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THE ROLE OF SPEECH TYPES IN DEPICTING THE PSYCHOLOGY OF
CHARACTERS IN ZULFIYA QUROLDOY QIZI’S WORKS
Da la o a Ruxso a Ba o o na
Non-go e nmen al Highe Educa ion Ins i u ion “Al aganus Uni e si y”
Phone: +998 97 895 95 18
Abs ac
This a icle explo es he unc ional ole o a ious speech ypes in e ealing he psychological
wo ld o cha ac e s in he wo ks o he con empo a y Uzbek w i e Zul iya Qu oldoy Qizi. The
s udy is g ounded in he heo e ical amewo k o speech ypology de eloped in Uzbek and
Russian li e a y schola ship, which includes dialogue, monologue, and polylogue, as well as hei
sub ypes such as inne monologue, inne dialogue, and polyphonic speech. Th ough a close
ex ual analysis o Qu oldoy Qizi’s sho s o ies Jealousy (Rashk), The B ide (Kelin), and Two
Des ina ions (Ikki manzil), he a icle demons a es how inne speech and dialogic o ms se e as
a is ic ools o exp essing women’s inne s uggles, supp essed emo ions, and social
ma ginaliza ion. I is a gued ha he au ho ’s e ec i e use o inne monologue and inne
polylogue allows eade s o access he silen , unspoken aspec s o he he oines’ expe iences. The
s udy concludes ha Qu oldoy Qizi’s mas e y o speech o ms deepens he psychological ealism
o he na a i es and con ibu es signi ican ly o he de elopmen o psychologism in mode n
Uzbek p ose.
Keywo ds: Zul iya Qu oldoy Qizi, Uzbek li e a u e, speech ypology, inne monologue, dialogue,
polylogue, cha ac e psychology, psychologism, women’s p ose
In he Explana o y Russian–Uzbek Dic iona y o Li e a y Te ms, he e m speech cha ac e iza ion
(nu qiy asni ) is de ined as ollows: “I is one o he exp essi e means in a li e a y wo k, h ough
which a cha ac e e eals ce ain aspec s o hei inne wo ld and emo ions by means o speech.
In e ms o o m, speech cha ac e iza ion is di ided in o wo ypes: 1) monologic speech, and 2)
dialogic speech.”
The li e a y schola H. Umu o , in his ea ise The Spi i ual Wo ld and he Roo edness o he
Cha ac e , uses he e m speech ypology (nu qiy asni ) ins ead o speech cha ac e iza ion. In
mode n Uzbek li e a y s udies, he e m asni (“classi ica ion”) is mo e equen ly used han
cha ac e iza ion. [3]
In he ex book Li e a y Theo y, he majo ypes o speech cha ac e is ic o p ose a e iden i ied
as dialogue, monologue, and polyphonic speech. Indeed, he au ho s co ec ly highligh he h ee
mos essen ial o ms o speech. Howe e , in ecen yea s, bo h Russian and Uzbek li e a y
schola ship ha e u he deepened he heo e ical basis o speech ypology, dis inguishing mo e
nuanced sub ypes o dialogue, monologue, and polyphonic speech.
In his monog aph Speech and S yle, he li e a y c i ic Y. Solijono examines he ypes o speech
in a is ic wo ks, analyzing Uzbek no els wi hin he heo e ical amewo k o M. Bakh in’s
classi ica ion. He di ides au ho ial speech in o di ec au ho ’s speech and indi ec au ho ’s
speech. Fu he mo e, Solijono di e en ia es wo dominan o ms o dialogue in mode n Uzbek
p ose — desc ip i e and d ama ic dialogue — and also iden i ies h ee addi ional sub ypes: li e
( eal) dialogues, imagina y ( ic ional) dialogues, and inne dialogues. In ou iew, he hi d
sub ype — inne dialogue — can ac ually be conside ed a a ie y o inne monologue, since, as
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he e m sugges s, he cha ac e conduc s a con e sa ion wi h hemsel es o wi h an imagined
in e locu o — a iend, lo e , supe io , o spouse — wi hin hei own consciousness. [7]
Solijono e e s o T. Jo‘ aye ’s monog aph The S eam o Consciousness and Image y, in which
he au ho de ines li e dialogue as “a con e sa ion o a cha ac e wi h hemsel es wi hin he ame
o an inne monologue.” Howe e , his de ini ion mo e accu a ely co esponds o one o he
a ie ies o imagined speech. T. Boboye , ano he p ominen li e a y schola , emphasizes he
c ea i e use o di e se exp essi e means in depic ing cha ac e s and dis inguishes he main speech
ypes as monologue, dialogue, and polylogue. He u he classi ies he monologue in o inne and
ex e nal ypes and, acco ding o hei ideological con en , in o eminiscen monologue, analy ical
monologue, and aspi a ional monologue. We belie e ha he inne monologue can be u he
subdi ided acco ding o i s a is ic unc ion in o he ollowing ypes: eminiscen , e lec i e,
analy ical, aspi a ional, in es iga i e, emo ional, and imagina y monologue. Thus, se en main
a ie ies o inne monologue can be iden i ied.
Ou s udy ocuses on his issue h ough he c ea i e wo ks o he Uzbek sho s o y w i e Zul iya
Qu oldoy Qizi. When eading Qu oldoy Qizi’s s o ies, one obse es ha he cha ac e s’ li es a e
depic ed as in ica e and ull o inne o men . Fo ins ance, in he s o ies Jealousy (Rashk) and
The B ide (Kelin), al hough he hemes and he des inies o he emale p o agonis s a e simila ,
each cha ac e possesses dis inc indi idual ai s and emo ional expe iences. Bo h wo ks po ay
women whose li es a e illed wi h agedy and spi i ual su e ing. While bo h husbands — She ali
in Jealousy and FayzmuRod in The B ide — be ay hei wi es, each ela ionship e lec s di e en
shades o dis espec and disillusionmen .
In The B ide, he p o agonis Xoldo con inues he daily household cho es despi e he husband’s
cons an absences. E en a e disco e ing a no e bea ing ano he woman’s add ess, she emains
silen and does no ques ion him. Qu oldoy Qizi desc ibes he in his way: “By na u e, she was
simple, quie , ha dwo king, and uncomplaining. F om dawn ill dusk, she busied he sel wi h
housewo k and ca ing o he pa en s-in-law wi hou a wo d o complain .”
Abso bed in ca ing o he ou child en, Xoldo has no ime o hink o he sel . When he mo he -
in-law, Muslim momo, disco e s he add ess o he son’s second wi e, she ins inc i ely compa es
he wo women — he g ace ul Oygul and he wea y, ough-handed Xoldo . Muslim momo
silen ly lamen s he daugh e -in-law’s condi ion, ealizing ha she has li ed a li e de oid o
com o o joy. E en when Xoldo ga he s he cou age o ques ion he husband’s in ideli y, he
ha shly ebu s he : “Mind you own business. Clean he ba n and co e he hay — ha ’s all
you’ e good o !”
In Jealousy, he p o agonis Hosiya di e s om Xoldo in ha she was once ex ao dina ily
beau i ul. Du ing he ea ly ma ied yea s, people came om all o e he illage jus o admi e he
beau y. He husband She ali was deeply de o ed o he . Howe e , a e bea ing h ee child en,
Hosiya loses he you h ul cha m and i ali y. Bu dened by daily cho es, she neglec s he sel
en i ely. She ali, no icing he change, begins o ep oach he . When he complains — “Can’ you
ake be e ca e o you sel ?” — Hosiya coldly eplies, “Should I wea silk d esses o clean
manu e?” La e , when She ali c uelly d i es he ou side a nigh , accusing he o smelling like
dung, Hosiya eels u e ly humilia ed and s ipped o he digni y as a woman.
In depic ing Hosiya , Qu oldoy Qizi p esen s he as mo e in elligen and sel -awa e han Xoldo .
Ye , bo h women a e shaped by he same opp essi e en i onmen , and he eade canno help bu
sympa hize wi h hei a es.
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In po aying hese wo women, Qu oldoy Qizi ex ensi ely employs inne polylogue — a ype o
in e nal speech in which mul iple emo ional and psychological oices coexis wi hin he
cha ac e ’s mind. In The B ide and Jealousy, he p o agonis s’ hough s and emo ions a e
exp essed silen ly; no one hea s hei wo ds, hei jealousy, o hei ebellion — hey emain
imp isoned wi hin. This ep esen s he e y essence o he Uzbek woman’s psychology: she does
no con on he husband openly; ins ead, all he anguish emains in e nalized.
Qu oldoy Qizi also skill ully u ilizes dialogic speech in he s o y Two Des ina ions (Ikki manzil),
c ea ing a i id image o he hough ul, modes , and sel -con olled Uzbek woman:
“He s a ed a he gi l be o e him as i his li e and dea h depended on he answe .
— So… so ha ’s why… you did all his? — she inally whispe ed weakly.
— Yes, I won’ hide i anymo e, — he man eplied, s epping close . — E e y hing, absolu ely
e e y hing I did — was o you, only o you…”
Cons uc ed almos en i ely h ough dialogue, he s o y e lec s he inne and ou e wo lds o
con empo a y men and women, e ealing hei i ues, psychology, and he spi i o he ime.
Re e ences
1. Boboxono M. A is ic Psychologism in Uzbek No ellas. Tashken : Bayoz, 2014.
2. Sul on, I. Li e a y Theo y. Tashken : O‘qi u chi, 2005.
3. To‘ aye , D. The A is ic Thinking and C a smanship in Uzbek No els. Tashken :
Uni e si y P ess, 2001.
4. Umu o , H. A is ic Psychologism and Con empo a y Uzbek No elism. Tashken : Fan,
1983.
5. Ahmedo , N. Issues o Na a i e and Indi idual S yle. PhD Disse a ion. Tashken , 1973.
6. Kenjaye a, P. P inciples o Depic ing Cha ac e Psychology in Con empo a y Uzbek
S o ies. PhD Abs ac . Tashken , 2008.
7. Solijono , Y. Poe ics o A is ic Speech in 1980–1990s Uzbek P ose. PhD Disse a ion.
Tashken , 2002.
8. Qu oldoy Qizi, Z. Ancien Song. Tashken : Uzbekis an, 2012.
9. Qu oldoy Qizi, Z. The Angel o E il. Tashken : Yangi As A lodi, 2005.
10. Qu oldoy Qizi, Z. Cap i e o So ow. Tashken : Yangi As A lodi, 2009.
11. h ps://n.ziyouz.com/po al-haqida/xa i a/uzbek-nas i/Z.-qu oldoy-qizi-ikki-manzil-hikoya
12. h ps://n.ziyouz.com/po al-haqida/xa i a/uzbek-nas i/Z.-qu oldoy-qizi-ayol-hikoya
