International Journal Of Literature And Languages
6
https://theusajournals.com/index.php/ijll
VOLUME
Vol.05 Issue04 2025
PAGE NO.
6-8
10.37547/ijll/Volume05Issue04-02
The Artistry of O. Abdurahmonov's Satirical Works
Seytbekov Adilbay Batirbekovich
Doctor of Philosophy in Philology (PhD), Nukus State Pedagogical Institute named after Ajiniyaz, Uzbekistan
Received:
09 February 2025;
Accepted:
12 March 2025;
Published:
08 April 2025
Abstract:
This article discusses O. Abdurahmanov's skill in creating characters in his humorous and satirical works.
In the article, we can see that the depiction of social issues is revealed through satirical images.
Keywords:
Writer, humor, image, genre, literary genres, satire, story, epic genre.
Introduction:
Russian writers Anton Pavlovich
Chekhov, Nikolai Vasilyevich Gogol, Turkish writer Aziz
Nesin, and Uzbek satirist Abdulla Qahhor influenced O.
Abdurahmonov's development as a satirical writer. The
writer's stories were no longer sincere, open-hearted
laughter as found in folklore, but rather acquired
characters with very sharp underlying meanings that
could sting while making one laugh. Scholars have said
this about the beginning of his creative work: "O'rozboy
Abdurahmonov began to gain recognition as a master
of satirical stories in the early 70s." [1.225] Let's take
the story "The Talker" from his very first book. There's
a man named Tawmurat Jaymuratovich at the office.
He doesn't have any special responsibilities in his field
of activity, he's just a technical safety specialist.
However, even if the plan isn't fulfilled at the
institution, even if the boss receives a reprimand from
above or the boss's mood isn't good, this Tawmurot is
worn. And in today's meeting, Tawmurat will hear
about the afterlife, in the meeting a week from now,
and in the meeting a month from now... Finally, one
day, Tawmurod couldn't bear it and, intending to leave
his job, went to the boss.
-"True, you're just a security guard," the boss tells him.
-"But I didn't entrust you with so many public works for
nothing." If I don't show you the way and visit you, what
will become of me as a brother? Hearing this, he was
satisfied with the superior's indication of kinship and
withdrew his application.
Here, the author bitterly laughs at the fact that all the
nepotism of the head of the institution, the shouting at
the meeting - all the quarrels - are deception. As the
hero of the work understands: the boss is yelling so
much at his relative, he might say, "Don't talk to us."
After all, isn't there a saying: "If the camel is blown
away by the wind, see the goat in the sky"? The author's
ingenuity lies in the fact that he doesn't openly say that
the head of the institution is a relative or that
Tawmurat is used to everything. The reader will
understand it themselves. Explain the intended
purpose and idea of the end of the conversation.
We once again understand that the source of
Karakalpak satirical writers is Ömirbek, and that O.
Abdirahmanov's mentors were Anton Pablovich
Chekhov, along with our people's nickname Ömirbek,
by reading the writer's story "My Reasonable
Requests." Through this short story, the incurable
ailments of a totalitarian society are suddenly revealed.
Dear Mr. Umirbek! I ask you to listen to my insignificant
requests and to dare fulfill my following wishes:
It would be good if you issued three decisions from the
local committee.
a) About sending an application paper to the place
where the girl who wants me works - about the arrival
of the marriage season.
b) On the provision of a four-room apartment in the
very center of Nukus, from the side where the window
of a nine-story building faces the sunrise.
c) About providing four places in kindergarten.
1. Require the city executive committee to send me to
the last of those waiting in line for a four-room
apartment.
2. I think the city education department won't refuse
my request to give us four kindergarten places if you
tell us.
It can be said that the entire idea of the story is
concentrated around these three conditions. For
International Journal Of Literature And Languages
7
https://theusajournals.com/index.php/ijll
International Journal Of Literature And Languages (ISSN: 2771-2834)
example, from the very sentence "The window of a
nine-story house in the very center of Nukus is about
providing a four-room apartment from the east side,"
one can understand the difficulty of obtaining an
apartment provided by the state for ordinary people
during that administrative period (especially the
"putting them at the end of those waiting in line" in the
second point of the story, and even with an apartment,
changing it from two rooms to three rooms, from three
rooms to four rooms - each of which is a difficult task
for itself). Also, it is not difficult to understand how
problematic it is to place a child in kindergarten "for the
city education department to allocate four places in
kindergartens." In short, the very idea of this short
story implies that during that totalitarian regime, a
person encounters problems that are abundant along
with their birth. If the author had directly stated, "If you
get married, it's difficult to get an apartment, and after
the apartment, it's difficult to put your child in
kindergarten," then this story would have neither value
nor meaning. The most important thing is that there
won't be any satire. Otherwise, these shortcomings can
be conveyed through dialogues from one or another
character's perspective. However, it cannot go beyond
statements in the form of dry articles. So, this is where
satire's power lies, its main issue lies in its ability to say
"without saying"! That is, its entire idea, its content - is
hidden in its essence. Sending city dwellers to villages
during the cotton season has become a common
ailment even now. However, this policy must have been
very strong in the eighties of the last century. We
clearly see this in the writer's story "Sponsorship." A
small institution in the city sponsors a large institution
in the village. Aren't these two words, spoken on the
first page of the conversation, a bitter mockery of this
policy? Because a sponsor must be much larger than
the person or organization they sponsored. He himself
needs help, and who else can he help, for example, if a
large district or city cares for the collective farm - that's
one thing, an office with thirteen people is ridiculous
for the collective farm - even if it's not help, it's
additional labor. Indeed, this is what the story's main
idea conveys. The collective farm leaders, without
even sending the thirteen people who came to help to
the fields (and even if they did, there would be little for
them to do), barely manage to get rid of them after
treating them to breakfast in one house, lunch in
another, an afternoon meal in yet another, and dinner
at the boss's house. Instead of helping, these visitors
end up disrupting the work of those already laboring.
Initially, the institution employees who disliked going
to help the collective farm and made various excuses,
later all compete to go to the village during the next aid
trip. In this case, they want to return not to work, but
to repeat the previous experience of eating at various
places and having a feast. Through this story and the
language of its characters, the author mocks the
"Commonwealth" policy of that era, which caused
more harm than good. This once again reminds those
who, even at that time, acted as if they didn't know that
the essence of this policy was deception. In Orozboy
Abdurahmonov's satires, you won't find any
meaningless works without thoughts or ideas to
express, like "the reed grows and wa-ha-ha, a rich man
was wa-ha-ha." How did he achieve this? In our
opinion, the enrichment of Karakalpak literature with
masterpieces of world literature, especially the
increase in the demand for literature and literary
studies in the twentieth century, should have been the
impetus for the reading and research of writers and
young writers. The eighties of the twentieth century
were the most powerful of all the paths Abdurahmanov
boldly took. He read Chekhov, Gogol, Shchedrin,
Abdulla Qahhor in his native language (i.e., Russian,
Uzbek) and received spiritual education from them.
This example is found in almost all of his works.
The talented Turkish satirist Azim Nesin, in one of his
stories, begins by saying "One of the great people" and
"It's hot in summer." Abdurahmonov has a tendency to
start. This is how his story "A Story of One Love" [1.34],
the title of the collection, begins. "I can't say which one,
either Balzac or Byron, at least someone said: 'When
the inner secret is not revealed to a third person, love
dies and its grave is dug.'" As soon as you read these
lines, you will understand that the idea of this story is
built on unsuccessful love. However, to understand
what kind of failure it was and by whom it occurred,
one has to read the entire story. The writer's ingenuity
lies in recognizing the reader as an elite in this way.
Usually, such "announcements" are given as prologues
in large prose works and feature films. The use of this
method in a short story can be called the author's
originality or novelty. Therefore, in the stories
"Boots,"(“Botinka”) "The Stubborn," (“Ójet”) "
The
Bull's Brain," (“Ógizdiń miyi”) included in the collection
"A Story of One Love," (“Bir muhabbat tarıyxı”) the
author seeks ways to be different from the satirical
writers before him, strives to find new forms of
depiction, to create new facets of the characters."
...Patmuratov falls in love with a girl named Salima, an
engineer at a construction company. Whether she likes
this or not is unknown to him. However, through the
old ways, he sends matchmakers to his home and
receives the consent of the in-laws. From this point on,
the "Love" itself, which hadn't yet existed, became
known throughout the land.
As they say, "A donkey's death is a celebration for a
dog," Salima's relatives, wanting to take advantage of
this, quietly asked about the future groom.
International Journal Of Literature And Languages
8
https://theusajournals.com/index.php/ijll
International Journal Of Literature And Languages (ISSN: 2771-2834)
.... "My head was spinning. The brick is for Salima's
uncle, the red paint is for Salima's brother-in-law, the
medical worker is for Salima's younger brother..."
Patmuratov's love, which had caused so much trouble
without even getting married, ends unsuccessfully
along with wasted expenses.
If there is a God, may this woman be swallowed by the
earth! Yes, may the earth devour her!
-"What's going on, sister?"
-"What's going on? You ask as if you don't know - hey,
that loudmouth I told you about ran off with someone
this morning."
If this young man had acted according to the times and
talked to the girl himself. He would have known that
Salima hated him, and consequently, he would not
have sent matchmakers to her, and most importantly,
would not have encroached on public property. This, of
course, is not love. The author named it "A Love Story"
because he knew it wasn't love. We can understand this
love in quotation marks. Because the author's idea
itself tells us that it is love in quotation marks. If he had
shown it directly - in quotation marks, he would have
told the conclusion of this story before whom, that is,
"He makes dust before the herd." As a result, the
reader rarely reads a work whose conclusion is visible
from the topic. That's why at the beginning of the
story, the author has bound the reader without a
thread with just a few words of "Balzac's or Byron's."
So, what is the author's thought and idea that he wants
to convey through this story? Aren't there many
unsuccessful loves in the world? How can a student
learn from him? Of course, the student does not learn
from failures, but learns from them. However, the work
should have a complete thought, a knot, as if the reader
had learned a lesson. This knot is present in O.
Abdurakhmanov's story "A Love Story." This knot
appears at the beginning of the work - before the
reader's eyes, and is solved at the end. Through this
story, the author says that love cannot be achieved
with a red-haired person who sees it from the outside,
and at the same time, one should not resort to the
interests of the common people for personal gain.
CONCLUSION
In conclusion, O'rozboy Abdurahmonov is a talented
and powerful writer who has made significant
contributions to Karakalpak literature with his
remarkable works, and each of his works stands out for
its artistry.
REFERENCES
Paxratdinov Á, Allambergenov K, Bekbergenova M. XX
ásir
qaraqalpaq
ádebiyatı
tarıyxı.
Nókis,
“Qaraqalpaqstan”, 2011
-
jıl, 225
-b.
O. Abdiraxmanovtıń << Bir muxabbat tariyxı >> 34
-
bet
