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THE INTERRELATIONSHIP OF PLOT AND CHARACTERS IN
SHUKUR KHOLMIRZAYEV’S PROSE
M.O. Khamido a
Candida e o Philological Sciences, P o esso Namangan S a e Uni e si y
h ps://doi.o g/10.5281/zenodo.17290812
Abs ac . The p ose wo ks o Shuku Kholmi zaye , one o he ou s anding igu es o Uzbek
li e a u e, ocus p ima ily on he mas e y o cha ac e c ea ion, he logical cons uc ion o plo s,
and he dep h o a is ic hough . Using examples om he w i e 's sho s o ies and no ellas, his
a icle e eals he cha ac e s' pe sonali ies, he ha mony o mo ing plo lines, and he spi i ual
and aes he ic ideas con eyed h ough a is ic means.
Keywo ds: plo igu es, Uzbek p ose, a is ic ha mony, cha ac e c ea ion, plo
cons uc ion, a is ic hough , p ose analysis, li e a y images.
In oduc ion
I is well-es ablished in he li e a u e ha he p ose o he 1970s and 1980s occupies a
special place in he de elopmen o Uzbek li e a u e. Du ing his pe iod, new li e a y ends
eme ged based on he a is ic analysis o he human psyche, inne expe iences, and eal li e. One
o he leade s o his li e a y p ocess is Shuku Kholmi zaye , who le an indelible ma k on ou
li e a u e hanks o his p o ound philosophical con en , u h ul in e p e a ion o li e e en s, and
sys em o images.
In Shuku Kholmi zaye 's p ose, he ole o plo in a is ic in eg i y, as well as he
na u alness and au hen ici y o his cha ac e s, a e o g ea impo ance. The w i e skill ully u ilized
complex plo lines and psychological analysis o e eal human cha ac e in his sho s o ies and
no ellas. In pa icula , he cha ac e s' men al s a es and hei social and mo al s a us play a cen al
ole in he de elopmen o he plo .
This a icle analyzes he a is ic ha mony o plo and cha ac e in Shuku Kholmi zaye 's
p ose, hei complemen a y ole, as well as he w i e 's a is ic hinking and s ylis ic cha ac e is ics.
The ele ance o his s udy lies in he ac ha he p ac ice o de eloping plo h ough image y in
mode n Uzbek p ose emains unde s udied, and Shuku Kholmi zaye 's wo k o e s a ich sou ce
o schola ly ma e ial in his ega d.
Shuku Kholmi zaye 's wo k ma ks a signi ican pe iod in he a is ic ma u i y o Uzbek
p ose. His s o ies and no ellas demons a e i ali y, a p o ound analysis o he human spi i ual
wo ld, a na u al low o plo , and a is ic pe ec ion o he cha ac e s' inne wo lds. The w i e
desc ibes e en s in a simple ye exp essi e s yle, paying pa icula a en ion o he de elopmen o
he plo h ough he cha ac e s' psyches.
In many o his wo ks, he plo is o med no by he sequence o e en s, bu by he human
psyche and hei li e choices. The plo is embodied no in he ex e nal mo emen o e en s, bu in
he cha ac e s' inne expe iences. The e o e, al hough he w i e 's cha ac e s a e o dina y people,
hei inne wo ld is imbued wi h b oad philosophical meaning.
I can be said ha new he oes began o eme ge in Uzbek s o y elling in he 1960s XX
cen u y. The eme gence o new he oes in s o y elling, in u n, equi es new means o exp ession
and a unique s yle. Mo eo e , c ea ing a new he o image in s o y elling equi es ex ensi e esea ch
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in he ield o a —language, s yle, plo , composi ion, con lic , and o he simila means. I a w i e
a emp s o desc ibe sub le, complex si ua ions in a pe son's li e, impo an cha ac e ai s, and
hei spi i ual wo ld, bu ails o ind new means o exp ession, hey canno ully exp ess hei
ideological concep . The p inciple o e ealing he he o's image in a s o y h ough new a is ic
de ices has come o be ega ded as a unique s yle in he wo k o Shuku Kholmi zaye , who
en e ed Uzbek li e a u e in he 1960s. This p inciple was al eady e iden in his i s s o ies,
included in he collec ion "Unde Dis an S a s" (1968). F om his e y i s s o ies, he w i e
in oduced he image o a he o wi h a place in li e, a speci ic social s a us, and a unique cha ac e .
His he oes a e u al esiden s who g ew up su ounded by beau i ul na u e, people who g ew up
in he illage, s udied in he ci y, and emained he e o wo k in a ious posi ions. Thus, he
cha ac e o he illage, he man who g ew up in i , his man’s depa u e om na u e o he ci y
and his desi e o e u n o he illage, o na u e, o he iends wi h whom he g ew up, p o ide he
o iginali y o he w i e ’s wo k.
The depic ion o li e and humani y in Shuku Kholmi zaye 's s o ies o ms he co e o hei
plo s. I is no ewo hy ha he depic ion echnique, emphasized in he w i e 's ea ly s o ies and
used epea edly h oughou his wo k, has been ele a ed o he le el o elemen s cons i u ing his
unique na a i e s yle. The closeness o he plo h eads in his s o ies should no lead one o belie e
ha he desc ibes only he a es o he same cha ac e s and w i es abou e en s o iden ical con en .
Indeed, al hough he cha ac e s depic ed in his s o ies e ol e a ound a single heme, hei
ela ionships wi h socie y and he people a ound hem, hei hough s and expe iences, and hei
spi i ual wo lds a e so di e se ha hey do no epea one ano he , es i ying o he ex ao dina y
dep h o he w i e 's a is ic alen and he p inciple o he poe ic sense o he wo d.
Wha new ype o he o did Shuku Kholmi zaye in oduce o Uzbek s o y elling in he
1960s? In ou opinion, he he o in his s o ies mani es s i sel , abo e all, in i id mani es a ions o
his spi i ual and in ellec ual po en ial. By e ealing he inne wo ld and emo ional expe iences,
in ellec , and spi i uali y o his cha ac e s as a whole, Shuku Kholmi zaye managed o c ea e a
gene alized image o he ypes o li e exis ing in ou socie y and among ou people.
I is widely ecognized ha one o Shuku Kholmi zaye 's ea ly s o ies is "Longing." This
wo k c ea es he image o wo close iends, Azim and Isma , who g ew up oge he in a illage.
Thei social s a uses a e also di e en : Azim is he son o a school p incipal, and Isma was bo n
and aised in he amily o a school cus odian. They a end school oge he . Bu , as he w i e says,
a e has dec eed s angely: Azim becomes a enowned leade and emains in he ci y. Isma is a
simple se an and li es in he illage.
I is a well-es ablished ac ha in shaping he cha ac e 's spi i ual wo ld is his posi ion in
public li e and he way people ea him. The depic ion o such li e scenes in he s o y is ele a ed
o he le el o a is ic u h. The w i e e eals his a is ic u h by desc ibing he cha ac e s'
ela ionships, hei spi i ual expe iences, and hei abili y o unde s and and eel iendship. When
Azim was in school, he would come o Isma 's home and in i e him hun ing. Now he's s udying in
he ci y and has been p omo ed o a managemen posi ion. So will he e u n o Isma when he
e u ns o he illage? The answe o his ques ion sheds ligh on Azim's spi i ual wo ld.
Un o una ely, he childhood ela ionship be ween he s o y's cha ac e s ne e emains he
same. This is e iden in Azim's spi i ual wo ld. Now, when Azim a i es in he illage, he goes o
Azim's house o look o Isma , no o Isma . O cou se, Isma expec s no bene i om his o icial
iend. The e o e, he pu i y o Isma 's spi i ual wo ld is clea ly e iden in his. He is d awn by he
lo e o iendship, he longs o his dea iend om his you h, and he in i es him hun ing. Azim
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does no e use, hey go o he moun ains oge he , and hanks o Azim's beha io , he lo e be ween
he wo iends in he s o y seems unchanged. Howe e , Azim's a ogance and haugh y laugh e
indica e a alsehood in his spi i ual wo ld and in his a i ude owa d his iend.
The w i e i idly depic s he alseness mani es ed in Azim's cha ac e . Fi s , he begins o
enjoy espec . He also goes hun ing a Isma 's in i a ion. Second, he can' shoo a pa idge as
skill ully as he did as a child. He can' e en climb a high moun ain. The dis ibu ion o game has
also changed. Now only Isma hun s, bu he game belongs only o Azim. Azim's cha ac e is ic
a ogance consis s o ying o decei e his iend like a child, while Isma hands him he game,
and Azim p aises him, eminding him ha he is s ill agile. The nai e Isma since ely unde s ands
hese complimen s and eaches o he sky.
In "Longing," he a ogance, haugh iness, and alseness in Azim's ela ionship wi h his
iend, de eloping wi hin his spi i ual wo ld, a e e ealed h ough compelling scenes and de ails.
The w i e uses Ap il as a de ail. I has become a adi ion o Azim o come o he illage e e y
Ap il and hun wi h Isma . Isma looks o wa d o Ap il each yea wi h pa icula an icipa ion. Bu
he ollowing Ap il, Azim doesn' go o he illage. He goes o Issyk-Kul o spend he holidays
wi h his wi e and child en. By desc ibing his e en in Azim's li e, he w i e shows how his
cha ac e and li es yle change, how lo e and longing o his b o he s, pa en s, and na u e gi e way
o a longing o his own com o and pleasu e.
The uniqueness o Shuku Kholmi zaye 's s yle in he s o y "Longing" lies in he ac ha ,
o depic his he o's spi i ual wo ld, he w i e i s ecognizes in his mind he ci cums ances ha
c ea ed his wo ld, and hen exp esses i h ough a is ic image y. By desc ibing Azim as a
na u ally hea less and imp essionable you h, he w i e ecognizes he cha ac e 's pe sonali y.
He e, i is app op ia e o ci e he ollowing hough on s yle: "T ue s yle is always in e nal, bu
he e we dis inguish: 1) he s yle o pe cep ion and 2) he s yle o exp ession. The s yle o
pe cep ion is mani es ed in how he au ho inds, p ocesses, and en iches his ma e ial, and he
s yle o exp ession is mani es ed in how he au ho clo hes his inne wo ld in images and o ms"
[6, 80].
Fi s o all, he pe cep ion o he he o's a e, his spi i ual wo ld, and he use o
co esponding a is ic means o exp ession a e also cha ac e is ic o Shuku Kholmi zaye 's s o y
"Yosuman," w i en in he 1970s.
Fi s ly, i should be no ed ha he s o y is based on he speci ic c ea i e concep o he
w i e , aimed a showing he image o a u al pe son, his spi i ual wo ld, he ela ionships o
illage s wi h lo ed ones in he ci y. I is wo h no ing ha , when speaking abou he au ho 's s yle,
we a e alking abou he en i e spec um o a is ic means. Tha is, "s yle is de e mined by all he
elemen s o he s uc u e o a wo k o a - he ideological di ec ion o he wo k, he heme, he
image y sys em, he plo -composi ion, he language, he isual means, he gen e and me hod, he
dialec ical uni y o he au ho 's unique pe sonali y" [5, 207]. The e o e, s yle la gely depends on
he w i e 's skill in choosing a heme, on he abili y o e eal he speci ic des inies o his cha ac e s,
hei a i ude o li e.
The s o y "Yosuman" begins wi h he ollowing image: "In he eyes o he a is Koziboy,
all people in he wo ld a e kind, pu e and since e, bu among hem he e a e also scound els who
do e il: hey sow disco d be ween people, b eak o ela ionships, gossip and hemsel es ejoice
in hese ac ions" [8, 63].
The cha ac e o Koziboy is somewha simila o Azim in "Soginche." Koziboy was also
bo n in he illage, g ew up b ea hing in he beau i ul na u e o his uncle's illage, s udied in he
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ci y, and li ed he e. Howe e , he is no a enowned leade like Azim, bu an o dina y a is . He
also enjoys socializing wi h his illage iends and longs o be close o his childhood iends. While
in "Soginche," ci y iends a e welcome in he illage, in "Yosuman," illage iends come o he
ci y, o hei iends' homes, o isi . I can he e o e be in e ed ha a ce ain ace o he w i e 's
s yle is e lec ed in he desc ip ion o "Yosuman's" li e. Because Shuku Kholmi zaye , pe cei ing
an e en in li e, inds in i a ce ain poin o change in people's ac ions.
The w i e 's amous sho s o y "Tolkynla " ("Buk i ol") is a s iking example in his
ega d. A he cen e o he s o y is he cha ac e o his sis e Oina. She is a woman wi h ich li e
expe ience, ha ing li ed h ough much. F om he beginning o he end o he wo k, he w i e
emphasizes wo cha ac e is ics o Oina's sis e . One is a leade de o ed o he people's cause and,
he e o e, i mly s anding by he p inciples, while he o he is a pe son wi h a hea as b oad as a
i e , noble. In he s o y, hese wo cha ac e is ics a e in e wined. Nobili y, ha is, humanism,
ado ns he p inciples, which glo i ies humanis ic iews. The w i e succeeded in showing how
hese wo quali ies o Sis e Oina me ge in one pe son. Thanks o hese quali ies, Sis e Oina us s
Mamu jan. Thanks o hese quali ies, he is able o acu ely comba Mamu jan's sho comings" [11].
The he oes o Shuku Kholmi zaye 's p ose s o ies possess a unique i ali y and a is ic
excellence. Mos o hem a e hose who ha e chosen soli ude, who a e aliena ed om socie y, who
a e sea ching o hei own u h. All o hem gi e he imp ession o people li ing no wi hin he
con ines o he plo , bu ou side o i . This es i ies o he p o ound insigh o he cha ac e s in he
w i e 's s o ies "Tabassum" and "Uzbek Cha ac e " in o li e and he human psyche. In Shuku
Kholmi zaye 's p ose, he plo 's dynamics a e o en shaped by in e nal dynamics— he cha ac e s'
hough s, memo ies, and expe iences. Ex e nal e en s o en se e as backg ound. Howe e , he
eal eali y un olds wi hin he cha ac e s' minds. The e o e, a is ic ha mony, he in e play o image
and plo , and he uni y o idea and o m a e pa icula ly no iceable in he w i e 's wo ks.
In Sh. Kholmi zaye 's wo ks, he "au ho 's image" is no isible as an image, i is no
ealized in he o m o he w i e 's philosophical e lec ions. In o de o s udy he na u e o his
"image", i is necessa y o pay a en ion o he w i e 's a i ude o he objec o he image, he a is ic
means used in ans o ming he eali y o li e in o a is ic eali y, he composi ional and linguis ic
aspec s o his wo ks. Because he "au ho 's image" is cha ac e ized as a pe son ac ing in he
na a i e, mani es s i sel in one o m o ano he , and is e lec ed in ce ain lines o he s yle o he
a is ic wo k as he w i e 's c ea i e indi iduali y. In he i s case, i is ealis ically o med,
compa ed wi h o he c ea i e gene aliza ions in a li e a y and a is ic wo k, bu in mos cases i
does no pa icipa e in he wo k as a conc e e image” [7, 157].
The w i e is no in e es ed in he p ocess o cha ac e o ma ion, bu he he o en e s he
wo k as a o med cha ac e . He akes a pe son a a ce ain ime and seeks o show his men ali y in
ela ion o na u e, o o he p oblems o he e a, o o o he people a ha c ucial momen . Based
on his, his s o ies a e mainly single-e en . Whe he he w i e w i es abou an ag onomis who
has become discou aged a e ecei ing c i icism om a mee ing (“Li e is E e nal”), desc ibes he
si ua ion o a s ee boy who is being sen o he a my (“Ju aboshi”), o discusses he u u e o a
“wild” young man who does no i in o he u ban en i onmen , in hese wo ks he image o he
w i e does no s and ou as a sepa a e “a is ic image”, i is no di icul o no ice ha each e en
is embedded in he dep hs o he image. I we pay a en ion o he language o he wo ks "Al hough
s yle is such a complex phenomenon, he e is one a ea o c ea i i y whe e s yle is immedia ely
appa en . This is he w i e 's language." The w i e 's skill, aes he ic p inciples, abili y o pe cei e
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he colo s o li e, and he abili y o eel sub le di e ences a e clea ly isible in he language” [10,
283].
His s o ies, sho s o ies, and no els a e dis inguished by hei dedica ion o un ouched
e en s and hei ichness in cha ac e s. Shuku Kholmi zaye ied o illumina e he psyche o a
child in mo e han en s o ies. Al hough his image is e lec ed in many s o ies, i was embodied
in a galle y o cha ac e s ha do no epea each o he . As he owne o a unique a is ic s yle,
Shuku Kholmi zaye a oids imi a ion, one-sidedness, and na a i e, and al hough he is s ingy
wi h wo ds, he manages o con ey his hough s o he eade ully and i idly. Howe e ,
some imes his wo ks gi e he imp ession ha hey a e un inished. The eade expec s he
con inua ion o he wo k. He does no d aw po ai s o he oes, i seems ha he ocuses on c ea ing
cha ac e s, which makes he eade hink, deeply makes you hink. The e dic passed on he
he oes o he wo k is b ough o he a en ion o he eade .
No ma e wha wo k he eads, e e y eade wan s he a e o he he oes o he wo k o be
as he wan s. The w i e 's s o y "San a Claus is Coming" exp esses he spi i o he child. E en as
a child, he is depic ed as a e y simple, us ing, pu e-hea ed cha ac e who imagines his d eams
as he wan s and belie es in hem himsel . In he w i e 's s o y "Sp ing", he s o y o a pe son li ing
in moun ainous egions, a pe son whose i s lo e is budding in his hea , and his e y sp ing
season when ees wake up and pu ou lea es, gi es he s o y e en mo e cha m. The s o y
"Ju aboshi" [9, 115] is a ue s o y aken om he li e o a g oup o child en o di e en ages who
conside hemsel es he "mas e s" o he s ee . The leade o he "mas e s o he s ee " is a boy
named Habibulla, who desc ibes he li e o child en h ough he changes in hei psyche on he e e
o lea ing o mili a y se ice, saying goodbye o hei "wo ke s", assigning hem asks. I is
exp essed as childhood, adolescence, adolescence and a ewell o hem.
Conclusion
I is gene ally acknowledged ha in Shuku Kholmi zaye 's p ose, he ha mony o plo and
cha ac e s is an impo an ac o ha demons a es he w i e 's a is ic skill. In his wo ks, he plo
de elops based on he inne expe iences and men al changes o he cha ac e s, which gi es he
p ose a deep philosophical con en , i ali y and aes he ic alue. Each cha ac e c ea ed by he
w i e is depic ed as an independen hinke , a pe son wi h a ich inne wo ld, and h ough hem
he ideological and spi i ual di ec ion o he wo k is exp essed a a high a is ic le el.
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