the novella “Sunbula’s First Saturday,” the study reveals how emotional
ambivalence, moral hesitation, and inner contradictions reflect the protagonist’s personal growth and ethical

awakening. The research demonstrates that internal conflict is not only a structural narrative device but also a
psychological instrument for conveying deep emotional states and subjective reality. The paper draws on the
concepts of psychological realism and literary psychology to highlight how internal struggles such as guilt, shame,
and conscience form the backbone of character development in modern Uzbek prose.

Keywords:

I

nternal conflict, psychological realism, moral dilemma, character development, Abduqayum Yo‘ldosh,

Uzbek literature, inner monologue, catharsis, conscience.

Introduction:

The role of conflict is essential in making

a literary work engaging and in revealing the facets of a
character. When a writer depicts landscapes and
human portraits through words, they are not
represented as static entities but rather as subjects in
constant psychological motion. The characters in a
literary work are in continuous action, and these
actions often manifest as confrontations. Such
confrontations may occur between individuals,
between an individual and society, or within the

individual’s inner world —

in the form of internal

psychological contradictions. In other words, conflict
arises within the literary work. This leads us to the
question: what is conflict?

Various definitions of conflict can be found in
theoretical literature. Academic scholar I. Sulton
defines conflict as

follows: “Conflict is the clash of

characters, ideas, and emotions portrayed in a literary
work. A work without conflict lacks impact because it
fails to vividly and consistently reflect the truth of life.
Only through the confrontation of characters can the
inner world of individuals be revealed. Conflict
determines the direction of both the plot and the
overall meaning of the work. A plot cannot be
constructed without conflict, because at its core, the

plot is the unfolding of a moving conflict.”[1:110]

.

T. Boboev defines conflict as follows: “Conflict is the

direct confrontation between characters in a literary

work, or the hero’s psychological struggle with their

environment or with themselves. Conflict is the primary
force that drives the plot forward. If we compare the
plot to an automobile, then conflict is its engine; if the
plot is the outer appearance, conflict is its inner flow.
Through artistic plotting, the writer expresses the social
conflicts of a given era, reveals their own attitude
toward

these conflicts, exposes the characters’ traits,

and advances their aesthetic ideal.” [2:65].

Conflict functions as the engine of a literary plot;
without it, the mechanism of the plot cannot be set into
motion. Just as a traveler cannot reach their intended
destination if their car engine fails or weakens midway
through a journey, a writer, too, cannot fully realize
their intended idea if the conflict within the narrative
weakens or loses momentum over the course of
events. Every literary work, in a positive sense, is a

journey crafted for the reader’s soul. Along this

journey, it is natural to encounter various events, good
and bad individuals, ups and downs, and sharp turns.

If a plot is not built upon the basis of contradictions

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International Journal Of Literature And Languages (ISSN: 2771-2834)

between ideas, viewpoints, characters, or social
groups, the work will lack emotional impact. Therefore,

the vivid and consistent portrayal of life’s truths

depends on the essence and credibility of the depicted
conflicts. At the same time, inner psychological clashes
within a character contribute to a more convincing
expression of the central issue and character
development. [6:147-157].

Thus, it becomes evident from the above discussion
that in literary fiction, conflict (opposition) is one of the
most fundamental means of reve

aling a character’s

inner world. Contradictory situations play a special role
in shaping a character, deepening their emotional
experiences, and disclosing their psychological state.
Conflict not only reflects the contradictory aspects of
the human psyche but also serves to express the

character’s psychological experiences in a profound

and convincing manner.

Moreover, conflict in a literary work represents the

character’s struggle either with their inner world or the

external environment, and the tensions that arise
between their aspirations, emotions, and thoughts. In

prose, the dimensions of a character’s personality can,

by their own internal logic, be revealed through three
types of conflict: conflict with the social environment,
interpersonal conflict (between characters), and
internal conflict (collision or inner contradiction).

Typically, all three types of conflict may be present in a
prose work in one form or another, differing only in

degree. In some cases, depending on the author’s

artistic intention, the protagonist is primarily in conflict
with the surrounding society; in others, interpersonal
clashes dominate. In works where psychological depth
(artistic psychologism) is emphasized, internal conflict
or collision takes the lead.

The wide use of conflict in world literature to explore

the protagonist’s inner world can be exemplified by
Dostoevsky’s

Crime

and

Punishment,

where

Raskolnikov’s struggle with his own conscience

presents a classic case of internal conflict, whereas

Hemingway’s The Old M

an and the Sea reflects an

external conflict through the protagonist’s struggle

with nature.

In literary fiction, artistic psychologism and conflict are
closely interconnected in the process of revealing a

character’s inner world. Without the presence of

conflict, it becomes difficult to fully portray a

character’s emotional experiences. Particularly in

works where artistic psychologism is approached
deeply, internal conflict often emerges as the central
idea. For this reason, in contemporary literary studies,
conflict is examined as a fundamental element that
defines the internal dynamics of a literary work.

Throughout life, humans are constantly exposed to
collisions and contradictions. Whether we accept it or
not, life itself is composed of various tensions and
confrontations. The transference of this existential
truth into literature is what literary theory defines as
conflict.

Conflict is one of the key elements that ensures the
narrative engagement of a literary work. It plays a
significant role in helping the writer reveal the
psychological essence of characters. As emphasized

earlier, conflict arises from a character’s confrontation

either with another person, with society, or with their
own thoughts and feelings. In short, whether in real-life
processes or in fictional narratives, conflict plays an
essential role in both development and resolution.

Moreover, from the earliest stages of human life,
individuals take each step accompanied by internal and
external contradictions. Good and evil, virtue and vice,
light and darkness

—

these forces are in constant

opposition and struggle. The reflection of such
struggles is vividly depicted in literature. From ancient
times, literary art has interpreted not only timeless
dreams of humanity but also its eternal dilemmas,
which are most often embodied through conflict in
fiction.

Indeed, artists are capable of sensing and reflecting the
beauty within the human soul. Regardless of the
medium, all art is ultimately aimed at delivering
aesthetic pleasure to the audience. In this regard, the
contribution of literary artists is invaluable. Penetrating
the most delicate corners of the human psyche and
conveying the emotional depth of characters to the
reader requires immense creative effort. Regardless of
the length or genre of a work, a writer must clearly and
effectively convey the intended message at the right
moment.

One such writer who has deeply mastered all
dimensions of human psychology and is capable of

skillfully portraying his characters’ inner worlds is

Abduqay

um Yo‘ldosh. He laid the foundation of his

literary creativity in the genre of the short story.
Though regarded as the smallest form within epic
genres, some of his stories carry a narrative weight
equivalent to that of a novella or even a novel.
Furthermore, as a writer who has thoroughly
internalized lessons from his mentors in the fields of
analysis and interpretation, his works have
undoubtedly found their audience.

In A.Yo‘ldosh’s stories, certain conflicts may unfold

over specific episodes and gradually disappear, while
others begin from the very first part of the narrative,
develop alongside the plot, and are ultimately resolved
in the conclusion. In the course of this study, we will

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attempt to analyze the following types of conflict:

1. Internal Conflict (Psychological):

This type of conflict

occurs within the mind of the protagonist. It involves

the character’s struggle with personal fears, doubts, or

moral dilemmas. Internal conflict often revolves
around difficult decisions, emotional turmoil, or
processes of self-discovery.

2. Character vs. Character (Interpersonal Conflict):

In

this form of conflict, the protagonist faces opposition
from another character or group of characters. It may
include physical confrontations, verbal disputes, or
social clashes.

3. Character vs. Nature:

This conflict involves the

protagonist struggling against natural forces such as
weather, animals, or other environmental elements.
The character must often confront and overcome
obstacles posed by the natural world.

4. Character vs. Society:

Here, the protagonist stands

in opposition to societal norms, rules, or institutions.
This conflict often addresses themes such as injustice,
discrimination, and the clash between the individual
and oppressive social structures.

5. Character vs. Supernatural Forces:

In this type of

conflict, the protagonist confronts powers beyond the
natural world. It includes struggles with mythical
beings, supernatural entities, or paranormal elements.
Such conflicts are commonly found in folklore and
fantasy literature.

6. Character vs. Technology/Machines:

These conflicts

arise when the protagonist battles machines,
technology, or artificial intelligence. This type of
conflict is widespread in modern and science fiction
literature, reflecting anxieties about technological
advancement and dehumanization.

7. Character vs. Fate:

The protagonist struggles against

a predetermined destiny or unchangeable future. This
conflict frequently explores themes of free will,
determinism, and resistance against fate.

As observed, the forms of conflict listed above are well
established in literature. Several of these types of
conflict can also be found in the works of Abduqayum

Yo‘l

dosh, which constitute the object of our current

research. His narratives reflect a range of tensions that
illuminate character development through diverse
modes of internal and external struggle.

For example, internal conflict unfolds within the
protagon

ist’s consciousness, in which the character

wrestles with personal fears, doubts, or moral
dilemmas. As discussed earlier, in the short story

"Poincaré", the protagonist’s psychological struggle is

revealed through such an internal conflict. Similarly, in

Abduqayum Yo‘ldosh’s novella "The Crocodile’s Tears",

psychological

conflict

takes

precedence.

The

protagonist, unknowingly and due to his own
negligence, causes the misfortune of a young woman,
which becomes a source of deep moral anguish. The
inner contradictions experienced by the character
serve not only to reveal the intricacies of his personality
but also to intensify the emotional tone of the
narrative. Such internal conflicts

—

often revolving

around difficult decisions, emotional disturbances, or
the process of self-realization

—

are frequently

encountered in Yo‘ldosh’s works.

In literary criticism, internal conflict is considered a key
means of portraying the psychological struggle within a

character’s inner world. When examined through the

lens of psychological realism and artistic psychologism,
this concept encapsulates the clash between inner
desires and moral principles, the process of self-
identification, the torment of conscience, the conflict
between personal interest and ethical duty, and the
tension between emotion and reason.

In Yo‘ldosh’s novella "Sunbula’s First Saturday", we
witness the manifestation of the protagonist’s internal

conflict through his emotional monologue:

“Alas, what is the point in deceiving myself? Am I not

waiting

—

not for the guest, but for the letter he brings?

It is as if I expect compensation for the time I’ve wasted,
for the nerve cells I’ve exhausted... But truly, which do

I await more anxiously: the girl, or the letter? How petty
and selfish I must be... The only thing left is for me to

sneak into others’ bedrooms and eavesdrop on their
conversations… Shameful. Shameful, unbearably

shameful.

No, it’s not too late. I must abandon these devilish

intentions of mine

—

I must do everything differently,

absolutely everything.

Now… now… let me think…

Enough! That’s it! I know what I must do: the letter
must reach its rightful owner...”

This passage vividly reflects the moral and emotional
turmoil of the character, illustrating the essence of
internal conflict and its central role in building complex
character psychology. [7:52].

The narrator finds himself in a morally questionable
situation that is personally familiar to him. Throughout
the narrative, he continuously analyzes his own
behavior, exhibiting a tendency to either justify or
condemn himself. His internal monologue is shaped by
conflicting thoughts and develops over three distinct
stages:

Stage One: Desire and Doubt. Within the narrator’s

inner world, two opposing forces come into conflict. On
the one hand, he is awaiting the arrival of a letter,
revealing that his interest is directed more toward the

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International Journal Of Literature And Languages (ISSN: 2771-2834)

letter than toward the girl herself. On the other hand,
he recognizes this as a morally inappropriate position
and feels ashamed of his own inclinations. This
situation gives rise to an existential conflict. The
narrator (an editor) begins to reflect on his inner
experiences and becomes aware of his own ethical
shortcomings.

Stage Two: Self-Denial and Moral Anguish. Upon
realizing his desire for the letter, the narrator expresses
a wish to renounce it. He blames and morally condemns
himself, referring to his own intent as a "devilish
motive." This represents a clear case of conscience-

driven suffering. His internal utterance, “Shame,
shame, how shameful…” vividly illustrates

his remorse

and his psychological self-punishment. From a
psychoanalytic perspective, this process can be

explained through Freud’s concept of the super

-ego

—

the part of the psyche that evaluates actions against
moral standards. The protagonist criticizes himself
based on his internalized values, leading to deep
internal conflict.

Stage Three: Moral Transformation and Resolution.
Eventually, the narrator acknowledges his fault and
decides to change his perspective. He seeks to realign
his actions with his moral compass, realizing that the
letter must reach its rightful recipient. This marks the
beginning of a cathartic process, through which he
experiences purification and spiritual renewal.

From a psychological standpoint, this final stage of the

narrator’s internal conflict closely resembles Carl Jung’s

concept of individuation

—

a process in which an

individual becomes aware of unconscious desires,
renounces them, and restores their moral identity.

The narrator’s internal conflict compels him to

reevaluate his moral standards. Rather than
succumbing to base desires, he chooses the path of
spiritual elevation. This process illustrates his
psychological development, the overcoming of internal
barriers, and his striving for moral integrity and
personal growth.

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