International Journal Of Literature And Languages
59
https://theusajournals.com/index.php/ijll
VOLUME
Vol.05 Issue03 2025
PAGE NO.
59-63
10.37547/ijll/Volume05Issue03-15
Poetic principles in depicting the socio-psychological
spirit of the father figure in 20th-century Uzbek stories
Qayumova Gulasal Abduraufovna
Shahrisabz State Pedagogical Institute, Teacher of the Department of Uzbek Language and Literature, Uzbekistan
Received:
20 January 2025;
Accepted:
19 February 2025;
Published:
17 March 2025
Abstract:
This article discusses the socio-psychological approach to creating the image of a father in 20th-century
Uzbek storytelling, the writer's unique style, the coverage of the 20th-century social environment in Uzbek
storytelling, and the unique aspects of the human image. It also discusses poetic principles in depicting the psyche
of the character.
Keywords:
Socio-psychological, harmony, image, writer, style, repression, passage, spirit, principle, character.
Introduction:
In the 20th-century stories, the
integration of artistic depiction and socio-psychological
views began to bring significant changes in the
creativity of writers. As a result, the issue of choosing a
character and bringing it to the center of the story was
gradually depicted in connection with real life. It is no
coincidence that each story's events were increasingly
dedicated to social life problems and their
consequences.
Previously, we often witnessed that World War I and its
consequences, repression and human destinies, the
impact of World War II, and the losses in the Afghan
war tested the people's endurance and resilience. As a
result of the misfortunes that befell the people, not
only those who were martyred but also their family
members who were left behind experienced a
fundamental change in their lives, which was reflected
in many stories.
The depiction of these processes in artistic literature
required a special approach from writers, so it can be
said. "The artistic excellence, longevity, unique
qualities, charm, and enchantment of any literary work
are primarily manifested in the construction of the
author's speech. The author's speech, considered a
mirror reflecting the beauty of a work of art, appears in
the fabric of the literary work’s language in the form of
a monologue." [1] "In this regard, the depiction of the
inner experiences and psychological states of story
characters in writers’ works inevitably relies on the
writer’s skill. This is because the reader initially receives
information through the details provided by the
author. As a result of these details, the reader's interest
in the story increases.
At the beginning of the 20th century, when the epic
genre was just beginning to gain popularity in our
literature, the uniqueness of such works lay in the fact
that the essence of the events depicted could be
understood either through the dialogue between the
characters or solely through the author's narration. Of
course, for this information not to remain superficial,
the author must have a deep understanding of life, be
able to analyze it in all its complexity, and use words in
a way that directly influences human emotions." [2] "In
particular, a writer's skill is evaluated by how deeply a
reader connects with the character
—
crying when the
character cries, rejoicing when they rejoice. In the
process of creating a character, the writer considers the
character’s social status and psychological state.
Likewise, in depicting the character, the reader’s
perception of reality is also taken into account." "It
is known that every literary work is created by a specific
individual
—
an artist. Artistically mature works, created
by true talents, renew poetic thinking in one way or
another, laying the foundation for the emergence of
new trends, movements, and directions in literary life.
At the same time, they also influence the development
of social thought.”[3]
"Before studying literary works, it is necessary to
determine the methods and levels of their analysis.
“Poetics” (from the Greek ‘poietike techne’ –
the art of
creation) is, in a broad sense, a component of literary
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theory and a doctrine about literary works.
Understanding poetics as general literature and the
science of verbal art
—
literary theory
—
has been a
tradition since ancient times."”[4] "Before studying a
specific literary work, obtaining information about it
allows for a better approach to its analysis. In this
regard, poetics holds great significance. Some writers
begin their work from the climax, while others start
from the knot of the plot. This, in turn, defines the
writer’s unique style and, in some cases, has
a distinct
impact on the reader’s psychology.
For example, most of A. Qahhor’s stories begin with a
knot and conclude with a resolution. The final
interpretation, however, is always left to the reader.
That is why readers interpret A. Qahhor’s stories
differently and read them with a unique emotional
connection."
"Abdulla Qahhor's place in Uzbek storytelling is
unparalleled. He is honored in Uzbek literature as a
writer who first introduced realistic themes into the
short story genre. Although his creative approach aligns
with that of the Russian writer Chekhov, it is impossible
not to notice that Abdulla Qahhor remained true to
national principles in his works.
In his stories, the reader renames the story through the
depiction of characters and their portrayal. The brevity
of his story titles and the deep meaning embedded in
each title are commendable. In Abdulla Qahhor's short
stories, we often witness the "Father" figure and the
events surrounding this character.
"When a writer uses the artistic means of language in a
literary text, their primary goal is not only to achieve
imagery and expressive impact but also to convey their
artistic intent and idea through an implicit method
within the internal structure of these means." [5]
"Abdulla Qahhor’s short story “So‘nggi vulqon” also
belongs to the category of stories that begin with a
knot.
"At eleven o’clock at night, Shermat aka called our
house and said, ‘Make some pilaf, add some chickpeas,
I’ll be there in less than an hour.’ Since we were well
aware of his habits, we always had the ingredients for
pilaf ready like a loaded rifle. The pilaf was prepared,
and Shermat aka arrived. A steaming plate of pilaf was
placed on the table." [6]
At the beginning of the story, several questions arise for
the reader: Who is Shermat aka? Why is he instructing
these people to prepare pilaf? Who are these people,
and why do they comply with his request? For whom is
the pilaf being prepared?
To find answers to these questions, the reader must
continue reading the story. As the narrative unfolds,
the knot introduced at the beginning gradually
unravels, providing answers to these questions.
Similarly, in A. Qahhor’s other stories, such as
“Mahalla,” “Kartina,” “Xotinlar,” and “Yillar,” the
stories begin with a knot and progress toward its
resolution. This technique is evident in nearly all of his
works, which is why A. Qahhor is considered a writer
with a distinct literary style." "In Abdulla Qahhor’s short
story “Asror bobo,” not only is the “Father” figure
deeply portrayed, but his emotional and psychological
state is also vividly illustrated.
“Asror bobo’s
son, Yodgor, was killed on the front. He
received an official death notice. However, Asror bobo
hid this news from his wife. At the same time, he
worked in a teahouse, instilling hatred toward the
enemy among the people. He read newspaper reports
and carried out propaganda. His wife, who accidentally
found out about their son’s death, also hid the news
from her husband out of pity for him.”
This depiction highlights the emotional resilience and
silent suffering of parents during wartime, a recurring
theme i
n A. Qahhor’s works." [7] "In this story, the deep
love and compassion between the two characters are
expressed through their efforts to protect each other.
Asror bobo carries immense sorrow
—
not only is he a
grieving father who has lost his son, but he also sees it
as his duty to instill hatred toward war in people’s
minds. He believes that by doing so, he is actively
fighting against the enemy. Through this, he seeks to
ease his inner pain and find solace.
In this story, the writer uses Asror bobo as a
representation of the suffering and hardships endured
by the people during wartime. In reality, Asror bobo is
just one example of the many fathers who lived
through the tragedies of World War II. During that time,
such losses had tragically become an everyday reality."
"Analyzing the structure of a literary work, identifying
the writer’s style, and paying close attention to
descriptive techniques enhance the work’s appeal and
emotional impact.
Description (tasvir, from Arabic
—
meaning depiction,
representation) is the artistic portrayal of objects and
events in reality through literary devices, allowing the
reader to perceive them directly and comprehensively,
along with their unique and inimitable characteristics.
Although the term description is primarily associated
with visual arts, it is also applicable to other forms of
art, particularly literature. In literary works, description
is conveyed through words. Unlike visual arts, where
images are physically represented, in literature, the
depicted events and objects are perceived through the
"inner eye." Through the sequential arrangement of
words, the features of an object or event are gradually
International Journal Of Literature And Languages
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International Journal Of Literature And Languages (ISSN: 2771-2834)
revealed, ultimately forming a vivid mental image in the
reader’s imagination."[8] "This demonstrates how the
short story genre, as a form of prose, plays a crucial role
in depicting events concisely yet vividly through
description. Due to its brevity, the short story relies
heavily on imagery to convey deep emotions and
meaning.
For example, in O‘ktam Mirzayor’s short story “Tuproq
hidi” (The Scent of Soil), the character Istam embodies
a son with a profound respect and devotion to his
father. Through his thoughts, it is revealed that he
carries a deep regret for not being able to care for his
mother. This remorse leads him to return to his village
for his father’s sake.
Even though he has responsibilities elsewhere, Istam
chooses to stay by his father’s side, prioritizing his
service over everything else. For him, even the opinions
of others hold no significance.
"Otajon,
isingizga bir to‘yay..." (Father, let me fill my
lungs with your scent…), Istam said.
"Nari tur-
e, po‘rim! Is qobtimi," (Stay back, fancy boy!
Has the scent disappeared?) his father rasped. Then, as
if something was stuck in his throat, he struggled to
swallow. His long fingers interlocked tightly, and he let
out a deep sigh. Istam understood from his father’s
heavy sigh that it meant, “My days are numbered.”[9]
For a child, witnessing their father wither away day by
day is an unbearable burden. In the story, Istam even
goes as far as digging a grave to earn his father’s
approval. Despite being engaged in scholarly pursuits in
the city and only having visited the cemetery last when
his mother passed away, he cannot refuse his father’s
request. He respects h
is father’s decision without
hesitation.
The story portrays the “setting and interactions” in a
simple yet heartfelt manner. Even the “process of
digging the grave, its structure, the texture of the soil,
and its scent” are vividly described.
"When Istam and his younger brother returned to the
yard, someone had moved Nafas Buva to the thick
shade of the apricot tree. Their father was hunched
over, dozing off. Covering his mouth with his palm,
Istam signaled his brother to be quiet. He then carefully
lowered himself onto the small stool across from the
cart and gazed at his father, who was snoring lightly like
a child. ‘Thank God!’ he murmured contentedly.”[10]
Dilbar Saidova's short story "Yig‘i" starkly contrasts
with the previous narrative. In this story, the father
figure, Sadriddinxoja, is portrayed as a heartless,
stubborn man who never wavers from his own desires.
He disregards the feelings of his children and acts
cruelly even toward his wife.
When he married 14-year-old Maxfirat, he treated her
wi
th merciless indifference, evoking the reader’s
resentment. At first, he refused to recognize his
daughters as human beings. When his first daughter,
Karomat, was born, and later his second daughter,
Salomat, he responded by raining blows upon Maxfirat.
As the saying goes, even death turns away from the
wicked
—
Sadriddin returned from war unscathed. But
instead of softening, he became even more obstinate
and ill-tempered, making life unbearable for those
around him.
"The children had grown up. 'Be careful with your
daughters. If I hear anything, I won’t spare any of you,'
said her husband. Matchmakers began coming to ask
for Karomat's hand, but she kept refusing. However,
one day, she remained silent when a certain group of
matchmakers came. She immediately sensed that her
daughter had feelings for them.
'I agree. But you should consult her father,' she said.
However, the father refused. He claimed that the
groom’s lineage was inferior. Nevertheless, the
matchmakers kept coming.
'Don’t come anymore. That’s i
t. If my daughter agrees,
I will disown her. And if my wife dares to support such
a thing, I will divorce her with three talaqs,' the father
declared to the matchmakers, who were waiting for his
approval on the veranda.
It was clear that, to the father, hi
s child’s wishes meant
nothing. However, at that moment, the words the
mother had swallowed for years burst forth like a
volcano. Maxfirat, who stood up against her husband,
received three talaqs. From that day on, although they
lived under the same roof for nearly fifteen years, they
never spoke to each other.
‘Mother, dear mother,’ she cried, embracing her
mother tightly. 'It was because of me that you had a
falling out with my father. Please, make peace now. Let
my father rest in his grave in peace.....
The old woman's heart ached. What kind of children
had she raised
—how could they be so merciless?”[11]
There are such stories in Uzbek literature where the
blessing called upbringing is even greater than human
emotions and experiences. In this story, even though
the father’s unworthiness of his role is evident, the
mere fact that he is a father compels his child to respect
him.
When a writer begins crafting a work, an idea for the
piece emerges first. The composition of the work is
then created. After that, the writer refines and analyzes
the idea in their mind. Once a fully formed character
takes shape, they gather the events and situations that
align with this character and connect them through a
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structured plot. As a result, a literary work is born.
In short stories, characters should be more
multifaceted compared to other literary forms. This is
because a limited number of characters must
effectively convey the entire storyline.
"Imaginative memory is a type of memory associated
with images, life scenes, sounds, tastes, colors, and
shapes. It refers to the ability to clearly retain the
essence of events, their distinct features, and
connections in memory, solidifying them in the mind
and recalling them when needed. Consistent
characterization is divided into both positive and
negative types." [12] When a writer selects a character,
they inevitably consider social and psychological
aspects. This is why some short stories become
timeless works. They remain engraved in the minds of
readers, never fading from memory.
In the 20th century, Uzbek literature underwent
significant reforms and advancements. One of the most
notable developments was the recognition and growth
of the short story as an independent literary genre,
which played a crucial role in shaping Uzbek literature.
However, this era also witnessed the tragic repression
of many literary figures. The period of purges serves as
a stark example of such repression.
"The 20th century's emphasis on intellect and
rationality inadvertently led to the marginalization of
emotional depth, causing shifts in people's spiritual
worlds. Disregard for natural laws and the desire to
dominate nature not only resulted in severe ecological
disasters but also fostered a dismissive attitude toward
religion, literature, and art, paving the way for moral
crises. In this sense, it can be said that transitional
periods and turning points in human history prompt
self-reflection, repentance, purification, and a renewed
pursuit of a reformed way of life." [13] Such processes
inevitably influenced the psychological and emotional
state of humanity. In the 20th century, the content of
literature underwent significant changes. Writers
began to expand their stylistic approaches, and in some
cases, external interventions in their creative processes
became apparent. In short stories, events increasingly
transformed into realistic and tangible character types.
The art of selecting characters in literature demanded
greater sharpness and insight from writers, as the
portrayal
of
characters
—
whether
positive
or
negative
—
was increasingly judged by readers
independently of the writer’s intended style. This shift
also signaled the development of literary criticism, as
readers became more analytical and discerning in their
evaluations of literary works.
In Odil Yoqubov’s short story "Vido", the inner turmoil
and suffering of Master Qobil are vividly portrayed. The
story explores a father’s longing for affection from his
son, Nodir
—
his silent hope of hearing the word "Dada"
just once more. Through his inner reflections, the story
highlights the ease of becoming a scholar but the
difficulty of truly being a compassionate human being.
"The master's pain resides in his stomach. It feels as if
a greedy hedgehog has entered his insides, scratching
and tearing at his intestines for a month, at times
clutching and squeezing them, at others searing his
already aching spot as if pressing a burning coal against
it..."
Through this powerful imagery, the writer enables the
reader to feel Qobil ota’s pain, allowing us to sense his
illness and sympathize with his suffering. As the story
unfolds, an invisible wall between father and son
becomes apparent. The reader not only pities the
father but also develops a sense of resentment towards
Nodir for his coldness, making the emotional gap
between them all the more poignant. "At the head of
the room sat Aziz Domla, whose hair had turned
completely white, yet he still appeared relatively
young. Beside him was Nodir, dressed in a sky-blue silk
blazer. Beneath it, a delicate silk undershirt revealed his
round, snow-white belly, resembling a plump
dumpling."
This description sharply contrasts the characters, subtly
emphasizing Nodir’s detachment fro
m traditional
values. His polished, modern appearance juxtaposes
the wisdom and dignity embodied by Aziz Domla. The
imagery of his exposed belly, almost exaggeratedly soft
and privileged, hints at his carefree and perhaps self-
indulgent nature, reinforcing the emotional and
generational divide between him and his father, Qobil
ota. [15] In this depiction, the author masterfully
blends both visual and psychological elements to
contrast the father and son. Qobil ota appears as a frail
yet kind-hearted and hardworking figure, emdiving
selflessness and resilience. Meanwhile, Nodir is
portrayed as self-centered, emotionally detached, and
indifferent to his father’s struggles. His words and
actions irritate the reader, evoking a sense of
disappointment and frustration. This stark contrast
naturally leads us to sympathize with Qobil ota, feeling
his silent pain and yearning for affection.
However, not all children are like Nodir. The story also
presents an alternative
—
Abdullajon, a devoted and
caring son. Unlike Nodir, he remains close to his father,
sharing in his concerns and ensuring that no day passes
without caring for him. Through this dual portrayal, the
author emphasizes the dichotomy of filial devotion,
highlighting how different children perceive and treat
their parents.
“
--You didn't understand the issue!
International Journal Of Literature And Languages
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International Journal Of Literature And Languages (ISSN: 2771-2834)
“Nodir!”—
flashed through the master's mind..
- You just don't understand, brother! I mean, you can
see it yourself!
It was Abdujaliljon's voice.
- "I can see it. But you should also consider it
—
if I
support this time, the issue will be delayed for six or
seven months."
So what if it's delayed? While our father is lying in this
condition...”[16]
As Uzbek storytelling evolved, writers began to adopt
new approaches in their literary works. Through their
stories, authors started depicting characters who were
oppressed in real life, deprived of compassion, yet
hopeful for a renewal in life. According to L. N. Tolstoy,
in order to create a certain type in literature, a writer
must select and artistically unify the characteristics
common to many people of that category. To depict a
shopkeeper, an official, or a worker, the writer needs
to study the lives of many shopkeepers, officials, and
workers, identifying the key social-class traits, habits,
and other defining aspects that shape their identity.
Thus, while a literary character may closely resemble
real people, they are not an exact replica of any
individual. [17] Indeed, it is natural for the protagonist
of a story, particularly a father figure, to resemble
someone's real-life father or even appear more ideal
than others. In literary fiction, the depth of a character
depends on how well it is portrayed. Through creative
exploration and artistic skill, a writer can craft a
compelling and well-rounded character, enhancing the
emotional impact of the story. The ability to evoke a
specific image of a father in readers’ minds is a
testament to the writer’s mastery.
In the 20th century, Uzbek short story writers paid
great attention to the creation of the father figure.
Their approach to shaping this character was based on
the overall theme of the story, the social status of the
father, and the broader concept of the national
paternal image. Every writer, when developing a
protagonist, examined the character traits and social
standing of the people around them, generalizing these
observations to create a well-rounded figure.
When analyzing these characters, it becomes evident
that they are not always valued equally. Depending on
their role in the story, they are classified as either
positive or negative figures. Fathers in literary works
are often evaluated in this manner as well. In most
cases, the father’s position within the family remains
significant and is depicted through an Eastern cultural
perspective. In this regard, the portrayal of father
figures in Uzbek stories differs fundamentally from
those in Western literature. The social and
psychological aspects of fathers are frequently
considered in literature, with many scenes depicting
their emotional experiences. As a result, terms like wise
father, scholarly father, entrepreneurial father, thief
father, cruel father, and unkind father are often heard.
If such descriptions did not exist in real life, they would
not find their way into literature, nor would they be
portrayed as purely fantastical elements.
In 20th-century Uzbek storytelling, the longing for
paternal love and the deep yearning for fathers became
significant social issues. The devastations of war led to
fathers being drafted, causing many children to grow
up with an abstract, often unrealistic understanding of
what a father truly is. At the same time, children
spending their lives in anticipation of their father’s
return became a painful psychological reality for
humanity.
REFERENCES
Boboyev, T. (2002). Adabiyotshunoslik asoslari (p. 41).
O‘zbekiston nashriyoti.
Xasanov, A. A. (2010). Abdulla Qahhor hikoyalari
tillining badiatini ta’minlovchi leksik
-stilistik vositalar
(p. 16). [Dissertation].
Xaydarov, F., & Xalilova, N. (2009). Umumiy psixologiya.
Qahhor, A. (2013). Tanlangan hikoyalar (p. 7).
O‘zbekiston milliy ensiklopediyasi Davlat ilmiy
nashriyoti.
Qahramonov, Q. Y. (2011). Istiqlol davri O‘zbek
tanqidchiligi
metodologiyasining
yangilanish
tamoyillari (p. 18).
Quronov, D., Mamajonov, Z., & Sheraliyeva, M. (2010).
Adabiyotshunoslik lug‘ati (p. 233). Akadem Nashr.
Solijonov, Y. (2002). XX asr 80-90-
yillari O‘zbek nasrida
badiiy nutq poetikasi (p. 16). [Dissertation].
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