Poetics of the First and Last Sentence in the Story
K. U. Khamraev
Tashkent State University of Uzbek Language and Literature named after Alisher Navoi, Tashkent, Uzbekistan
Keywords: The Genre of Story, Story Composition, First and Last Sentence, First and Last Sentence Forms, Artistic
Rhythm, Artistic Style, Psychology of Creativity, Artistic Chronotop, Artistic Plot, a System of Images,
Artistic Idea.
Abstract: The paper analyzes the theoretical views on the artistic composition specific to the genre of the story. The
first and last sentences of the work are based on the performance of a poetic function as components of artistic
composition. The first and last sentences of the story composition are analyzed in terms of rhythm, artistic,
and semantic poetic interconnection. Also, the first and last sentences are classified according to their function
in the story composition. Examples of Uzbek stories are used to illustrate the first and last sentences, such as
landscape, chronotopic, detail, biographical, knot, movement, and culmination. Furthermore, the first and last
sentences are studied in the structure of the story as a poetic module in describing the writer's conception of
art. They not only exist on the level of story composition but also show the connection between the writer's
worldview and the artistic style of creative psychology. The first and last sentences form a poetic chain with
a system of images, acting as a molding and directing component in the story's composition, while also being
important poetic pieces in understanding and appreciating a work of art.
1 INTRODUCTION
In the 21st century, world literature studies have
focused on the problem of studying the methods of
poetic connection in the components of fiction in a
globalized scientific-theoretical world. The
application of historical and theoretical poetics to the
works of world-famous artists, and their typological
study in terms of literary genres, composition, plot,
and artistic poetics, has become a pressing problem at
the heart of modern world literature. An in-depth
study of the poetic regularities of literary composition
in contemporary Uzbek stories is important because
modern Uzbek literary studies are related to global
processes of world artistic mindset.
In the late 19th and early 20th centuries, literary
studies of the world paid great attention to the
analysis of the compositional regularities of fiction
and its evolutionary principles. The poetic canons of
the composition of literary works were studied in
various aspects, making it a pressing problem in
academic schools such as formalism, structuralism,
and poststructuralism. Every artistic event manifests
*
Corresponding author
itself in compositional integrity, and the literary
history of work composition is constantly updated, as
confirmed by the science of historical poetry.
At the essence of the harmony between man and the
universe lies the cosmos, the law of order. The
aesthetic beauty of any art form is reflected in its
composition. The light of the epic vision shines
through the mirror of composition. Composition is
poetic in the sense that it is primarily a product of the
artist's artistic plan and creative process.
The issue of artistic construction has always been one
of the most intensive and controversial topics in
poetry. Different literature and encyclopedic
dictionaries provide various interpretations and
explanations of the term "composition."
The history of the first theoretical ideas about the
problem of composition and its theoretical features
goes back to the distant past. For example, in his
"Poetics," Aristotle writes: "The whole consists of the
beginning, the middle, and the end. Genesis is that it
does not inevitably follow something, but something
Khamraev, K.
Poetics of the First and Last Sentence in the Story.
DOI: 10.5220/0012487000003792
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 333-342
ISBN: 978-989-758-687-3
Proceedings Copyright © 2024 by SCITEPRESS – Science and Technology Publications, Lda.
333

that does or does come naturally. Contrary to that, by
its very nature, it is always, or in most cases, followed
by something, but nothing else. Medium is that it
comes with something and that it follows. Therefore,
well-constructed fibers should begin and end
anywhere, and be consistent with the essence of the
above concepts" (Azamov.E. 2009.). In this sentence,
the thinker's view of the whole and part relation and
its boundary points is described. It is said that the
harmony between parts of the artistic composition is
reflected in three rings: the beginning, the end, and
the center. The famous theorists of classicism, N.
Bualo, differ in certain points, though the essence of
his composition is close to Aristotle's view. "It draws
attention to the fact that the introduction and the
conclusion in a truly artistic work are inextricably
intertwined with the natural flow of color, and that the
various composite pieces must be logically connected
to form a complete composition.
Bualo's views on these lines give the impression that
the rhythmic tone plays a primary role in the
composition of the work. In general, when
summarizing the views of the two thinkers, it
becomes clear that the first and last sentences in the
composition of the story are related to the poetry of
creativity. Moreover, the first and last sentences are
the components that capture the poetic aspects of the
story composition, reflecting the artist's artistic point
of view. They are the key points in examining the
composition of the work, in illuminating the poetic
connections between its artistic components. They
also serve as the entry and exit points of the story
composition, where the artistic plot, the imaging
system, and the artistic timeline are welded together,
in accordance with the poetic purpose of the artist. At
the same time, they serve as a poetic key for the reader
to understand the psychology of creativity and to
investigate the creative lab. Given that the way to
understand and interpret the work of art is primarily
related to the creative position, the first and last
sentences serve as a poetic focus that combines the
creative and artistic viewpoints into one module.
The first and last sentences in the story can be
represented in the composition line by various poetic
components, depending on the author's artistic style.
The story is based on the composition of the
composition or the description of the elements of the
artistic plot. For example, when a fictional
chronotopic image is presented in the first or last
sentence of a story, it forms the basis of a chronotope.
Most importantly, the first and last sentences play an
artistic function in the semantic structure of the story
to form a thesis, an antithesis, a poetic scheme of
synthesis, and a rhythmic tone at the compositional
level. Based on the above, it should be noted that the
method of analyzing a literary work through the
poetic capabilities of the first and last sentences fully
justifies itself as a method of contemporary literary
criticism.
2 MAIN PART
In modern Uzbek literary criticism, it is easier to think
through the components of form by analyzing fiction,
relying on elements of poetic text, and explaining
their underlying meanings. After all, the need for such
views exists, first of all, due to the change in the
poetic mindset and the renewal of the principles of
approach to artistic work as a result of independence.
In this sense, the first and last sentences are of great
importance in the analysis of fiction, particularly in
revealing the art of the story genre. It is worth noting
that such considerations prevail in scientific research
by scholars such as Suon Meli, Hamidulla Boltaboev,
Dilmurod Kuronov, Bahodir Karimov, Uzak
Jurakulov, and Umida Rasulova.
The wider scope and structure of Uzbek storytelling
result in more varied ways of its analysis. For
example, D. Kuronov refers to the structure of
"Poetics of Chulpon's prose" as a fiction and
communication tool: "It is well known that the person
who is communicating always has three main
objectives: a) representative - to convey certain
information to the listener; b) expressive - expressing
your attitude to information; c) appellate - to
influence the listener (reader)" (Kuronov D. 2004 ).
If a literary researcher examines the genre of
storytelling through the structure of a sentence
module, they may follow a specific path to
understanding and explaining the story. For instance,
in his article "Three Stories in the Coordinator's
Plain," Karimov follows a specific path to
understanding and explaining the story. The literary
critic interpreted the story by placing it in two-
dimensional plane planes in the circle "X" (eks) and
"Y" (igrik). Another literary critic, Uzak Jurakulov,
considers the following as a key factor in defining
trends in the revival of modern Uzbek storytelling:
“They are (a) the manifestation of a metaphorical
model of perception, artistic expression, and poetic
attitude to reality; b) leadership in an artistic
interpretation of an associative method (imagination);
c) the metaphor of the plot and the image as a whole"
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(Dzhorakulov U. 2010). Based on this thesis, the
scientist analyzed the artistic potential of two stories.
Apparently, in all three modes of analysis, that is,
modules X and Y are based on a metaphorical model,
and the interpretation and interpretation of stories is
one of the achievements of Uzbek literary criticism.
In this sense, in the genre of storytelling, we are
determined to reflect on the poetic function of the first
and last sentences.
The first and last sentences relate to the psychology
of creativity on the one hand and the poetics of the
work on the other. Each artist picks up a pen and pays
attention to the first sentence while listening to the
heart. "The most difficult thing for a writer is to find
the first phrase," said Gorky. "He plays music just like
music and usually has to look for it for a long time."
The first phrase, found successfully, not only
provides the tone and rhythm of the whole work but
also provides its ideological orientation and
compositional integrity. Therefore, you can hear the
rhythm of the song right on the first page. It is rare to
hear this at once. The writer is in a much more
difficult situation than the poet when performing this
task." (Solizhanov. 2011). Although the first sentence
is close to the title and epigraph of the work with its
essence and artistic function, the formation of a chain
of events is different from their poetic function in
determining the rhythm of the work.
In fiction, the first sentence can be expressed in a
single word or a few sentences. This is due to the
writer's artistic style, and in most works, there is an
attempt to shorten the first sentence. The point of the
first sentence is understood from the semantic
construction of the work. The poetic meaning is
assigned to its reflection in the text. Abdullah Kadiri's
"O‘tkan kunlar" ("Past Days") is heard on the 17th of
1264 Hijri years, one of the winter days when the
sunset is heard, and the evening prayer is heard, in the
“Abulfayzxon” (“Abulfayzkhan”) of Abdurauf
Fitrat," "The first sentence in the work is the same."
In the creative process, the author puts the whole
piece of work in the first sentence. So it is like horse
riding. The rider in the hands of the bridle will surely
stay at his destination. The artist also introduces the
rhythm and tone of the work in the first sentence,
creating a formula for the poetic text. One of the
French writers, Albert Camus, describes in detail his
work, the importance of the first sentence, in the
image of Gran in his work: "On a beautiful morning
of May, the beautiful boulevard of Boulon Forest was
chasing a beautiful net on the Amazon ..." Editing and
commenting: "… All this is still quite predictable.
When I have a perfect picture of the thoughts in my
mind, when my phrases resonate with one or two or
three or two or three, the rest of them move easily,
and most importantly, the effect of the first sentence,
then. "The skull is heaven!" (Kamolov, Jamal. 1970.).
So the first sentence is primarily related to the
psychology of creativity and the writer's talent. In
addition, a candle that illuminates the author's pen is
a source of artistic power. The first sentence is a point
of reference not only for the reader but also for the
author, as expressed in the following views of the
literary critic Hamidulla Boltaboev: The first
sentence: "Turobjon leaps through the door, his pen
slept on his elbow." There is an abomination that is
not good enough for Qaxxor, but there is no way to
express it even further ... As the writer senses that he
is free to speak in the first sentence, he picks up his
sentence in the second sentence (Borikhan L. 2009.).
Finding those who read the first sentence of the
fiction, and who are disappointed without reading the
first sentence, is undoubtedly the result of the writer's
artistic ability.
In sum, "The artist cares about the title of the work,
first and foremost, from the moment he was born in
his imagination and imagination to the structure"
(Solijonov Y. 2002.). If you study the forms of the
first sentence in the example of only Uzbek stories,
the material that gives rise to deep scientific
considerations will become exaggerated. The first
sentence differs from the other genres like the story.
Russian literary critic Michael Viller categorizes the
first sentences in the story genre as follows:
exposition, landscape, autobiographical,
biographical, characteristic, sentimental (portrayal of
beginnings), portrait, detail, movement,
concentration movement, strong movement, and
emotional expression.
While this classification may seem perfect, a few
consecutive irregularities and inconsistencies in
coverage make the individual think. In our opinion,
the classification of the initial types of the genre of
the story should rely on elements of the plot and
composition of fiction.
1. Landscape sentence: This type of first sentence is
widespread in Uzbek storytelling, and we see that the
writers use nature for a variety of purposes. The
landscape described in the first sentence is set parallel
to the hero's image. In addition, the spiritual
experiences of the characters in the story, and their
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symbolic depiction of the artistic conflict on the
spiritual plot line, come up to the landscape. Most
importantly, the landscape in the first sentence is in
the rhythm that provides the tone of the story. For
example, Abdulla Qahhor’s
“Ming bir jon” (“Thousands one lives”), Shukur
Kholmirzaev’s “Bulut to‘sgan oy” (“The moon
covered by a cloud”), and Uchkun Nazarov’s “Qish
nafasi” (“The breath of winter”) all begin their stories
with sentences supporting the above points: “Safar
aka when he got out of the drugstore, it was getting
dark, the moon was rising, and in the sparse clouds
were the stars, people were like shadows, the polka
dots were glowing, and the weather was warm even
in the late autumn” (Otakhanov O. 2015.).
2. Chronotopic sentence: The first sentence of such
stories presents an image of time and space. The
storyline of the plot line is that the behavior of the
characters is in a certain chronotype. In the first
sentence, the arrival of an artistic chronotopic image
is associated with the rhythm of the story, and the
poetic meaning of the artistic idea, the mental state of
the images, the combination of time and space. For
example, Nazar Eshonkulov’s “Shamolni tutuib
bo‘lmaydi” (“The wind cannot be caught”), Isajon
Sulton’s “Avazboylik tantilar” (“Gentlemen from
Avazboy”), and Avaz Suyun's “Ota va o‘g‘il”
(“Father and son”) all begin with a chronotropic
sentence.
3. Portrait sentences: In these types of stories, the first
sentence begins with an illustration of the artistic
detail. Such detail plays an important poetic role in
uncovering the meaning of the artistic idea of the
story and keeping the story's side in the story.
Particularly unique is the fact that the story plot
moves along vertical and horizontal lines. For
example, Nazar Eshankulov’s “Oq alanga” (“White
flash”), “Yalpiz hidi” (“Smell of mint”), and
“To‘zon” (“Dust”) all begin with a detailed sentence:
"Samandar, who was reading a book at the weekend,
suddenly hit the smell of mint soup....” (Eshanqul N.
2008.).
4. Character: This story describes a characteristic of
the character the characters. Such an expression in the
first sentence gives an impetus to the story's
development. The description of the character in the
story thesis is based on the antithesis and the
synthesis. For example, Shukur Kholmirzaev’s
“nimadir yo‘q bo‘ldi” (“Something has gone”), Erkin
Azam’s “Yo‘lovchi” (“Pedestrian”), and Nazar
Eshankulov’s “Bahovuddinning iti”
(“Bakhovuddin’s dog”) are examples of such stories:
"Whoever you say is bad in the middle - Berdibay is
bad! Berdibay is not good!" (Boltaboev H. 2017.).
5. Rhetorical interrogation: The first sentence of this
sentence is characterized by the questioning structure.
The author rhetorically interrupts the tone of the
sentence to the whole story. As a result, the plurality
of storytelling is achieved, and the genre's solution
remains hidden in the answers to these questions. The
writer's artistic goal, however, is not to find answers
to questions, but to form a composite whole in the
story by describing the mental experiences of images
and their reflections on life. For example, Abdulla
Qahhor’s “Mirzo” and “Xotira va Xayol” (“Memory
and mind”), N. Eshonkul’s “Tobut” (“Coffin”), and
“O‘lik mavsum” (“Dead season”) all begin with this
phrase: “I have been wondering for a long time why
the love that Prometheus infused with the sacred fire
of the human heart cannot be compared to wealth”
(Rasulova U. 2004.).
6. An emotional sentence: In the first sentence of the
story, the writer draws an emotional picture to
illuminate the inner world of the artistic image and
express its mental state and mood. For example, Erkin
Azam’s “Manana”, N. Eshonkul’s “O‘g‘ri” (“Thief”),
and Murad Muhammad Dost's “Dasht-u dalalarda”
(“On the flatlands”) all begin with an emotional
sentence: “You believed that life is a miracle. You
were expecting a miracle from this age” (Eshanqul N.
2008.).
7. Prologue sentence: The prologue is an epic passage
portrayed at the beginning of the story. This includes
the author's thoughts related to the artistic idea of the
story. Such a poetic piece is at the top of the story as
a literary gesture of the author, clarifying the content
and image of the work. Such as Pirimkul Kodirov’s
“Ilinj” (“Hoping”), Khurshid Dostmuhammad’s
“Qichiriq” (“Shouting”), and “Shabada” (“Draught”).
8. Autobiographical and biographical sentences: Such
phrases are related to a particular character's image,
and if biographical information about their lineage,
place of residence, or family comes from the first
person's language, the autobiographical sentence is a
biographical sentence when such information is
transmitted by someone else. Autobiographic: Shukur
Kholmirzaev’s “Zov ostida adashuv” (“Getting
lost”), and “Oqtosh” (“White stone”), biographic:
Abdulla Qahhor’s “Asror bobo” (“Grandfather
Asror”), and Isajon S
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ulton’s “Xun” (“Khun”) the stories are proof of our
mindset. For example, there were the following
words: “Ultarmalik is father Khaydar’s close friend”
(Qahhor A. 2016.).
9. Exposition sentence: In the first sentence, the
appearance of the place is related to the nature of the
genre, which is at the center of the story. The behavior
of images, thoughts, and portraits of the character, in
a word, in one word, exposition serves as a mirror in
the story and seals the author's conceptions of reality.
For example, Mirmukhsin’s “Ona qabriga gul” (“A
flower onto mother’s tomb”), and Ulmas
Umarbekov’s “Charos” the stories are proof of our
mindset.
10. Node-sentence: This kind of starter creates an
artistic conflict in the storyline. The arrival of the
story node in the first sentence will cause the reader’s
attention and interest. For example, Abdulla Qahhor’s
“Bemor” (“A sick person”), “O‘g‘ri” (“Thief”), and
Murad Muhammad Dost's “Dasht-u dalalarda” (“On
the flatlands”) stories begin with a knot sentence:
“Sotiboldi’s wife got sick...” (Qadiri A. 2009.).
11. Action: The first sentence begins with the story
progressing and forms the rhythm of the story. From
the very first sentence of the story, the characters'
actions are described. For example, Shukur
Kholmirzaev’s “Olma yemadim” (“I did not eat an
apple”), Sobir Unar’s “Tarvuz” (“Watermelon”), and
Erkin Samandar's “G‘ayb qushlari” (“The birds”), the
stories begin with the story developing.
12. Cumulative sentence: It is the culmination of the
story, where the fate of the characters is decided.
From the very beginning of the story, the climax of
the plot of the story will accelerate the genre's events
and allow it to be small in scope. Such a story can
help create a portrait of a ready-made character that is
unique in plot construction. For example, Chulpon’s
“Novvoy qiz” (“A baker girl”), Nazar Eshonkul’s
“Bitik” (“Writing”), and Sanjar Tursun's “Ismat
bobo” stories begin with a climax phrase.
13. Solution: This phrase is not uncommon within the
narrative genre. Often, when the solution comes to the
first sentence, the story is told in heroic language. In
addition, the semantic structure of the story consists
of thesis and antithesis, or synthesis and antithesis.
The conclusion of the artistic idea of the story moves
to the first sentence. Utkir Khoshimov’s “Xayollarga
bo‘lmagin tutqun” (“Do not be captive to the
thoughts”) and Uchkun Nazarov's “Jur’at” (“Dare”)
stories begin with solution sentences.
That is, the first sentence forms such as landscape,
chronotop, detail, character, portrait, emotional,
rhetorical questioning, and prologue are integral parts
of the story composition, and the first sentence forms
such as exposition, knot, story development,
culmination, and resolution serve as the foundation of
the story. If we view the above-given forms of the
first sentence as examples of the work of certain
writers in modern Uzbek stories, А. Qahhor’s stories
can be considered nodes, Sh. Kholmirzaev’s stories
as landscapes, and Kh. Dostmuhammad’s stories as
prologues. Here, the story begins with a chronotopic,
emotional, and detailed sentence description. While
these types of sentences do not cover all the stories of
the creators, they are unique in their leadership. Of
course, this uniqueness is influenced by the writer's
aesthetic taste, style, and artistic intent.
The first sentence is influenced by the psychological
choices inherent in the process of artistic creation, and
it is characterized by the presence of the author's
intention in the work. It should also be noted that the
first sentence is not only a leader in story semantics
but also an analysis of genre models. As M. Viller
writes, the first sentence is a camerton, providing the
tone for the entire work, akin to a steamboat that
follows the whole story in its footsteps
(BURKHANOVA, F. (2021).). Therefore, the first
sentence holds a poetic centerpiece in the context of
storytelling, the construction of artistic speech, and
the structure of semantic meaning.
The first sentence is not limited to the rhythm of the
writer's creative lab and artistic work. It has been
extensively used in contemporary Uzbek literary
criticism to interpret fiction. Artistic analyses based
on the first sentence, such as Yuldash Solijanov's
articles titled "When details speak" and “The moon
covered by a cloud,” Uzok Jurakulov’s article
“Celebration of peace,” and Umida Rasulova’s
articles "The importance of the first phrase" and
“Night when a horse neighed,” analyze the poetic
function of the first sentence. These analyses explain
the theoretical features of the first sentence in terms
of imagery, idea expression, and the cohesion of form
and content in the composition of the work. The
existence of such experiments in the science of
artistic analysis encourages deeper reflection.
For example, let's consider the first sentence of Nazar
Eshonkul's story, "The wind cannot be caught," where
Poetics of the First and Last Sentence in the Story
337

the story begins with the words: "For hundreds of
years, the pride of the people of Tertsota was
embodied in the modern-day porch houses, which
stood there as a reflection of the appearance of the
modern-day herd, resembling an ancient castle full of
unknown and terrible trials” (Camus A. Cholera.
2016.). This beginning forms a chronotop sentence,
as mentioned earlier, providing an excerpt from the
time and place in which the entire story takes place.
The sentence establishes a rhythmic tone and
broadens the story, including the chronotype of the
genre.
In this story, the modern-style flats, which have been
the source of pride for the Tersota people for over a
hundred years, are compared to a reflection of the
modern-day herd, paralleling an ancient castle filled
with unknown and terrible trials. This comparison is
intertwined with the portrayal of aunt Bayna.
Throughout the story, the contradictions between
these two elements are reflected in a particular space
and time, forming layers of meaning. The story's title
itself serves as an artistic key to uncovering such
layers of meaning, inviting readers to ponder the
significance of the wind and its symbolism. As the
story progresses, the wind becomes associated with
despair, ignorance, and fear.
As the plot unfolds, the wind of hatred in aunt Bayna's
heart is explored, which did not cease for fifty years
due to the loss of her son and husband. In a moment
of intense emotion, the wind of hatred turns into a
flame, and a significant event occurs with aunt Bayna
attacking the horserider Zamon and cutting his
fingers. This event is concealed under the story's
context, and a closer look reveals the deep symbolism
attached to the story's title and the imagery presented.
In this way, the chronotopic image within the
chronotop is used by the writer to portray the
character and spiritual image of aunt Bayna,
highlighting the contrast between the brutality of
modern-day horseback and the impetuous nature of
the people of Tersota. The story's first and last
sentences form a poetic chain, creating a type of ring
composition in the chronotope of the story. The
timing of the story's events coincides with the last
sentence, and the last sentence, akin to a "Check" and
"Mate" in a game of chess, serves a poetic function in
the story structure. This conclusion pleases both the
chess master and the storyteller, encapsulating the
essence of the story and providing aesthetic pleasure
to the reader.
Modern Uzbek stories contain various forms of
chronotype, and writers like М. Muhammad Dost, N.
Eshonkul, and I. Sulton skillfully present such
chronotypic illustrations in their writings. These
diverse artistic methods are evidence of the unique
poetic imagery and attention to artistic details in
defining specific trends in the composition of the
story.
In summary, the psychological aspects of the creative
process act as poetic links to the rhythm of the work
and the artistic idea it conveys. The first sentence
plays the role of a guiding star in the narrative
composition, while the last sentence reveals the
overall harmony of the work and serves as the
pinnacle of artistic expression. It reflects the aesthetic
beauty and enthusiasm of the artistic world, and its
perfect execution makes the composition of a work of
art complete. The first and last sentences work in
tandem to convey the writer's poetic points, drawing
the reader into the story and providing a deeper
understanding of life's views under the influence of
artistic passion. As changes and updates continue to
emerge in Uzbek storytelling, the use of sentence
forms, such as landscape, chronotop, detail, emotions,
and prologue, differs in contemporary Uzbek stories.
These forms, rooted in the national literature, promote
changes in human mindset and form, resulting in
evolving literary creations. The artistry of storytelling
lies in the masterful composition of the narrative,
skillfully employing the first and last sentences to
capture the reader's imagination and emotions,
leaving a lasting impact.
Doctor of Philology Uzak Jurakulov writes about the
beginning and the last sentence of the story "The Hut
in a Skirt." Because the villagers do not understand
what is happening like lightning. If the first sentence
of the story is: "To a silent village (there is much to
say in the capital letter of the word - U.J.)," it breaks
the silence and bursts into the madman. (The
magazine “The Star of the East,” 2010, #1). Given
that it ends with three dots in the form, the first and
last sentences make it clear that the story is a base
model of metaphor-molded sentences. The
phenomenon in the model, as rapidly as it begins,
underscores that, as in traditional stories, the absence
of a "conclusion" in the end, the metaphorical
perception and expression of reality, rather than the
quality of the writer's artistic style, indicates that the
creative process is a product of the pure saccharine
state of pure art." (Dzhorakulov U. 2010).
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These views of the scientist make the reader think.
Indeed, the first and last sentences in the story genre
are intertwined with the textual material. In the
scheme of the story-specific composition thesis,
antithesis, and synthesis allow for the poetic
connection between the head and the last sentence. In
this case, А.Kodiriy’s “In kupkari”, and А.Suyun’s
“Between two mornings” can be examples of our
mindset: "Doing a rough calculation on the horse,
they are vanishing in the spacious lands in the early
morning…" (Tursunov.S. 2016.). The book "Between
Two Mornings" describes a fragment of life
according to the title. The first and last sentences in
the story serve to cover this passage. The story begins
at dawn and ends at dawn. In the first and last
sentences, the image of time and space and the actions
of the characters are repeated. The first and last
sentences are reminiscent of a multi-series movie,
pointing to the fact that the storytelling genre does not
tell the whole story. William Somerset Moem, a
storyteller who is one of the greatest figures in the
modern world of poetry, in his article "The Art of
Story" compares this genre to the memories of the
artist's impressions of life. The artist, who has spent a
significant portion of his life perfecting the genre of
storytelling, as a result of being a modern "master of
the story," seems to be a figurative expression but
fully reflects the essence of the genre." (Navoi
Alisher. 1992).
In this sense, the first and last sentences differ in the
genre of the story. For example, the first and last
sentences serve as an artistic backbone for the
comparative analysis of the stories of a particular
writer, as well as the creation of an epic vision of
creativity. For example, in the stories of Sh.
Kholmirzaev, the theme is remembered not by the
variety of topics, but by the different aspects of the
same subject. The following passage clarifies our
view: "Shukur Kholmirzaev is a writer who created
an artistic diary. This chronicle reflects the life of the
Uzbek people for 50 years. Each of the stories is an
independent work, but it is like a magnificent
building: if any brick is removed, the building will
look defective even if it does not collapse. To see the
building erected by Shukur Kholmirzaev, it is
necessary to read not only "selected works" but also
other works that are not included in the three
volumes." (Cholpon A. 2009.). The author describes
in detail the evolution of the people of the transitional
period in the background of nature, and the idea
expressed in a series of stories is close to the scale of
the poetic mindset of large genres. The writer,
"Prison," "Freedom," "Candled Eagle," "The Birds
Went Out of Winter," "The Sun Goes Off the Moon,"
Spring air in the autumn." Each of them tried to
convey the image of the people of the day." (Suyun
A. 2016.).
So the last sentence is not the writer's last word in the
story. The author may build a series of stories based
on a single artistic idea, depending on the scope of the
main topic. For example, the stories of Nazar
Eshankul's "Ideas and wisdom", Ulugbek Hamdam's
"Dream", and also Anvar Suyun's works are
illustrated by this poetic system.
In Uzbek storytelling, there are different forms of the
last sentence. This is explained by the nature of the
genre and the artistic style of the writer. These two
features lead to the separation of the last sentence
forms. Within the story genre, the final sentence can
be distinguished from the epilogue, synthesis,
cinema, landscape, psychological, portrait, detail,
movement, culmination, solution, questioning, and
dialogue.
First and foremost in the story when defining the
forms of the last sentence relies on components of the
composition, artistic plot, and poetic speech. While
forms of story, portrait, synthesis, detail,
psychological, and epilogue are represented as
elements of the story composition, action,
culmination, and expressions are elements of an
artistic plot. The forms of monologue, dialogue,
interrogation, excitation, and multi-point sentences
are poetic at the level of artistic speech.
The following is an attempt to base our mindset on
the example of the definitive forms of the last
sentence:
1. Epilogue. The epilogue, in Greek, means "last
word, ending, ending." The epilogue is a poetic
passage given in epic works after the main plot. In
literary studies, one considers an epilogue as an
element of an artistic plot, while others consider it an
element of the composition. In our view, the epilogue
is an element of the fictional plot if it claims the
duration of the story. In other words, part of the story
that was not covered by the artistic plot line is
represented in a short sentence - the epilogue. On the
contrary, the epilogue is an element of composition
when it refers to the artistic idea of the work. In both
cases, the epilogue plays a poetic role in the
composition of the composition. For example, the
story of Abdullah Qahhor's "Thousand and One" and
Poetics of the First and Last Sentence in the Story
339

Nazar Eshankul's "Boudoudin's Dog" is a
continuation of a story epilogue." (30; p. 18).
Hence, the epilogue features of the story composition
are as follows:
- The epilogue reveals the author's final look;
- The epilogue is depicted after the story of the artistic
plot;
- The epilogue is expressed in the language of artistic
images;
- The epilogue is highlighted in the text.
2. Action - sentence. When the story ends with the
character's actions, the final sentence forms. In this
type of story, the story of a fictional plot is positioned
like a clock point on the composition line. There are
many examples of action in Uzbek storytelling. For
example, these include such stories as Abdullah
Kahhar's "Light Peaks", Lukmon Burkhan's "Landing
place", and Nazar Eshankul's "Deep hole". The action
is a product of the nature of the story and has an
individual character. It explains the inaccuracy of the
story's plot. In such stories, the portrayal of the main
theme, the artistic idea of the writer, is reflected in the
characters' actions: "The train began to scream."
(Turkish Journal of Physiotherapy).
3. Synthesis. The generalized expression at the end of
the story
relates to the synthesis sentence. The synthesis of the
text summarizes the opinions and points of view in
the text. The form of this sentence is in poetic
connection with the semantics of the story. In the
semantic construction of the thesis, antithesis, or
synthesis of the composition of the story, the last
sentence illuminates the writer's main point.
Synthesis is common in small genres of fiction. In
Uzbek storytelling, the stories of Uchkun Nazarov's
"Bold Mulla" and Nazar Eshankul's "Kultoy" ended
with a synthesis: "Shouting is better than silence."
(Nazarov U. 2009.).
In a nutshell, the features of the synthesis sentence
in the story are as follows: Synthesis is the product of
generalized thought. It explains the main idea of the
story and summarizes the story. The synthesis of the
sentence reinforces the reader's view of a particular
story.
4. Landscape sentence. Nature is displayed at the end
of the story in this last sentence form. The landscape
is symbolic at the end of the story, and the landscape-
sentence represents an artistic idea at the conclusion
of the story. It has a poetic connection with the story
composition. In most cases, the features of the plot
and poetic characters in the story are transferred to the
image of nature in the last sentence of the story. For
example, the landscape sentence serves as a solution
at the end of the story or serves to reveal the
emotional state of the characters in stories such as
Abdulkhamid Chulpon’s “Baker girl”, Normurod
Norkobilov’s “Happiness of parting”, and Tokhir
Malik's “The water of liveliness”. Examples of our
thoughts are: “The waves of the sea surround us and
keep them off the coast: the wreckage of protection.”
(Weller, Mikhail. 2008).
So, the landscape is meant to express the writer's
fiction at the end of the story, to reveal the fictional
story of the story, and to emphasize the artistic
rhythm of the work.
5. Cinema sentence. At the end of the story, the last
sentence is of the antifrazis character. The last
sentence represents a portable meaning in the textual
context. The cinema-sentence form refers to the
writer's artistic idea as a product of the story. In these
types of stories, the cinema forms an artistic rhythm
of the work. The cinema has a poetic connection with
the plot and the system of images in the semantic
layer of the story. In Uzbek stories like Abdullah
Qahhor's “Thief”, “Woman who has never eaten
raisins", and "Artist”, there is a beautiful example of
a word phrase. In the novel "The Woman who has
never eaten raisins," the storyline is at the top of the
story. It serves as a poetic key to the discovery of
story fiction: “Everyone laughed. Somebody shouted,
"Yes, this man's wife didn't eat raisins!" (Qahhor A.
2016.).
In short, the words, phrases, and phrases are reflected
in the story's conclusion. At the same time, the
compositions are based on the cynicism in stories that
end in such sentences.
6. Solution. In this form of the last sentence, a knot is
removed from the story plot. The solution is found in
acute plot stories. The story’s artistic conflict is
revealed in the last sentence. In the last sentence, the
writer provides an unexpected solution for both the
reader and the individual characters. Nazar
Eshonkul’s stories like, “The wind cannot be caught”,
“Dead season", and "Coffin” conclude with a
solution. In “Coffin” and “Dead season”, the solution
is figurative, while "Wind cannot be caught" means.
In the story, the conflict between the characters and
the spirit of the characters is solved in the last
sentence: “- We were led by a dead mentor. We are in
love with the dead.” (Eshanqul N. 2011).
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Consequently, the art of solution sentences in stories
is understood as follows:
- The artistic conflict of the story in the passage is
passive;
- In the solution sentence, the node is solved in the
story plot of the story;
- The solution of the characters is to decide the fate of
the characters, the disputes in their psyche will be
eliminated;
- In the solution, the author's image appears to be
exaggerated.
7. Cumulative sentence. The last sentence in the form
of the story tells the culmination of the story. In the
culminating sentence, the artistic tension of the story
becomes tense. Changes in the fate and mood of the
characters are portrayed. In this way, the author
presents the story to the reader and promotes the
creative activity of the reader. Cumulative sentences
are the last cornerstones for story writing. In the
culmination of the story, the fiction of the story makes
the reader nervous. The stories of Mirkarim Osim's
"Shirak" and Nazar Eshankul's "The Sound of the
Bell" end with a culminating sentence.
8. Interrogation. At the end of the story, questioning
phrases appear as part of the narration. The writer's
ideological intentions are reflected in this rhetorical
interrogation of the artistic plot of the story. The
answer to the question phrase represents the main
theme of the story in the textual material.
Interrogation is polyphonic. It encourages the reader
to think and find answers. Examples of the stories of
Ahmad Azzam's "A Man With a Rose" and "White
Evenings" by Nurullah Muhammad Rauf Khan.
In general, the form of the last sentence serves to
some extent to clarify the composition of the story,
the artistic plot, and the structure of the poetic speech,
and it strengthens the function of each word in the
poetic text. The last sentence is the end of the story
composition. With its peculiarities, the last sentence
acts as a synthesizing piece of an artistic model on the
story composition level.
3 CONCLUSION
So, how the first and last sentences of the story are
viewed as an artistic model, and relying on them in
the process of artistic analysis is justified. For
example, if we analyze the first and the last sentence
in Nazar Eshankul's "The Writings" (a story), the
above points become a bit clearer. The story is based
on a small, single story, and the story begins with a
culmination: "The taxi between the stops collapsed
and then crashed: the driver's and passenger's eyes
flickered – fear – they cried out in confusion and
horror…" (9; p.67). The presentation of the
culmination page in the first sentence, first of all, laid
the groundwork for a short story in the story. In
addition, the sentence above forms the rhythmic tone
of the whole story. The fear of the gurgling is
embedded in the story through the actions of the
characters. One of the passengers in the car did not
believe he was alive, the other was injured, and the
driver of the KAMAZ was justified. Only one
passenger died. The whole story composition is based
on these events. At first glance, the essence of the
story, even the artistic intentions of the writer and the
epigraph, remain a mystery until the last sentence: “A
policeman barely scratched the book through the
paws of a dead passenger and simply stared at the
sheet with bloody fingerprints. He reads in capital
letters "He will read a book..." (Eshanqul.N. 2008.).
As we read this sentence, we are amazed that the
whole story is lit up. Only then will the inscription
and the meaning of the words "I have engraved all
things on the eternal stone" be revealed. It seems as if
we read the fate of eternity.
Finally, the poetic connection of the first and last
sentences is reflected in the following points: firstly,
the first and last sentences define the artistic rhythm
of the story; secondly, the first and last sentences act
as a poetic model of reflection in reflecting the
essence of the story; thirdly, the intensity of the first
sentence in the story begins at the same pace as the
last sentence; fourth, the first and last sentences are
poetic links in the storyline from the point of view of
artistic time; fifth, the first and last sentences acquire
poetic integrity to the story composition; sixth, if the
first sentence in the structure of the story provides a
basis for the dissemination of artistic words and ideas,
in the last sentence, they come together to form the
concept of the writer's art and convey it to the reader's
mind. In general, the first and last sentences are
polyphonic in the composition of the story.
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