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Principles of renewal of Uzbek storytelling of the 21st
century (on the example of Isajan Sultan stories)
Dilnura
MADAMINOVA
Urganch State University
ARTICLE INFO
ABSTRACT
Article history:
Received May 2024
Received in revised form
15 June 2024
Accepted 25 June 2024
Available online
15 July 2024
In this article, the stories of Isajan Sultan through analysis
reveal the principles of renewal of Uzbek storytelling of the 21st
century, as well as talk about the essence of stories, writer's
skills, and images.
2181-
1415/©
2024 in Science LLC.
DOI:
https://doi.org/10.47689/2181-1415-vol5-iss6/S-pp2
This is an open access article under the Attribution 4.0 International
(CC BY 4.0) license (https://creativecommons.org/licenses/by/4.0/deed.ru)
Keywords:
fiction,
Uzbek storytelling,
content and idea of fiction,
analysis and interpretation,
social tragedy,
writer's skill.
XXI asr o‘zbek hikoyachiligining yangilanish
tamoyillari
(Isajon Sulton hikoylari misolida)
ANNOTATSIYA
Kalit so‘zlar
:
badiiy asar,
o‘zbek hikoyachiligi,
badiiy asar mazmuni va
g‘oyasi,
tahlil va talqin,
ijtimoiy fojia,
yozuvchi mahorati.
Ushbu maqolada Isajon Sulton hikoyalari tahlil orqali XXI asr
o‘zbek hikoyachiligining yangilanish tamoyillari ochib berilgan,
shuningdek, hikoyalarning mohiyati, yozuvchi mahorati,
obrazlar haqida so‘z boradi.
1
Student, Urganch State University. E-mail: madaminovadilnura56@gmail.com
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Принципы обновления узбекского сказительства
XXI века (на примере рассказов Исаджана Cултана)
АННОТАЦИЯ
Ключевые слова:
художественное
произведение,
узбекская сказка,
содержание и идея
художественного
произведения,
анализ и интерпретация,
социальная трагедия,
писательское мастерство.
B этой статье рассказы Исаджана Султана посредством
анализа раскрыты принципы обновления узбекской
сказочности XXI века, а также рассказывается о характере
рассказов, мастерстве писателя, образах.
First of all, it is necessary to distinguish between what is described in a work of art
and what is artistically perceived. Often something completely different is perceived
without the fact that something else is depicted in the work. Accordingly, the content of a
work of art is understood from the point of view of what is described and perceived in it.
The content of a work of art cannot be spoken. Even the author cannot do it, because "it is
impossible to jump into the same river twice. In practice, when it is said, "Speak the
content," usually one aspect of it, or rather one important element
–
the fabula that
organizes the content
–
is spoken.
Interpretation means to interpret a work of art, to perceive its content and
essence, its artistic concept. More specifically, interpretation is to transform the
"language of images" in a work of art into the "language of logic," to understand and
explain the content expressed through the medium of images. Unlike an ordinary reader,
a literary critic relies on analysis to interpret a work of art, and his interpretation is also
considered scientific because it is based on analysis.
The story of "Abdujabbor". The story is "a lonely shed appears flowing in the
bosom of desolate fields as you leave the village and turn right from the highway..."
begins. The story is told in the language of Abdujabor (which we can find out at the end of
the story:
“...
–
What is your name, where do you come from, O child of man?
The chek-limitless anguish in the Light universe, the throats I see, the pure joys
I have, the limmo-lim with the Armenians, but I will answer like this:
–
From the bright world... Ismim-Abdujabbor...). [2;224]
Throughout the story, there are turns, changes not only in the life, fate or social
status of the main character, but also in his psyche. Abdujabbor's state of mind, his
thoughts are simple, in place, perfectly expressed. In particular, "everyone will have their
own shrines. Dear memories awaken there", "here I have another shrine. I did not know...
Autumn seems to reign in the heart...", "Dreams flew as far away as don-dun-picking
birds. Two of them were food for people who looked like a steppe cat...", "I wonder how
many I am today? I will talk to someone, how much I will try to make fists...but I'm not!
My soul, my heart is not in any of this. I will solve everyday affairs with my mind, and my
soul, who knows, will tenderize somewhere?" [2;224-231].
While one reader interprets the story of "Abdujabbor" as an expression of the
thoughts of an individual named Abdujabbor, another reader interprets the old willow
tree as having similarities with the life of our protagonist.
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We will observe a vivid expression of this in the research of Isajan Sultan, who
makes a significant contribution to the renewed artistic thinking. The theme of man and
nature occupies an important place in Adib's work, and he also skillfully uses the
landscape in his depictions. The image of nature in the stories served as the main part of
the work in the development of events.
"Isajon imposes symbolism on natural phenomena and landscapes. The image of
nature in his works is not just an additional medium that reflects the spirit of the hero,
but a goal. In the language of natural phenomena, he tries to reflect the wisdom of this
universe as far as the human imagination can reach. Or rather, the writer can describe
the phenomena of nature in such a meaningful and impressive way that we can read
these scenes and feel the will of Allah, who is in control of the whole being," says literary
critic Rahimjon Rahmat in his research.
The stories of Isajan Sultan are read with a special mood. The landscape images
created by Adib are symbolic-philosophical in nature. The writer was also able to assign a
special poetic task to natural phenomena. Especially these passages in the story
"Abdujabbor" are a proof of our word:
I carved after yesterday's rain-the pits were flooded with water. In puddles, the
chalabulut sky is reflected. No one... The Sarsar breeze of the steppe narrates from the
memory of those who fell into the ear and howled and passed through the world.;
I did not know...Autumn seems to reign in the heart... The dreams were flown as far
away as the don-dune-picking birds. Two of them were fodder for people who looked like
a steppe cat.;
When I called myself a tree, on my branches the birds of the universe went away,
flying their polapons. How long has it been left for the Ajal saw to come and saw off and
knock down? If I say a suspension bridge...”
[2;226].
Or the story of the “enlightened”. The events of the work, created in the style of a
memoir, are told from the “i” language characteristic of the lyric, which is permeated with
lyricism. The story can be called” a song about love”. In it, the image of nature is sung in
an optimistic spirit based on the traditions of romanticism:
“He said, “the universe of neighborhoods is vast, the Shadow of this bujur tol is
vast, and the Shadow of this bujur tol was enlagudek the world. Then... Then... by this
spring I had met a Parisode! Eslayapmanu... I feel like a seventeen-year-old boy... After all,
then ... the universe was different, brothers!”
"His heart was stuck near the Moonlight. Aydinbulak shrinks and bujur tol stutters,
bari has become a sweet memory of adolescence”
“A single leaf fell into the spring mirror, unable to leave the vortex and rotting".
“The boiling water whispers in the light of the moon, the breeze blurs the khazans,
and a leaf that falls into the eyes of the spring rotates by chirping”.
“The lightbulb has become very small. But one leaf, which has fallen into a vortex
in its mirror, is still chirping”.
“You feel. A leaf rotates in the moonlight...”.
Poetic repetitions, the idiosyncratic emotional-emotional saturation of sentences,
the interpretation of the lyrical supplication gave prose a certain ascendancy to Nazm.
In every story of the writer, the image of landscape
–
nature plays the most
important role. In his stories such as "Sofia", "Bowl in the Water", "Garden eram", too, the
image of nature occupies an important place from the beginning to the end of the work,
that is, it is not a mistake to say that it served as the plot of the work. Because both the
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hero and the heroines of the work are natural phenomena. The writer associates
everything that happens in life with nature. In fact, through the image of nature in the
stories of Isajan Sultan, we realize the whole being, the writer so skillfully portrays the
images of nature, contributing to the beauty of the universe, although it was a dwarf that
no one paid attention to, did not come to mind.
The symbol occupies an important place in fiction. The fact that the image of the
landscape presented in the works of Isajan Sultan is built on the basis of symbolism is
common to the works of Abdullah Qahhor. Sometimes stories are formed from a
complete landscape. And in this means of symbolism, the idea that the writer wants to
give to the reader is an anchayin greeting. In such images we see the characteristics of
romanticism, the harmonization of lyricism. Adib's stories skillfully express human
qualities, national and universal values, evrations in the spiritual world of man, updates
in his thinking. The landscape occupies a special place as a pictorial method, beginning
with the title of the work. The story "Abdujabbor" also contains images of a person
named Abdujabbor and a willow tree named after him, and the writer created
philosophical images imbued with wisdom. The story ends with these words
“...
- What is your name, where do you come from, O child of man?
The chek-limitless anguish in the Light universe, the throats I see, the pure joys
I have, the limmo-lim with the Armenians, but I will answer like this:
–
From the bright world... Ismim-
Abdujabbor...”
In the story “Aydinbulaq”, bujur tol, spring, leaf emblems served for the creation of
a bright image on the basis of a certain poetic task. Declarations of a loving heart, a kind
of interpretation of the worldview of adolescence and middle age are beautifully
expressed through them. The heroes of the work are unnamed. One is a bayonet, the
other is a Parimisole Parisode. The writer sang, chanting the love characteristic of
thousands or millions of hearts in the image of these two siymo. In the work of the writer,
The Story of the “lightbulb” is of particular importance with the fact that it is engulfed in
bright emotions. The story ends with the line “Do you notice. In aydinbulak, a leaf rotates
and rotates,” the sentence is completed.
In the stories of Isajan Sultan “Aksar”, the awareness of human survival, life and
what is the purpose of coming into this world is an extremely important task for a
person. Man can motivate, through his own, me, to realize the transience of this world,
and all the wonders of the universe he, the Musk, is a trifling wild phenomenon for the
universe. The stories of Isajan Sultan are notable for the richness, poignancy, and folly of
their language. By giving the image of the landscape, he artistically invented life in nature
and expressed the philosophy of life. His stories give a long thought and encourage him to
observe the meaning and meaning of life. The language of the story is simple and folksy,
and the reader does not notice difficulties during reading.
The writer's story “Wooden kavush”, he himself admits, is a noble story about the
purity of life and a loving father in which his thoughts on how to make his daughter
happy, who is more than the soul of a quarteror, whose life is spent in labor, who lives in
hardship, thin, poverty, and his actions on this path are captured. The story states that
“this event happened many years ago, at the time of the Tan dynasty of the Chinese
emperors, that is, one thousand and three hundred years ago...” begins. As the reader gets
acquainted with the story, unexpected events, the plot sequence prompts the reader,
directly, to continue the story, saying what will happen now. The kind father in the story,
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Juan Shiga, does not give peace of mind as long as the day comes and I make my daughter
happy when she grows up. This is how writer Juan SCHI is described at the beginning of
the story:
“A man lived in the so
-called village of Ronzyan. He was a strict, thin man who lived
a very poor life. In the vast fields of a boy named Fan-Fyong, he grew rice with water,
constantly walked barefoot because he did not have the boots he wore, and in the winter
months he wrapped a piece of leather around his leg and made a rope over him.” [1;367]
Juan Shi is actually a loving father, but the reader may hate him throughout the story.
Huan-Shi himself knew that he would not get out of work. Let alone what one earns, what
one finds is only enough to make ends meet. When he suddenly decides that one way to
save her from this black labor and live a hard-working and prosperous life is to give her
to a wife for a rice boy, he makes a small wooden jar for the girl, according to the urf
there, so that her legs are small. Kavush is very uncomfortable and gives himself relief in
the illusion that, even if he gives severe pain, no matter how hard he hurts the father's
daughter for now, he will not see suffering in the future and will one day be grateful to
me for saving him from poverty. When the expected deadline has reached years later, it
will not all be as planned by the father. Devastated by this, his father confesses to fate and
takes a head away from the village, not knowing which face he will look in the eyes of his
daughter. The conclusion of the work may seem unnatural to the reader. Because so
much hardship is expected to be a beautiful wife after suffering. But the writer
unexpectedly brings a social tragedy to the surface as a result of connecting to events a
situation that he does not want. In this story, the long-standing problems inherent in the
Universal have found their artistic solution in New Directions, in contrast to the synthesis
of the traditions of eastern and Western aesthetic thought.
Isajan Sultan is a reader who wants to speak the language of symbols with
humanity, to infect the world of dard-u with it. On the example of these stories, we can
say that in fact, the writer can easily create an artistic world even in traditional ways.
Defining the original roots, social, philosophical and historical foundations of the concept
of the universe and Man, which Uzbek writers are promoting today, is one of the pressing
problems of our modern literary studies. Uzbek storytelling follows the path of an artistic
interpretation of the topic, an analysis of a person's dreams, and experiences of an
individual, human psychology. In artistic interpretations that are evoked in essence, the
desire to realize the self is strong, which is also evident in the stories of Isajan Sultan.
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