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EXPRESSION OF THE CONCEPT OF MAN AND NATURE IN THE PLOT OF
ERKIN SAMANDAR'S WORKS. (ROMAN "BANK THAT LOST ITS RIVER")
Khajibaev Kishin Alisher ugli
Urgench Innovation University
"Uzbek and Foreign Philology" Department Lecturer
https://doi.org/10.5281/zenodo.15362578
Annotation.
The article notes that the concept of man and nature forms the basis of
Erkin Samandar's works, and that one way of depicting the reality of the plot in the novel "The
Bank That Lost Its River" is to compare the world of man and nature through two objects.
Also, the characters of Buva, Kurban Salaev, for protecting the environment and living
creatures, are subjected to tragic conditions by nature's enemies, and as a result, the
relationship between nature and humans is broken, which is analyzed based on plot events
with perfect construction.
Keywords.
Human, nature, plot, Qumri, Ganja.
The plot of a work of art consists of such elements as exposition, plot, development of
events, culmination, and resolution. The novel "The Bank That Lost Its River" also has such a
perfect composition. Its exposition is given at the beginning of the first part. Ganja, having
been released from prison, arrives on the banks of the Amu Darya and, seeing the river, the
river on the shore, and the abandoned ship, falls into deep thought. He recalled his life five
years ago. Along the way, he introduces the characters of the novel one by one. The beginning
of works with the depiction of the place where the events take place and the characters, that
is, the presentation of the exposition at the beginning of the work, is a traditional style
characteristic of works of art. In the novel, after the knot, there is also an exposition, that is, a
delayed type of exposition. Nouns like Melikush, Kandym, and Ghirkovik, elevated to the level
of characters in the work, arouse great interest in the reader. In the second part of the work,
the author introduces Kandym to the reader: "
Kandym is two years younger than Malikush. His
eyes are as black as a deer's. When she was born, Grandfather, seeing her eyes, decided to name
her Shahlo. Quljon refused. She said there are many girls named Shahlo in our village who get
upset. They called him Kandym, likening him to a flower of the grove. My candy has just ripened.
The chairman wants to exile both him and the others...
." At this point, we witness the parallel,
sequential development of the exposition and events. The author, narrating how the horses
ended up in Kiyikto'qay, provides information about the characters in the work. We see that
such explanations-expositions are given in a scattered form in different places of the work.
Erkin Samandar skillfully depicts the exposition without interrupting the development of
events. This increases the value of the novel and protects the reader's enthusiasm from
weakening. One of the writer's special methods of using exposition is that the author also
introduces exposition to a small character in the work, that is, an episode, which in scientific
terms is called an episodic image. Among them are the exposition about the main character
Ganjani's aunt Anor, whom he adopted after the death of his mother, and the exposition about
the gold merchant Oltinoy opa. The introduction of Mohira indicates another skillfully used
exposition by the artist. At the beginning of the work, he hints at a character and introduces
him to the development of events, which attracts and interests the reader. In particular, after
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Ganja's release, he saw a girl in a red dress on the train and spoke with her. The girl made a
good impression in Ganja, but didn't know who she was. Before the decision, Ganja Aminov
went to Olimjon aka's house regarding his case. There he encountered the girl in the red dress
he had seen on the same train and lost his composure for a moment. At that moment, the
homeowner, Olimjon aka, said, "Meet my daughter Mohira." As we can see, Erkin Samandar's
skill in creating expositions is diverse and unique.
At the very beginning of the work, the author speaks about the elements of nature in the
exposition, pointing to the development of events. The liberated Ganja first comes to the
banks of the Amu Darya. He grieves that his former lack of energy has decreased, and his
waters have become slowly flowing. It is here that Ganja introduces the Amu Darya to his
beloved Qumri: "
This is the Amu Darya. Muddy water flows in the Amu Darya. Mud has many
properties, it heals the ground, When you bathe, wounds don't spread on the div"
. We have
already mentioned above the exposition about Kandym, one of the horses raised by Buva
himself, one of the main characters. From this, we can see that Grandfather respects horses
not as animals, but as humans, even more so. In fact, treating nature and its members as one's
own family, protecting them, is one of the rules of a comprehensively perfect lifestyle that we
imagine.
The novel's plot is also depicted in a unique
way. After the main exposition, the knot is
given a turn. Ganja escaped from captivity and visited the Amu Darya. He is saddened by the
state of the river. The sight of the large flowered ship that had sailed across the Amu Darya on
the day of Kumri's wedding, lying on the shore without a river, filled him with grief and anger
once again. The events he experienced in the past crushed him. The reason for this was his hatred
for Aminov, and moreover, his hatred for the system that worked only for his own benefit. His
heart was pounding, and he gritted his teeth, so as not to let out his rebellious voices. While he
sat lost in thought by the ship, a car stopped in front of him: "A gas car came and stopped at the
edge of a high road on the shore. The man at the wheel looked around. He saw a man sitting on
the ship. Who could be the one sitting hunched over, disregarding the blade of Cancer? He got
out of the car and slammed the door. Playing with the key in his hand, he approached the ship.
Ganja raised his head. They stared at each other for a long time. Seeing Ganja, Aminov was taken
aback.
Ganja spent five years in prison because of this man. He led his wife astray. He fabricated
fabrications to stab his friend Obod. He turned him into a murderer. He comes again and asks
about his well-being as if nothing happened. Let bygones be bygones, and if you come to me,
I'll give you a job. He justifies himself by saying forget that you killed your friend Obod, he
deserved it. What an injustice. After all, Ganja thought that her beloved Qumri had been led
astray by Obod. He didn't notice it was Aminov. With this fox, he believed Qumri's lies. As if
that wasn't enough, this Aminov had extinguished the Amu Darya before returning from
prison. It flooded everywhere, causing the destruction of flora and fauna. These terrible
thoughts made Ganja's blood boil. He decided that he would certainly take revenge on Aminov
and his henchmen for his ruined life, for the trampled nature, and headed home. This was the
knot of the novel, that is, the place where the conflict of the work is placed.
The development of events begins here. Ganja returned to his life and got to work. She
came and hugged her aunt Anor and her son Anvar. This house reminded me of Qumri's bridal
days. He went to his house in the city and looked everywhere. Qumri kept a diary. He searched
for her. He found a letter in the drawer. It was written by Qumri. The letter stated that he
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would return the diamond ring and earrings to their owner. At these words, Ganja clutched
his head. So, Obod is innocent. How he justified himself before his death. Jealousy blinded
Ganja. What happened now, after all, his life has become crippled. Who gave Kumrixon the
ring and earrings? Of course, Aminov gave it. Now, if he doesn't drown him in the river he's
draining, Ganja will leave this life with his eyes open.
Before the climactic point in the novel, the author makes a slight lyrical digression.
Because Ganja was mounted on the horse of both conscience and revenge, he traveled through
the minarets, domes, madrasas, and monuments of Khiva to find solace in his anger. He begins
this soul-soothing journey with these beautiful words: "
If you get carried away, go to the
cemetery, you'll see sorrow and sadness, and your anger will subside. If your spirit sinks, go to
the river, seeing its wild waves, your chest will rise like a mountain. But now it's better to go to
the Amu Darya not when the spirit descends, but when your heart overflows and you don't know
what to do. Seeing the river's sadness, your soul shatters
." Therefore, Ganja sought solace for his
broken souls only in Khiva. He visited sacred places such as Ichan-Kala, Kaltaminor, Feruz
Madrasah, ancient Ark, Ak Sheikh Bobo hill, and Pahlavon Mahmud Mausoleum. Through this
lyrical digression, Erkin Samandar also showed our Uzbek values. The river and holy sites not
only lift the human spirit but also visited them before the work that Ganja had begun. In their
presence, he prayed to Allah for the success of their affairs. Ganja punishes the enemies of
nature. First, Allah, and then the spirits of the pilgrims who visited him helped him. This is a
wonderful manifestation of the Uzbek mentality.
In the exposition and development of events of the novel "The Bank That Lost its River,"
in general, in each part of the plot, the image of the river, saddened by people, and the image
of the mother nature, who has become disabled, is figuratively depicted. This directly affects
the spirit and heart of the novel's characters. As we have witnessed in the above passage, the
despondency of the Amu Darya greatly torments and spiritually crushes Ganja. The fact that
people, thinking only of their own benefit, put nature in such a pitiful state torments its
conscience. The transformation of the river that once lifted everyone's spirits into a river that
now shattered the spirit was the beginning of a global problem like the Aral Sea problem. It is
evident that beneath the injustice, inequality, and oppression between humans and nature lies
the curse of the ego. By the will of the soul, a person enslaves nature to themselves. Through
this, he wants to gain powerful power. In the world of animals and plants, and in nature in
general, there is a "rule" that cannot be crossed. This rule is a strict barrier to domination and
oppression of the weak by the strong. In episodes related to nature, the writer sufficiently
artistically substantiates this based on deep psychologism.
After the development of events, the novel reaches its culmination. "The culmination
point, that is, three types of artistic conflict, are distinguished:
1. Interpersonal conflict.
2. Conflict between the hero and the environment.
3. Internal (psychological) conflict."
In the novel, these three types of conflict are mixed and interconnected. Obod and Ganja
are heroes who entered into a struggle with their environment. Their conflict with the
environment develops against the backdrop of his contradictory relationship with Aminov,
which gives impetus to a complex process in the psyche of the heroes - the struggle of
thoughts in their consciousness.
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This is also observed in the image of the hero of the work Buva. The contradiction in
the grandfather's psyche is that, as a progressive intellectual of his time, he respects the
human personality and is not entirely free from the influence of his time and environment. As
a result, Buva yielded in the conflict with the environment (when Israeli chairman ordered the
horses to be driven to Kiyikto'qay in the harsh winter, he opposed it - essentially a conflict
between the hero and the environment, which is depicted only through interaction with
officials) and took the horses to the tugai forests. Knowing that these poor horses were being
betrayed, knowing that their beloved horses like Melikush, Ghirkovik, and Kandym would
perish there, he went to Kiyikto'qay. More precisely, he was forced to. That is, the officials
prevailed. In the struggle between love and anger in grandfather's spirit, the latter emerged
victorious. At that moment, he couldn't stand up for his horses, couldn't defend them. As a
result, he unwittingly paved the way for tragedy. The conflicts in the grandfather's psyche
arise on the basis of his environment and his confrontation with the people in this
environment.
The time had come for Aminov to answer for the injustice he inflicted upon Mother
Nature, the cause of Ganja Qumri's ruin. In a deserted place between Mazdubad and Qisnaq,
they met face to face. Thinking the fight would be bad, Aminov first took on the role of a
victim, then switched to intimidation. Ganja threw the jewelry in his face. Aminov now turned
to rhetoric, continuing his speech with indifference. Ganja allowed him to speak. Aminov
confessed to his actions one by one.
"You fool, you conspired with a crazy Raypochi to ruin my plans." You tried to cut off my
roots, pretending to be protectors of the mines and forests. I will return the axes you raised to
you.
"I, foolishly, fell into the trap you set."
"If your wife hangs herself, am I to blame?" You didn't know, your wife...
At this point, Ganja couldn't stand it. Aminov was beaten half-dead. Their duel leads to
the resolution of the knots in the novel. Then Ganja became interested in the work of Kurban
Salayev. Why should such an intelligent, selfless, honest person who doesn't shy away from
work live forever with a bad name? He tells Qurbon aka that he needs to gather evidence
proving his unjust imprisonment and demand that the officials re-examine the case, and he
himself fights for this. As a result, it was confirmed that the investigator Nazarov, who, with
the words of chairman Isroil, deliberately left black powder in the house of neighbor Quljon
Qurbon aka, who discovered that the charges against Qurbon aka were fabricated, was
cunningly imprisoned by the police chief, and that the chairman gave an order to the school
principal who fired him for renovating the Naysonbuva monument by summoning his
students. Quljon and chairman Isroil were punished. This proves the truth of life: "Truth
bends, bends, but does not break."
References:
Используемая литература:
Foydalanilgan adabiyotlar:
1.
Quronov D. Adabiyot nazariyasi. Darslik. – Toshkent: Noshir. 2019. – B. 119
2.
Самандаров Э. Ғайб қушлари. – Тошкент: Шарқ, 2009. – Б. 116
3.
Quronov D. Adabiyot nazariyasi. Darslik. – Toshkent:Noshir. 2019. – B. 124
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4.
Imomova, G. M. O‘zbek hikoyalarida badiiy sintez shakllari va ijodkorning poetik
kontseptsiyasi. Qarshi Universitet Nashriyoti, 2021. – B.5
5.
Davronova Sh. Istiqlol davri O‘zbek romanlarida sharq va g‘arb an’analarining badiiy
sintezi.- Samarqand: Samarqand Davlat universitet nashriyoti, 2019. – B.15
