Poetic Research in Modern Story-Writing

Umida Rasulova

Tashkent State University of Uzbek Language and Literature named after Alisher Navoi, Tashkent, Uzbekistan

Keywords. Genre, Story, Poetics, Composition, Text, Image, Expression, Symbol.

Abstract: In the process of writing fiction, significant changes in the poetics of prose works have been observed.

Authentic material, accurate and intriguing facts broaden the potential for an objective interpretation of an

individual's destiny. Despite the genre's brevity, the writer's skills can effectively portray events and construct

a succinct yet powerful image. Abdullah Kahhor, Gafur Gulom, Said Akhmed, Adil Yakubov, and Shukur

Kholmirzaev have all contributed significantly to the development of the genre. The composition and structure

of the stories created are unique. In the stories of writers such as Khurshid Dustmukhammad, Khairiddin

Sultanov, Murad Muhammad Doust, Erkin Augam, Nazar Eshonkul, Isajon Sultan, Abdukayum Yuldoshev,

Sobir Unar, and Nurillah Raufon, everyday ethics, a fusion of divine religions, and aesthetic views can be

observed. The stories depict a representation of the social environment of life, rooted in oriental education,

occasionally employing symbolism, and presenting a certain sternness in the portrayal of events. Attention to

the essence of the works will provide a foundation for understanding the genre. A story with a rich history

has undergone a significant journey of formation and growth during this period. The genre has seen the

creation of its own school of depiction, craftsmanship, and, most importantly, the Uzbek narrative has

ascended to a level that constitutes a significant and integral page of world history. Although the narrative, as

a genre, is considered relatively small and compact, observations on the author's artistic thought process

enable us to draw generalised conclusions about all national literature, even on the scale and breadth of a

specific national artistic thought process.

1 INTRODUCTION

In prosaic works, attention is heightened towards the

depiction of social phenomena, a comprehensive

portrayal of human character, the popularisation of

environment, and worldviews. The philosophical

underpinning of the narrative, saturated with the

foundation of plot events, does not escape the reader.

The ideal arrangement of artistic components

enriches the poetics of the work. The story's title is

"The Man with the Monkey," or "Poincaré."

Comprehending the narrative's essence commences

with its title. The author, through the title, attempts to

communicate to the reader the topic addressed in the

work, the portrayed surroundings, emotions, and

viewpoints, initiating a dialogue between them. The

author, owing to a sense of responsibility and reason,

understands his works.

Corresponding author

Said Ahmad produced stories during the period of

independence. His stories written during this period

reflect the events he witnessed through the prism of

his heart. In particular, the composition of the story

"Oftoboyim" (My Sun) encapsulates the loyalty to

one's country, homeland. The mystery in the title

piques the reader's interest, activating the engagement

process, and prompts understanding the meaning of

the words "oftob," "oy." The philosophy of people

from the land of the rising sun – Japan – in terms of

the Motherland, vividly reflects the essence of the

work. The author, sentenced to prison in the middle

of the last century, engraves moral, aesthetic norms

inherent in every nation onto the canvas of a fiction

story. While analysing the story, one can observe the

civic attitudes of the Japanese nation towards their

homeland, a disdain for betrayal, hard work, and

willingness to aid those in need. The kamikaze's fear

of returning to the homeland and his subsequent

suicide heightens the story's climax. The disruption of

the moral canon by a group of geishas, lovers of

Rasulova, U.

Poetic Research in Modern Story-Writing.

DOI: 10.5220/0012484000003792

Paper published under CC license (CC BY-NC-ND 4.0)

In Proceedings of the 1st Pamir Transboundary Conference for Sustainable Societies (PAMIR 2023), pages 253-258

ISBN: 978-989-758-687-3

253

beauty, incites contemplation about the situation of a

woman (mother) who must spend the last years of her

life in solitude. This story captivated both Uzbek and

Japanese readers with its striking depiction of events

reflecting unexpected twists of fate, duty, trust, and

loyalty. Such stories by Said Ahmad as "Sarab" and

by Adil Yakubov as "Icebreaker" clearly manifest a

unity in response to the oppression endured by the

intellectuals due to the former system. In fiction, the

evolving narrative of fathers and children is

complemented by simplicity, naivety, betrayal, talent.

The consequences of childhood acts in these stories

are ambivalent, and in the work "Muzqaymoq (Ice

Cream)" the ease of its burden is revealed. However,

due to the work of ideological spies in the story

"Sarab," his betrayal of his father, Kimsan's nation

(the name “Kimsan” symbolically means “Who are

you?”) not only tarnishes the lofty feeling, but it also

destroys a child's moral duty towards his father. The

story's climax is seen in the dying wish of the

convicted Kimsan to remove the image of the leader

from his chest. Thus, the conquest of an individual's

identity and pride expels him from the honour of

humanity and forces him into spending his final days

in solitude.

Literary critic B. Karimov notes, "Awareness, the

feeling of features characterising the nature of the

writer, arise through the understanding of the social

and family environment, spiritual, moral, and

ideological world in which the writer lives"

[Karimov. B. 2016].

The epigraph of Nazar Eshonkul's short story

"Qultoy" (Little Servant) contains a small extract

from the epigraph of Alpomish. In these four verses,

the words of prayer, the closest person - a father's

words - are heard against the backdrop of a thorough

understanding of many motives of the work. The

events in the story are based on a retrospective plot.

As is known, a lie is a negative trait, and it

complicates a person's life. In particular, a woman's

lie told to her husband within the family leads to great

sufferings. The birth of daughters in the family of

Rajab and the Administrator incites conflicts. The

shepherd husband's anger and indifference cause

distress to his wife.

Different categories of people exist in society, and

some exploit the frailty of individuals with

disabilities. The pregnancy of the director's mentally

unwell and vulnerable sister posed a problem for her

father and her family. To conceal this indiscretion, the

father decided to give the unborn child to his married

daughter. When the time came, the daughter went to

her parents' house and returned with the baby, saying,

"One of our relatives died in childbirth, and I was

given the baby to raise as it was still breastfed. This

is now our child, Dad." Her lie set a sequence of

events into motion. The fact that a week later,

Arzihol's sister was returned to her father's house with

all her belongings propels the game of fate. The

adopted son, Uljon, grows up calling the shepherd his

father and the director his mother, effectively

imitating their mannerisms, gestures, habits, and way

of life.

Understandably, everyone in the family treats Arzihol

poorly due to her incompetence in domestic chores.

The shepherd often beats her, her sister hurls abuses,

and she ultimately becomes the servant to the children

in the family. When the director woman was dying,

she heard her sister expressing readiness to die,

revealing a shared feminine trait. After the death of

his wife, the shepherd's and his son's animosity

towards Arzihol intensifies. After years, the shepherd

passes away, and Uljon becomes the head of the

family.

Following the young man's marriage, his conflict with

his wife escalates, and the daughter-in-law's return to

her parents' home further compounds the problem. In

the narrative where Arzihol saves Uljan from

violence, a subtle situation related to the loss of the

sense of smell is discerning. As she throws herself

onto him to shield Uljan from being punched, she

detects a familiar scent, but that memory fades soon

after. In this conflict, Arzihol stops Uljan from taking

the rifle and becoming a murderer. Regrettably, for

this act of kindness, she earns a curse. Uljan says,

"Inagar, cripple. Instead, I'll kill you."

Arzihol resides in an old warehouse, and she is worn

out from serving Uljan, his wife, and their children.

The news of the death of Salom Chavandoz, who

defiled Arzihol in her youth and was killed by

Baithal's bullet, underscores that sin will not go

unpunished. In her advanced years, elderly Arzihol

spends her days in the sunless, cold warehouse,

evoking a sense of profound sorrow. On a frigid

winter day, the old woman passes away.

Uljan says, "This cripple's death is as troublesome as

she was." He has no choice but to publicly

commemorate the old woman. The reader can sense

his difficulty in shedding tears and uttering the word

"aunt" in reference to her death. The story's climax

refers to the moment when an old man tells Uljan,

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"Call her 'mother,' my boy. Call her 'mother'." The

story's main semiotic pivot occurs when the old man

informs Uljan, "Arzihol was your biological mother,

my son. After Salom the horseman violated her, we

gave you to Rohat. You were indeed breastfed by

Arzihol herself, my son…" [Eshonqul, 2004, 58] The

torment of conscience does not let him live in peace,

and the detail of the stick, a vestige of the past,

reminds him of certain sins.

The opening inscription of the work allows us to

reflect on the intersection of paternal influence and

the words of prayer with reality. Motivated by

concern for his family's reputation, the father coerces

his daughter, the director, into deceit. This, coupled

with the actions of the licentious Salom-chavandoz,

plunges the life of a disabled girl into despair and

breeds unhappiness in the life of an illegitimate son.

Both Rajab-chavanduz, who manifest fatherhood

through violence and cruelty, and Uljan, who inherits

this violent temper, exhibit wavering faith, evidenced

in their prayer filled with doubts. The portrayal of

Arzihol as a mother, unable to pray for her child's

happiness, is an unusual narrative device; in this

context, the author effectively employs antonomasia.

Rejected by all, Arzihol, a woman with a physical

disability, is exploited for her labour, humiliated, and

subjected to lifelong suffering by her son, Uljan. The

narrative suggests that a generation bereft of their

parents' prayers tends to evolve into violent, cold-

hearted individuals facing chaotic lives.

The narrative, "Yolgizim-siz" (You're my only one),

penned by Khurshid Dustmukhamed, is built on the

author's perspective on human life. It provides a

glimpse into the psyche of Fyodor Dostoevsky,

renowned globally for his distinctive voice and style,

offering insights into the moments of joy in this

esteemed author's challenging life. Daily

preoccupations of the writer, who advanced universal

human ideas, and the cultivation of 'tahayul' in them,

contribute to the evolution of the plot and the

depiction of complex events. The author's captivating

language and strength draw young Anna towards

Dostoevsky's unique talent, profound intellect, and

intricate mind. It becomes apparent that Dostoevsky,

who found life's essence in art, along with the writer's

innocence, honesty, and risk-taking disposition, lent

her resilience and vigour in trying times. By

recreating the persona of Fyodor Dostoevsky in his

narrative, Khurshid Dustmukhammed acquaints

readers with this author's extraordinary talent.

Often, authors intentionally utilise epigraphs at the

outset of their stories. An epigraph can offer readers

insight into the author's artistic intent. From the

epigraph of Isajan Sultan's "Qismat" (Fate), readers

can infer the story's conclusion. The epigraph asserts,

"If you throw a stick at your fatherhood, your child

may one day throw a stone at you". This suggests that

all actions, whether benevolent or malicious, entail

corresponding outcomes and repercussions. The

logical substantiation of the event illustrated in the

work's poetics aids in elucidating the ultimate point in

interpersonal relationships.

The distinctiveness of an author's work concurrently

determines the particularities of the creative process.

Each author has a unique creative process. For

instance, the narratives by Zulfiya Qurolboyqizi

present the images of a mother, beloved, young

woman, and aim to vividly portray challenges

encountered in the market economy. The author seeks

to explore the lives of affluent individuals from

diverse, often contrasting angles. In "Boyvuchcha",

the author discusses individuals whose luxurious

lives are financed by ill-gotten wealth, which

ultimately leads to their downfall. The spiritual

paucity of the parents adversely affects their

children's happiness. The mother, unable to bear the

death of her violated daughter, her son's drug

addiction, and her wealthy husband's betrayal,

eventually succumbs to insanity. The narrative

depicts the daily lifestyles of people from disparate

social classes. Through the dialogue between a

wealthy lady and a servant, the author conveys his

thoughts about aspirations and satisfaction, honesty

and evil, thereby heightening the narrative tension.

Using the illustration of a family's disintegration, the

author warns readers about the potential misfortunes

stemming from an overdependence on wealth,

deterring them from embarking on such a hazardous

path.

2 METHODS

Nurilla Chori's narrative "Kyzgaldak" (Poppy)

mirrors the archetypal traits associated with the

maternal figure. Turdihol, a widow, takes immense

pride in her son and considers her daughter as her

honour. The daughter, Tulg‘anay, whose beauty

aligns with the literal translation of her name - the full

moon, acts as a catalyst in the progression of the

narrative. The mother, despite her initial reluctance,

consents to her daughter's marriage to Eshpuldalla’s

son. To hint at the character of Sapar Ugil, the author

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creatively employs the aphorism, "A clever man's

offspring will be affluent by the age of seven, whereas

the progeny of an incapable man will remain

impoverished even at seventy”. The incident where

the son, discontented with his mother's choice, curses

Eshpul dallal and Mashi Maschara forebodes

potential melancholic events.

The plot incorporates the metaphor, "The night when

the Moon and the stars are veiled by clouds turns

dark”, representing the unfortunate destiny of pride.

Maschara's malevolent act, which brings misery to

the life of the innocent girl, is symbolically depicted

through the tale of a poppy. Folkloric elements like

sayings and tales are seamlessly incorporated into the

story. By showcasing Turdihol’s reliance on mullahs,

fortune tellers, and matchmakers, the author critiques

societal superstitions. The vanishing of the poppy,

and its rescue from an evil world, elicits sorrow in the

mother: "The woman, older than time itself,

anticipated warmth from winter, a poppy from spring,

and the return of her daughter with the blossoming of

poppies." The narrative assigns a symbolic

connotation to the poppy, drawing a parallel between

its early withering and the fate of young women.

Muyassar Tilovova's "Nomus" foregrounds a social

issue against a backdrop of child discord. Bunyod’s

hubris and aggression provoke distress among his

contemporaries. Shodman, a poor yet proud boy, aids

his mother, Mehriopa, a cleaner by profession.

Assuming the family's breadwinner role early in life,

Shodman matures prematurely. He has myriad

ambitions, but regards assisting his mother as his

principal duty. Bunyod's insults and mistreatment of

children like Laziz and Botir underscore the triumph

of evil over good. A significant event occurs when a

young man exhibits his violence towards a sober

farrow woman. Two individuals, disparate in power,

engage in a conflict for pride, with Shodman, the

weaker of the two, standing up to the bully, Bunyod.

This can be perceived as an artistic representation of

overcoming the devil's hearse, an embodiment of will

and trust in a child's spirit. Through his personal

volition, the child convinces his friends of the

feasibility of conquering and vanquishing ignorance.

The narrative argues that a person's belief in his

honour and reputation, and the fact of his existence,

can empower him to demonstrate his freedom and

assist him in confrontations. To lead a fulfilling life,

one must embrace goodness and reject evil.

Kholiyor Safarov's "Night when the Moon does not

set" tackles a pressing issue. The author illustrates the

tragedy of a rural individual who migrates to Russia

for labour-intensive work. Opportunists like Salim

exploit their peers and fellow villagers for manual

labour, profiting from this practice. Such incidents are

becoming commonplace in our society. Simple,

credulous individuals are ensnared in this trap and

fail. The story includes the poignant depiction: "The

mother crying for assistance slippers out of the

mother's body, descends from the mount into the

river, pleadingly touches the slopes of the hill and is

swept away by the evening breeze." These words

evoke the agony of Gulshan opa. The sorrowful gaze

of the father and the despairing mother underscore the

bleakness of the situation. Ultimately, the return of

their son, Bakhtiyor, to their homeland, transforms

their night into day and instils life back into the

family.

3 RESULTS AND DISCUSION

Artistic minutiae in various narratives, exemplified

by the work "You can't hold back the wind",

underscore their unique roles. These stories often

employ natural occurrences as metaphors to signify

distinct characteristics of human destiny or to embody

core values and principles. Symbolic importance is

attributed to depictions of natural phenomena,

fostering an appreciation for the nuanced

interpretation of the narratives. Rather than merely

providing an ancillary medium to elucidate the

protagonist's psyche, the portrayal of nature serves to

further the narrative's creative aims. Natural events

invite readers to interpret the significance of human

existence and reality. Detailed attention is given to the

narrative's scope, taking regulatory modifications into

consideration.

The story "Wooden Cavush" (a type of footwear worn

by impoverished villagers) centres on the aspiration

of a Chinese rice farmer from a lower societal tier.

Society's affluent, aristocratic lifestyle is discerned

through the experiences of the less fortunate. The

father's action of crafting wooden shoes for his

daughter enhances the significance of details in the

narrative. The farmer, hoping for a brighter future for

his daughter, insists that she would continue wearing

these wooden shoes as she grows up. The extreme

discomfort resulting from wearing the wooden shoes

silences her objections. The father's desire to marry

his daughter off to a wealthy lord confounds the

reader's understanding of his intentions. The rich

man's refusal to accept the beautiful daughter as an

equal shatters the impoverished father's hopes. The

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scene in which the father, regretting his aspirations

for his daughter's affluent life devoid of hardship,

departs in shame, induces sorrow in the readers.

Details illuminate the depicted event, unveiling

contrasts between passion and dreams, and physical

pain. The diminutive wooden shoes constrain the

child's freedom, and her belated realisation that it was

merely a fantasy results in disappointment towards

her father. The detail serves a specific function,

offering a vivid portrayal of reality and the

protagonist's emotions.

Kochkor Norkobil's story "Tulip in winter" employs

symbolism to unify individuals from three different

regions under a singular theme. These individuals,

Uzbeks, Russians, and Afghans, strive to retain their

humanity amidst the Afghan war. The narrative,

through the hardships recollected in memories,

highlights the separation induced by the war. The

burgeoning affection between Askar Tohir and Dr

Irina amidst an environment of ignorance is

discernible in their desire to console distressed hearts.

The story's semantic depth is apparent in scenes

depicting their assistance to the wounded husband

and the woman cradling her infant.

Years later, during peacetime, when Irina travels from

Moscow to Tashkent seeking Tohir, the protagonist's

lives are revealed. Irina's letter and photograph are

details contributing towards the elucidation and

augmentation of the author's perspective. An Afghan

woman, Shafika, residing in London, expresses her

gratitude towards the soldier and the doctor by

inscribing the photograph of her son. Winter and tulip

carry dual connotations, representing Irina who

assisted the soldiers and those liberated from the war's

deception and darkness, akin to the cold of "winter".

They experience the warmth of spring and, like

"tulips", bloom and lead content lives. The narrative

urges everyone to cherish a peaceful, tranquil life and

cultivate universal human virtues.

In recent years, Uzbek story writing has undergone a

rejuvenation and transformation. As it is known, the

evolution of a specific literary trend is not arbitrary,

rather it originates from alterations in a writer's

thought process. Such changes engender novel

perspectives. Naturally, the outcome of this fresh

thinking is creativity, teeming with nuanced and

comprehensive descriptions.

In contemporary narratives, a distinct principle is

discernible, mainly, the potent influence of lyricism

in storytelling. These stories are imbued with such

intense feelings and emotions that readers are

reluctant to part with the enchanting world that they

inhabit, resulting in a sense of melancholy when they

close the book. Consequently, they are compelled to

revisit these stories, and during subsequent readings,

the essence underlying this captivating world, both in

terms of the soul and the stream of inexpressible

thoughts, becomes evident. Stories such as "The

Garden of Eram," and "Oydin bulak" present varied,

vivid landscapes. Concurrently, the effect achieved

through the application of artistic creativity

components is apparent.

4 CONCLUSION

Scholarly investigations in the realm of artistic

creativity, coupled with the productive employment

of classical traditions and folklore, are yielding fruit.

Recent history has seen Uzbek literature enriched by

examples of prosaic works that fulfil the scientific

and theoretical requisites of global literary criticism.

These works' poetics feature characters of various

ages, occupations, and worldviews, including

children, adults, labourers, professionals, the

mentally disturbed, nameless heroes, and the

unlettered. It's vital that the work adheres to the

principle of thoroughly representing the essence of

the human character and understanding human

attributes.

Specifically, during the era of independence, there

was heightened attention towards the artistic

interpretation of a protagonist's subconscious thought

process. The reward for enabling readers to empathise

with the pains and emotions of the characters has

amplified.

In the current literary landscape, each piece of work

created imbues the reader with a profound

comprehension of its essence and an awareness of the

philosophical aesthetic layer. A scrutiny of the text

reveals novel elements in story-writing and

methodological uniqueness. Simultaneously, the

progression of the genre is not compromised. The

transformations in the structure of contemporary

Uzbek stories are also directly reflected in analytical

interpretations.

The influence of spiritual rejuvenation is discernible

in the comprehension of people's identity, national

dignity, pride in our generation's and ancestors' past,

and the recognition that the future lies in their hands,

stemming from arduous work and conscious activity.

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The present objective is to aid in augmenting the

nation's spiritual and intellectual potential and

advancing the intellectual and spiritual culture of

people. The world, alongside beauty, maintains

spirituality and virtue. To grasp the subtlety of an

artistic text's meaning, it is critical to study the nature

of modern story-writing.

REFERENCES

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20th century Uzbek stories. Anthology. T.: East. (2012)

Ahmad S. (2005) Morning in the blink of an eye T.

Sulton I. (2015) The Garden of Eram.T.

Salim A. (2019) Memories in my mind.T.

Karimov B. (2021)The Literature of Independence: poetry

and prose.T.

Dustmuhammad X.( 2006) The Curse of the Vulture..T.s

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