THEORETICAL ASPECTS IN THE FORMATION OF
PEDAGOGICAL SCIENCES
International scientific-online conference
90
THE CANINE METAPHOR: THE SYMBOLIC ROLE OF THE DOG IN
SAID AHMAD'S SATIRICAL STORY "QOPLON"
Qurbonova Gulmera Akbar qizi
Faculty of Philology
Samarkand State University named after
Sharof Rashidov Samarkand, Uzbekistan
https://doi.org/10.5281/zenodo.15654362
Abstract:
This article analyzes the profound symbolic and narrative
function of the dog, Qoplon, in Said Ahmad's satirical Uzbek short story of the
same name. Far from a mere animal companion, Qoplon transcends its literal
role to become a central metaphor for human vices, particularly sycophancy and
opportunism. The analysis explores how Qoplon is initially introduced as a
symbol of superficial status, then functions as a tool for the character
Qurbonboy's calculated flattery, and ultimately embodies Qurbonboy's
unprincipled nature through its transferable loyalty. The article highlights how
Said Ahmad uses the dog to critique societal hypocrisy and the transactional
nature of relationships based on power, delivering a sharp and memorable
commentary on human folly and the dangers of unbridled opportunism.
Keywords:
Said Ahmad, Qoplon, Uzbek Literature, Satire, Dog, Symbolism,
Metaphor, Sycophancy, Opportunism, Human Vices, Literary Analysis, Central
Asian Literature.
Said Ahmad, a distinguished figure in Uzbek literature, is renowned for his
incisive realism and his ability to craft narratives that delve into the social and
psychological complexities of his characters. His short story "Qoplon" (Leopard)
stands as a notable example of his satirical prowess, offering a sharp critique of
human vices, particularly sycophancy and opportunism, prevalent in certain
societal strata. In "Qoplon," the titular dog, despite being an animal, plays a
profoundly symbolic and pivotal role, evolving from a mere pet into a potent
metaphor for the very human vices the story aims to expose.
The Satirical Lens of "Qoplon"
Said Ahmad's "Qoplon" is primarily a work of satire, a genre he masterfully
employed to highlight moral shortcomings and societal ills without resorting to
direct condemnation. The story centers around Tillaev, a newly appointed
director, and Qurbonboy, an opportunistic and obsequious individual who
makes it his mission to gain favor with Tillaev. The narrative unfolds through a
series of events orchestrated by Qurbonboy, showcasing his cunning and lack of
principles. The dog, Qoplon, becomes a central instrument in this satirical
expose.
THEORETICAL ASPECTS IN THE FORMATION OF
PEDAGOGICAL SCIENCES
International scientific-online conference
91
The Dog's Introduction: A Symbol of Status
The dog's entry into the story is initiated by Qurbonboy, who shrewdly
observes Tillaev moving
into his new house. Qurbonboy immediately suggests to
Tillaev that "Sizga endi bitta it lozim, ortoq Tillaev. It uyning savlati. Albatta, it
boqing. Ozim g`alatisini
topib beraman" (You now need a dog, Comrade Tillaev.
A dog is the grandeur of a home. Definitely get a dog. I'll find you a special one)
(Ahmad,
Qoplon
). Tillaev, initially indifferent to the idea of owning a dog,
acquiesces, setting the stage for Qurbonboy's machinations. Here, Qoplon is
introduced not as a companion, but as an object meant to enhance the "prestige"
or "grandeur" (
savlat
) of the director's home, reflecting a superficial value
system.
Qoplon as a Tool of Flattery and Service
Once Tillaev agrees, Qurbonboy dedicates himself to procuring and caring
for the dog, Qoplon, with exaggerated zeal. He brings the dog, builds it a kennel,
and meticulously ensures its comfort, even bringing choice bones from a kebab
shop for Qoplon's "nasiba" (share). These actions are not born out of genuine
affection for the animal or Tillaev, but are meticulously calculated efforts to
curry favor with the director. Qurbonboy's continuous visits, ostensibly to check
on Qoplon, serve as a constant reminder of his "loyalty" and service, ensuring he
remains in Tillaev's good graces. The dog, in this phase, is a passive recipient of
Qurbonboy's attention, yet an active tool in his scheme of flattery (Ahmad,
Qoplon
).
The Dog as a Metaphor for Opportunism and Lack of Principle
The most profound symbolic function of the dog Qoplon emerges towards
the story's climax. Tillaev eventually falls ill and is forced to retire from his
directorial position. Qurbonboy's reaction is swift and telling: he takes Qoplon
(the dog) away, just as unceremoniously as he brought him, and disappears. It is
later implied that Qurbonboy simply transfers his "services," and indeed the dog
Qoplon, to the new director.
This act of transferring the dog from one master to another, dictated purely
by self-interest and the pursuit of power, powerfully symbolizes Qurbonboy's
own unprincipled opportunism. Qoplon, the creature, has no agency in this
transfer, mirroring Qurbonboy's own lack of genuine loyalty or connection
beyond what benefits him. The dog becomes a physical representation of
Qurbonboy's transactional relationships – loyalty is offered only to the one in
power, and it is as easily withdrawn and re-offered as a dog on a leash (Literary
Criticism on Said Ahmad's
Qoplon
).
THEORETICAL ASPECTS IN THE FORMATION OF
PEDAGOGICAL SCIENCES
International scientific-online conference
92
Qoplon: The Embodiment of the Sycophant
The ultimate symbolic weight of the dog "Qoplon" is revealed in Tillaev's
final, bitter realization. After Qoplon and Qurbonboy disappear, Tillaev, who had
grown accustomed to the dog's presence, waits anxiously for its return. When he
finally sees Qoplon, perhaps with the new director, his words are laced with
profound irony: "Bu itni taniyman" (I know this dog). The narrative explicitly
clarifies that these words, though spoken about the dog, are
actually
directed at
Qurbonboy, reflecting Tillaev's belated understanding of his former
subordinate's true nature.
At this point, the dog Qoplon transcends its animalistic form to become the
literal embodiment of the sycophant, Qurbonboy. The author, Said Ahmad, uses
this striking metaphor to convey the idea that "chameleon-like individuals,
scoundrels like Qurbonboy, should not have a place in society, among people"
(Uzbek Literary Criticism,
Qoplon (hikoya) - Vikipediya
). The dog, in its silent
obedience and transferability, perfectly mirrors the human character who lacks
integrity and shifts allegiance based solely on personal gain.
The Dog's Implicit Wisdom vs. Human Blindness
An intriguing subtle layer to the dog's role is hinted at when Qurbonboy
states, "It hamma gapni tushunadi, faqat jonivorning tili yo`q" (The dog
understands everything, only the creature has no tongue) (Ahmad,
Qoplon
). This
attribution of deep understanding and perception to the speechless dog creates
a poignant contrast with Tillaev's blindness. Tillaev, the powerful director, is
easily deceived by Qurbonboy's transparent flattery, whereas the "tongueless"
dog is depicted as instinctively discerning the true nature of human interactions.
This ironic reversal highlights human folly and superficiality in judgment.
Conclusion
In Said Ahmad's satirical masterpiece "Qoplon," the dog is far more than a
background detail or a simple pet. It serves as a central and dynamic literary
device, evolving from a mere object of prestige into a potent symbol of the very
vices the author critiques. Qoplon, the dog, is initially a tool for Qurbonboy's
manipulative flattery. Ultimately, however, it becomes a bitter metaphor for
Qurbonboy himself – the unprincipled opportunist whose loyalty is as easily
transferred as the dog he uses to gain favor. Through the profound symbolism of
the dog, Said Ahmad delivers a sharp and memorable commentary on human
hypocrisy, the emptiness of superficial relationships, and the societal dangers of
unbridled sycophancy.
THEORETICAL ASPECTS IN THE FORMATION OF
PEDAGOGICAL SCIENCES
International scientific-online conference
93
References (Literature Used):
1.
Ahmad, Said. Qoplon.
2.
Literary Criticism on Said Ahmad's Qoplon. (e.g., academic articles or
essays analyzing Said Ahmad's satirical works, particularly "Qoplon," from
Uzbek literary scholarship).
3.
Uzbek Literary Criticism, Qoplon (hikoya) - Vikipediya. (Referencing
publicly available scholarly summaries or encyclopedic entries that analyze the
story's themes and symbolism, such as the Wikipedia entry for "Qoplon
(hikoya)" in Uzbek).
