Volume 04 Issue 10-2024
53
International Journal Of Literature And Languages
(ISSN
–
2771-2834)
VOLUME
04
ISSUE
10
P
AGES
:
53-59
OCLC
–
1121105677
Publisher:
Oscar Publishing Services
Servi
ABSTRACT
The article analyzes and examines the story “Ogir kun” (“Hard Day”) by the famous cultural figure of Uzbekistan,
written by Asada Dilmuroda, “Mateo Falcone”, the
story of P. Merimee, famous in world literature, and the story of
N. V. Gogol “Taras Bulba” on the historical
-comparative and comparative-typological aspects.
KEYWORDS
Image, character, personage, composition, pamphlet, contrast plan, method, plot, storyline, rhythm of the story,
psychological analysis.
INTRODUCTION
Many literary-aesthetic issues, such as the identity of
the creator and his attitude to the social-cultural,
spiritual-ethical changes and renewals of his era, the
leading principles and sources of artistic creation, the
mechanism of transfer of literary-aesthetic views to
artistic creation, the secrets of poetic skill, are
considered relevant in world literary studies. Naturally,
this situation is to keep pace with the rapidly
(intensively) and globally developing times, on the
basis of the creative evolution of the creative
laboratory of poets, writers and dramatists based on
the advanced scientific schools and various stylistic
currents and trends in the world's literary and aesthetic
thinking. it also requires study in the context of the
literary process of the period as well as the overall
fiction.
Journalist and poetess Mavluda Mirsaidova published
in several issues of the newspaper "Urgut Sadosi" in
her important article entitled "Shabnamdek beg’ubor
Research Article
BIOGRAPHICAL AND COMPARATIVE HISTORICAL INTERPRETATION OF
ASAD DILMUROD'S PROSE
Submission Date:
October 08, 2024,
Accepted Date:
October 13, 2024,
Published Date:
October 18, 2024
Crossref doi:
https://doi.org/10.37547/ijll/Volume04Issue10-10
Nilufar Dilmurodova
Independent researcher, Tashkent State University of Uzbek Language and Literature, Uzbekistan, Uzbekistan
Journal
Website:
https://theusajournals.
com/index.php/ijll
Copyright:
Original
content from this work
may be used under the
terms of the creative
commons
attributes
4.0 licence.
Volume 04 Issue 10-2024
54
International Journal Of Literature And Languages
(ISSN
–
2771-2834)
VOLUME
04
ISSUE
10
P
AGES
:
53-59
OCLC
–
1121105677
Publisher:
Oscar Publishing Services
Servi
do’stlarim"
that Asad Dilmurod, the head of the culture
department of this newspaper, went to work in the
newspaper "Zarafshon" (then "Lenin Yo‘li") in May
1969, and his he remembers the incident when Fayzi
Haydarov was appointed instead.
So, the author of the article knew the writer well
before 1969. He worked as a partner. In this sense, it
will be useful to involve some of his memories in the
research. Mavluda Mirsaidova recalls that in July 1971,
Asad Dilmurod read her a new story entitled "So’nggi
o‘q":
“I heard the story in horror. I was shocked that the
father's latest shot took the life of his own daughter.
"Does a girl ever sell her father?" Even when his father
says "come back", he doesn't come back. When he
came back, his father wouldn't shoot, I said regretfully.
- Don't you sell even if your father is a criminal? - they
said with a testy look.
- No, I will never sell. After all, a father raises his child
with hope after suffering so much. It is a sin to change
one word of the father.
- That's right, you will never sell your father. But my
hero hates his father's abominations and frauds. That
is why he wants to report his father's crime to the
authorities.
- Your story is impressive, just change the ending,
please. A girl should not sell her father, a father should
not shoot his daughter. Neighbor, colleague, someone
else should inform the div, I begged.
- I watched how my writer friend would change that
story. But Asad Dilmurodov did not include those
"So’nggi o‘q" stories in any book.”
After this thought, we see Pavlik Morozov, a schoolboy
who sold his father Trofim Morozov to the government
and got him exiled for ten years, but he himself died
tragically. Therefore, in 1971, Asad Dilmurod, who was
still a novice writer, tried to portray this type of literary
hero in the story "So’nggi o‘q".
So, in his early work, the writer was influenced by the
tendentious views of the universal literature, which
launched a fierce attack against foreign elements,
pitted father and son against each other, and glorified
the class struggle.
Of course, this was not the only literary phenomenon
for Uzbek prose. In the autobiographical story
"Muzqaymoq" by the national writer of Uzbekistan
Odil Yaqubov, the NKVD captain stroked his head:
"- Malades! You will be a great person in the future!" -
if we remember the image of a ten-to-eleven-year-old
pioneer boy who was so happy when he laughed, we
can be sure that the artistic interpretations of
ideological politics that bring parents and children
together are equally widespread in our national prose.
Mavluda Mirsaidova, whose heart was shaken by the
artistic interpretation of the characters of the killer and
the victim in A. Dilmurod's story "So‘nggi o‘q", and as
an Uzbek woman, at the end of the work, strongly
demanded: "A girl should not sell her father, and a
father should not shoot his daughter", followed the
general literary trend. adib can also be understood
correctly. However, the fact that the author of the
article is not sufficiently aware of the form and content
of the story "So‘nggi o‘q" has been re
-edited, casts
doubt on the fact that this story was not published in
any book.
Volume 04 Issue 10-2024
55
International Journal Of Literature And Languages
(ISSN
–
2771-2834)
VOLUME
04
ISSUE
10
P
AGES
:
53-59
OCLC
–
1121105677
Publisher:
Oscar Publishing Services
Servi
In our opinion, not only the name of the story "So‘nggi
o‘q" was changed, but also the artistic interpretations
of the fate of the characters were reworked. In
particular, the story "Hard Day" is based on the story
of Shakir Cholak, a selfless person working diligently on
the collective farm who lost one of his legs in the
battlefields of the Second World War, and shot his only
daughter. If you pay attention, the main points of the
plot: the father + the lonely girl + the terrible tragedy
that has been committed are fully preserved. However,
the daughter is no longer a traitor, just as the father is
no longer a traitor. But, A.P. Chekhov, in his letter to
the writer Alexander Lazarev on November 1, 1889,
said that he should not waste words in stage works: "If
the gun is standing on the wall, it should be fired until
the last sight”
. The hero of the story, Shakir, who is
lame, shoots at his only daughter Mahira, killing her. In
the center of the story is not a political aspect of the
search for a class enemy, but a moral-ethical problem.
The plot and plot line will be reconstructed in the same
way. The epic narrative is told from the language of
one of the story's characters - a thirteen-year-old
teenager. His father was "missing" in the war. The
narrator, a young boy, lives with his two brothers and
his mother. His mother reaps wheat in the field of the
collective farm from dawn to dusk in the company of
women reapers, and barely returns home after the
harvest is dry. The boy, who does not call hot hot and
cold cold, cultivates the abandoned land, plows the
land with oxen and sows wheat, and now he is
determined to harvest the harvest in the heat.
The writer describes the lame character of Shakir, who
escaped from the front and has now become a
threshing guard, in sharp contrast with the image of
cunning Yusuf Moylov. Such an artistic method is
reflected in the depiction of plot events, characters
and circumstances, as well as in composition. In
particular, it allows characters to be displayed in
bubbles.
So, Asad Dilmurod very impressively depicts the impact
of the infamous war in Russia on the life of our
compatriots behind the front, their hard work, and
their hungry family life. Shakir opens the tragedy of the
lame in this plan.
Shakir takes the fact that his only daughter Mahira,
whom he brought up as a cripple, leaves with his
classmate Shukur Pakana, without her father's
consent, as a great shamelessness and an unforgivable
isnad. That is why the writer draws the rhythm of the
story in a mixture of sad and sad tones. The father,
whose internal pains have made him somewhat blind
and angry, sometimes mixes his pains into a song and
sings longingly:
Ko
ʼ
k bedaning ichidan maydayo, maydayo,
Bedanani uchiray, maydayo, maydayo.
Uchar bo
ʼ
lsang sen ham uch, maydayo, maydayo,
Eldan oting o
ʼ
chiray, maydayo, maydayo.
The quatrain above, which at first glance may seem like
an ancient labor-ritual song, is significant in the sense
that it aligns with the psychological depth of Shokir
Cholok’s characte
r, enhancing the psychological
analysis. Indeed, the idea in the song’s lyrics about a
partridge that flew away and lost its name echoes, on
the one hand, the emotions of a father who lost his
daughter and, on the other hand, hints at the
resolution connec
ted with the story’s ending. At the
same time, the word "maydayo," repeated eight times
in the quatrain and piercing the heart, reflects the
Volume 04 Issue 10-2024
56
International Journal Of Literature And Languages
(ISSN
–
2771-2834)
VOLUME
04
ISSUE
10
P
AGES
:
53-59
OCLC
–
1121105677
Publisher:
Oscar Publishing Services
Servi
hero’s torn soul. It intensifies his inner turmoil and
extremely distressed mood. Notably, the writer,
through the perspective of a child narrator, presents
this imagery:
“U qo
ʼ
shiqqa dardini qorishtirib, entikib aytardi. Doimo
do
ʼ
rillab quloqni qomatga keltiradigan ovozi birdan
mayin, mungli bo
ʼ
lib qoldi... To
ʼ
stdan... ko
ʼ
zlarida milt-
milt yosh! Evoh! U
“
Mayda
”
ni buncha mungli aytyapti
desam, qizini eslayotgan ekan-da! Mening ham
yig
ʼ
lagim keldi... Chidab turolmadim. Chopqillab borib
bovaning protez oyog
ʼ
iga osildim. Haroratsiz, toshday
oyog
ʼ
ini kesishlariga nega rozi bo
ʼ
lganlar-a?
–
Bova, bova!
–
Ovozim hazin chiqdi.
–
Nega
yig
ʼ
layapsiz?
–
Qo
ʼ
yvor, tentak!
–
Bova dag
ʼ
al panjalari bilan
peshonamni siladi.
–
Yig
ʼ
layotganim yo
ʼ
q, o
ʼ
g
ʼ
lim.
Chang ko
ʼ
zimni achitdi.
”
–
How could a determined, brave, strong-willed,
hardworking person who is sometimes even moved by
compassion commit murder? In our view, the reason
lies in Yusuf Moylov’s sarcastic remark: "You couldn’t
even take care of your only daughter." This cutting
insult, which struck deep into his soul, brought up a
matter of honor:
–
Qizim bilan nima ishing bor, la
ʼ
nati!
–
Bovaning
tovushi boyagiday keskin emas, hazin chiqdi.
–
Botdimi, Cho
ʼ
loq?
–
Yusuf mo
ʼ
ylovning ko
ʼ
zlari
sovuq porlardi.
–
Qizingda tirnoqcha nomus bo
ʼ
lsa...
–
Bas!
–
Bova baqirib yubordi.
–
Bas! Sen iflosni
qoningni ichmasam...”
It seems that all the old man's anger and hatred were
directed at Yusuf Moylov, a despicable person. The
vengeful words he spoke out of fury and resentment
were still just a threat. However, the moment he
entered through the gate with a stern expression, his
wife Zulfin Aya's reaction was:
“
-
Boshimga bitgan balo bo’ldi bu,” her curse, instead
of calming the old man's anger, only fueled it further.
Let’s pay attention to the old man’s
physical and
emotional state, as well as his fierce expression, as his
heart was deeply wounded:
“Bovaning qaltirog
ʼ
i hamon bosilmadi. Butun vujudi
–
yelkalari, oyoqlari, qo
ʼ
llari titrardi. Tishlari g
ʼ
ijirlab,
lablari pirpirayotganini eshitdim:
–
Obbo iflos-
e!”
Thus, all his anger and hatred were not directed at his
daughter Mohira, but at Yusuf Moylov. However,
unexpectedly, Shukur Pakana and Mohira, who was
standing beside him, became the targets of the fury
intended for Yusuf Moylov. The aftermath of the war
and the concussion took their toll. The old man
couldn’t compose himself and didn’t even recognize
his own daughter. The sound of the gunshot shattered
the silence.
Mohira, who had come with her husband to bow
before the doorstep where her umbilical cord was
buried and seek forgiveness, met a tragic fate. She
managed to ask for forgiveness. The father was
overwhelmed with endless regret for his actions and
wept bitterly. But it was too late to undo what had
been done.
It is worth noting the need for a historical-comparative
and typological analysis of works by prominent figures
in Uzbek and world literature, such as P. Merimen’s
novella “Mateo Falcone”, Nikolai Gogol’s “Taras
Bulba”, and Said Ahmad’s “Ufq” trilogy, which depict
fathers who, in certain moments, fired upon and, in
Volume 04 Issue 10-2024
57
International Journal Of Literature And Languages
(ISSN
–
2771-2834)
VOLUME
04
ISSUE
10
P
AGES
:
53-59
OCLC
–
1121105677
Publisher:
Oscar Publishing Services
Servi
most cases, became the killers of their own children.
Indeed, A. Dilmurod’s poetic mastery shines even more
in such comparisons.
For instance, as described by the French writer Prosper
Merime (1803
–1870) in his novella “Mateo Falcone”, on
the Mediterranean island of Corsica, a wealthy black
cattleman named Mateo Falcone lives peacefully with
his wife, Giuseppe. They have two daughters who are
married and living happily, and a ten-year-old son
named Fortunato. Mateo was once a skilled hunter,
but in the last ten years, he had not touched a weapon
or harmed any living creature.
One day, the husband and wife go to the pasture to
check on their livestock, leaving their son Fortunato
alone at home. A "bandit" named Gianetto, wounded
in the leg and fleeing from French colonial forces, asks
the boy to hide him. At first, Gianetto tries to intimidate
the boy with his weapon, but Fortunato is not
frightened in the least. The boy, unwilling to help out
of pure goodwill, demands money for assistance. After
receiving a silver coin, he hides Gianetto under a
haystack.
Fortunato was a rather cunning and clever boy. To
create the illusion for the pursuers that the haystack
hadn't been moved for a long time and to distract the
gendarmes, he brought over a cat and her kittens and
placed them on top of the stack. Then, he calmly lay
down to sunbathe, acting completely at ease.
Everything seemed to be going smoothly, as if nothing
unusual had happened. Shortly after, his distant
relative, Sergeant Théodore Gamba, arrived with six
soldiers. Fortunato didn't give anything away, even
mocking the sergeant, calling him clueless and
incompetent. Unable to tolerate the insult, the
sergeant turned everything upside down but couldn’t
find what he was looking for. Then, using cunning
against cunning, he promised Fortunato a silver watch
if he handed over the criminal.
“Fortunattoning ko
ʼ
zlari chaqnab ketdi, lekin baribir
soatga qo
ʼ
l cho
ʼ
zmadi. Serjant zanjirli kumush soatni
sekin-asta Fortunato tumshug
ʼ
iga yaqinlashtirdi.
Fortunatoning qalbida ichki kurash avj oldi. Zotan, soat
shundoqqina ko
ʼ
z o
ʼ
ngida chayqalib turar va hatto
burnining uchiga ham tegib o
ʼ
tgan edi. Nihoyat,
bolakay ikkilanibgina qo
ʼ
l cho
ʼ
zdi va soat uning kaftiga
sirg
ʼ
alib tushdi. Biroq, serjant hali ham zanjirning bir
uchidan mahkam ushlab turardi. Fortunato chap qo
ʼ
lini
ko
ʼ
tarib, bosh barmog
ʼ
ini bigiz qilib, pichan g
ʼ
aramiga
qaratdi. Serjant zanjirning uchini qo
ʼ
yib yubordi va
Fortunato soat endi butkul o
ʼ
ziniki bo
ʼ
lganiga to
ʼ
la
ishonch hosil qi
ldi” .
Naturally, the soldiers soon found Gianetto among the
haystacks and bound his hands and feet. The boy
returned the silver coin he had received. When the
parents returned from the city and heard the sergeant
praising their son for capturing the enemy, they were
astonished. Enraged, the prisoner spat on the doorstep
of the house. Turning his face away from the glass of
milk the boy had offered him, he instead asked the
soldier for water, indicating that he preferred the
enemy’s water over the traitor boy’s milk. Deeply
grieved, Mateo cursed his first traitor and ungrateful
son, who had brought shame upon his lineage. The
tears and pleas for forgiveness from Fortunato did not
soften his heart. Without revealing his anger and
hatred, he calmly ordered his son to follow him,
slinging his rifle over his shoulder as he moved forward.
The mother's desperate pleas, kneeling and begging,
were also in vain. Stopping at a small corner, the father
believed it was necessary for his son to repent and
commanded him to pray.
Volume 04 Issue 10-2024
58
International Journal Of Literature And Languages
(ISSN
–
2771-2834)
VOLUME
04
ISSUE
10
P
AGES
:
53-59
OCLC
–
1121105677
Publisher:
Oscar Publishing Services
Servi
Kneeling in fear, the boy trembled uncontrollably,
reciting all the prayers he knew. He begged his father
for mercy. Mateo, having distanced himself from God
and fallen into sin for the sake of his desires, did not
believe in his son's genuine remorse and refused to
forgive him. Gripping his rifle, he said, “Xudo sizni
kechirsin!” and shot, putting an end to his life.
The father turned away without looking back and
headed toward their home to fetch a shovel for the
burial. Hearing the gunshot, his heart racing, his wife
asked, “What have you done to our son?” He replied
calmly, “I did justice. He entrusted his life to me as a
Christian. I command that preparations be made for his
memorial service. We must inform our son-in-law,
Theodore Bianchi, that
he will now live with us.”
The character of Mateo depicted in Prosper Merime's
novella was a completely unexpected, new type of
literary hero for the contemporary French readers who
considered themselves "modern." It is worth noting
that the author, influenced by the atmosphere of
colonialism, looks down upon the ancient culture and
time-honored traditions of Corsica, viewing loyalty to
faith, preserving the genetic code of lineage, and the
ancient customs as unimportant. He writes as an
advocate for reforming and "civilizing" these
traditions. Thus, as a representative of a foreign
culture, Prosper Merime fails to fully grasp the essence
of the national-mental motives behind the actions of
his protagonist.
It is clear that a positive hero does not always serve as
a literary character that reflects "the author's moral
values". Zuhiddin Isomidinov, a literary scholar who
has investigated the main character of N.V. Gogol's
“Taras Bulba”
(1835) from a version that completely
differs from the traditional interpretations that have
become axiomatic, supports this idea by stating, “The
moral and ethical views of the great Gogol are not only
not reflected in the character of Taras Bulba but are
entirely opposed to him” . Erjan Ormonbayev, who has
assessed the novella as a sharp political pamphlet, also
aligns closely with the aforementioned perspective.
We also draw attention to the scene where Andriy is
captured during battle and killed by his father in the
thicket. At first, Andriy appears before us as a lover. If
we recall the story of "Suhail and Guldurosun" by Sayfi
Saroy, where the princess falls in love with an enemy
youth and Suhail sacrifices his life for her love, we
witness that love, loyalty, and selflessness are exalted
as important virtues in secular love. Thus, we can
understand the emotional turmoil and struggles of
Andriy, the Cossack fighter who has fallen in love with
a Polish princess.
From another perspective, Andriy is defending his
beloved, who is starving in the city they have besieged,
and the innocent citizens of that city. His hatred for
unimaginable cruelty leads him to raise arms against
even his father, brother, and former comrades.
Both of these situations are condemned by Taras
Bulba. It is difficult to believe that the old Taras, who
does not allow his beloved wife to see her favorite son
and has caused them to suffer, holds a certain view
about love for women. To him, showing love for a
woman is seen as weakness. Turning to the "enemy" is
a clear choice of treachery. The literary character
Matteo, created by Prosper Mérimée, also does not
entertain the thought of consulting his wife. Both
characters do not seek justification for their actions
from their descendants. This is because they
confidently proceed to physically eliminate their
targets. The thought that their actions are criminal
Volume 04 Issue 10-2024
59
International Journal Of Literature And Languages
(ISSN
–
2771-2834)
VOLUME
04
ISSUE
10
P
AGES
:
53-59
OCLC
–
1121105677
Publisher:
Oscar Publishing Services
Servi
never crosses their minds. They strive forward without
a hint of remorse for their deeds, as both fathers, who
have become killers of their beloved sons, are satisfied
with restoring the "justice" they believe in.
However, Mateo's son is only ten years old, while
Andriy is a young man. Fortunato entered the alley with
his fists and sold a human being for his own sake. In
doing so, Mateo not only disgraced his parents but also
brought shame upon his ancestors. The father stained
his hands with blood to rid himself of that shame.
Neither Mateo nor Taras considers listening to their
son's heart or allowing him a chance for redemption.
The father sees Andriy's actions as treachery and a
disgrace to the Cossacks. Because he is bloodthirsty
and savage, he lacks the courage to thoughtfully
discuss that his son has completely turned away from
him. The robber Taras Bulba, as punishment for his
heinous deeds, deserves not only the dear heads of his
two innocent sons but also punishment for the entire
Cossack regiment and himself. Yet, even so, his tongue
and heart do not repent.
From the above historical comparisons, it becomes
clear that Asad Dilmurod achieved a significant artistic
and aesthetic effect in his story “So‘nggi o‘q” which
was reworked under the title “Og’ir kun” This aspect
vividly illustrates the psychological credos of a wartime
individual, realistically depicting the difficult and
arduous life of the Uzbek people behind the front lines
and revealing the characters of heroes with a national-
mental nature from various perspectives.
REFERENCES
1.
Алавия М. Ўзбек хал
қ
маросим
қ
ўши
қ
лари
.
–
Т
.:
«Фан»
, 1974.
2.
Бицилли П.М. Творчество Чехова (Опыт
стилистического анализа). // Годишник на
Софийския
университет.
Историко
-
филлогически факультет: журнал. –
София, 1942.
–
Т. 38.
3.
Гоголь Н.В. Тарас Бульба, –
Т.: «Ёш гвардия»,
1976.
4.
Гоголь Н.В. Тарас Бульба. –
М.: Изд
-
во АН. 1963.
5.
Дилмурод А. О
ғ
ир
кун
. /
Асад
Дилмурод
.
Осмоннинг
бир
парчаси
.
Ҳ
икоялар
.
“Ёш
гвардия” –
Тошкент: 1978.
6.
Исомиддинов З. Тарас Бульба ошкор ва пин
ҳ
он
қ
иёфа
. https://www.e-adabiyot.uz/maqola/1256.
7.
Литературно
-
энциклопедический словарь./Под
ред. В.М. Кожевникова, П.А. Николаева. –
М.:
Советская энциклопедия, 1987.
8.
Мериме Проспер. Матео Фальконе. Новеллы.
Издательство АСТ, –
М.: 2024.
9.
Мирсаидова М. Шабнамдек бе
ғ
убор
дўстларим
.
//
“Ургут
садоси” 23 май, 1
-, 15-, 22-
июнь 2019 йил.
10.
Ўрмонбоев Е. Тарас Бульба –
рус адабиётидаги
америкалик илк жосус ёхуд эл бошига
қ
ай
қ
исмат
тушиши
мумкинлиги
ҳ
а
қ
ида
қ
исса
.
https://kh-davron.uz/
11.
https://adabiyot.islamonline.uz/kitoblar/nasr/364-
muzqaymoq.html?start=1
