Islamjan Ahmedjanovich Yakubov
LITERARY-AESTHETIC
CONCEPTION OF M. PURIST AND
A.
DILMUROD
In the collection
of the novels “Yo’qotilgan vaqtni axtarib” (“Seeking for lost time”)[1]
of Marcel Purist, the founder of the “conscience tendency” of the XXth
century French literature, conversed about the moral changes that figured upon
the universe. Such kind of situation has been observed in the artwork “Rang va
Mehvar” (“Colour and axis”)[2]
of the Uzbek writer Asad Dilmurod. The
main character of the novel Komron Mirzo strove for realizing by him through
life. The writer considered that wisdom and intuition is the notion which
filled up with each other. He could definitely imagine the basics of the
phenomenon. He explained the source of the power connecting parallel with real
life and the world of non-existence.
A. Dilmurod deemed
that the conflicts between perception and soul caused to the struggle of
specific oppositeness of the personality. The Uzbek writer through the literary
thoughts strived to be defined the existence of the only universe and the
notion “I” had been convicted to be disappearance. He realized the world not as
the imagination of the human, but as the result of the divine power. As the
artwork “Yo’qotilgan vaqtni axtarib” (“Seeking for lost time”), the artwork
“Rang va Mehvar” (“Colour and axis”) also is the intellectual novel. Because
both novels characters’ interpretation have been given a wide range of
philosophic thoughts.
So, the creative
individuality of A. Dilmurod based on the roots of Eastern spirituality. Like
the love of Swan and Gilberto, the love of Komron and Nafisa ended
unexpectedly. Nosir and Tura Oxun according to their some kind of features
compared with Duke Herman, Baron Chalice and Princess Parmsky. In both novels
outer world had been depicted basing on logicality, in the synthesis of
memory-fantasy-dream-reality which had not been tightly connected regarding to
place and time. During the process of depiction of each episodes of the
collection Komron was re-born several times according to morality. Each of his
birth is a psychological purity that is specific “I «ness.
As to the
interpretation of A. Dilmurod, Komron enhanced up his soul because of his
royalty background. It is not observed such kind of side in the Western
Literature. For instance in the novels of M. Purist the genetic roots of person
were disclaimed. Komron is the character who hadn’t found his needs and the
character who realized impossibility of it. But his hope and belief of future had
not been missed. We want to say that in the Uzbek novel there is no the
person’s absolute feeling of hopelessness. Because, while distinguishing the
person the Uzbek author took into consideration the perfect ness of his inner
world, not as to his place in the society. As to M. Purist, he completely
disclaimed the surroundings and thoughts of his characters Chalice, Verdure,
Odette and Albertan.
The specific
modernism principles concerning to the views and prose poetics of M. Purist had
been formulated basing on definite theoretical bases: (A. Berg son, Gee de
Maupassant, O. Wild, A. Schopenhauer, A. France). That’s why the author
recognized only the power of universe, he disclaimed the theological power. He
considered that the time belonged to the world of imagination. He interpreted
the world connecting with the subject that was recognized as a receiver. He
considered that it is possible to assimilate the universe through the
literary-aesthetic intuition. So, there are enough sides of difference between
Eastern and Western culture and morality.
The conflicts in
the novels of A. Dilmurod and M. Purist are close to each other regarding to
appearance basing on collision of real situation and the psychological process.
It’s interesting that both authors didn’t conceal their hate to narrow outlook,
rude manners, senseless pride, improper arrogance, and flaunting, weak vanity,
ignorance and egoism. Because natural elegance to be appreciated by them. For
A. Dilmurod Tura and Nosir Okhun are not the representatives belonged to only
the social estate. He sought for s t r a n g e n e s s completely another
source, that is slavery for slyness passion.
It’s true to state
that M. Purist didn’t know the view of common people, their understandings and
their way of feeling closely. Such kind of spiritual s t r a n g e n e s s
didn’t give the author the opportunity to picture their psychological portrait –
high appreciation, discovering their strong determination and thirsty generous
soul to the freedom completely. According to his Western view, the world is
surrounded with attractive life, splendor, carouse and bear on the one hand,
and on the other hand it is under the obedient ness. Undoubtedly, in such a
dark condition the existed life has been blown, healthy thoughts has
become s t r a n g e and the time has
been lost. Spiritual poorness led the society to the collapsing.
A. Dilmurod also
felt s t r a n g e n e s s such situations. But his world of colour and melody
is a bit different. Because in his point of view the writer takes into
consideration not the society itself, but the precious of the human soul and
its creator. That’s why the Uzbek writer doesn’t believe the collapse of his
all dreams. Komron couldn’t give the pessimistic spirit to his drawn pictures’
colour and melody. As to M. Purist he stayed under the feeling hopelessness,
pessimistic and indifference.
It’s true, that in
the collection of the novels “Yo’qotilgan vaqtni axtarib” (“Seeking for lost
time”) is observed the writers strives interpretation of human deficiency
connecting with the conflicts of natural instincts and character contradiction.
He might be caused to meet discussion with his coldness point of view striving
to connect evilness and immorality with the humanity commencement in his hate
less view from devil and scoundrel Chalice and also pessimist and groundless
Morel. As a matter of fact:
At first, under the indifference of moral-spiritual
value noticed the existence of the ideas opposite to the humanism.
The second, the changes of human
attraction and respect into unbelievers to each other, lie and jealous and also
cruelty stirred bad impressions on the reader.
The third, we can’t recognize the M.
Purist in his last novels as the person who fought against antipodes,
appreciating the true humanity, generous and kindness, pure feelings in his
first novels.
The fourth, the writer despite drawing
his attention to the topics concerning to sensual themes for the purpose of
continuously seeking for healthy thoughts, in his novels as “Asira” (“The
prisoner”), “Qochoq qiz”(“Refugee Girl”), and especially in the novel “Topilgan
vaqt” (“Founded time”) his point of view directed to the pureness and clearness
belonged particularly to the nature and heavens. Perhaps, because of
continuously pursuing “The lost time”, the author found the essence of time
from the creative process and art.
So, art and
creativity is for Purist, as for A. Dilmurod art and creativity including pure
belief and unique value. If the Literature and Art is the main topic which is
laid in the bases of the collection of the novels “Seeking for the Lost Time”,
not loosing the way in the desert of himself is in the “Colour and Axis”. For
Komron, Vali the creativity is the responsibility before the Creator. It’s the
gratitude for presenting him such talent. It’s the duty before his ancestors.
Therefore, Mergan, Vali bakhshi and Komron are not the characters who can’t
imagine himself without art as the characters artist Ulster, composer Venteil,
writer Bergot in the novels of M. Purist.
Undoubtedly, these
characters created by both writers have been depicted vividly. We are going to
state that under the bases of these characters and the attitude to the artworks
created by them have been found out the similarities and differences between
literary-aesthetic conception of M. Purist and A. Dilmurod.
As to us, in the
“subjective” aesthetic theory of M. Purist and A. Dilmurod the Art is explained
in the narrow and wide meaning.
Narrow meaning: For M. Purist the
Art is neither social life nor objective event – it doesn’t depend on place and
time. This is the world of subject feelings. It is important for the writer to
understand intuitively, not depicting the life that is rebuilt in the creative
process. The subjective understanding of A. Dilmurod is not out of the kindness
and belief of Creator. He sought spiritual calmness by moving the rebuilt life
in his memory, putting the world of feelings on the scale of logics.
Wide meaning: In M. Purist the Art is not
connected with the real life, in contrast it is separated from. Because its
aesthetic program is not appropriate to our habitat policy: “Art is specific form of recognition and
reflection of objective world”. A. Dilmurod has been a bit widened the
meaning of this view. That is he understood the Art under the bases of the
human inner soul and unity of the society.
The “conscience
tendency” which is observed both authors creativity has similarities and
differences: For instances, for them the
first, “conscience tendency” is the object of depiction. The second, it is the style of specific
interpretation of real situation. M. Purist put the person in the bases of
material-spiritual value. He psychologically analyzed the moral-spiritual
loneliness of the French intelligence. In contrast of this A. Dilmurod proofed
that entire belief is the factor of sustainability of the person.
Islamjon Axmedjanovich Yakubov
Associated professor on of the
Tashkent State Pedagogical University named after Nizomi. A Head of the
department “Uzbek literature”
Work
place: Tashkent State Pedagogical University named after Nizomi
Address:
Tashkent, st. Yusuf Xos
Xojib 103. 700064 Uzbekistan
Tel. No. : (+998 371) 229- 66-04 Mobil phone: (+ 998 94) 600 -31-98
E mail : islam_yakubov@mail.ru
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[1] The creative style and life
of M. Purist has been studied in the perfect level by the literary critics and
writers as M.V. Tolmachev, S.G. Bocharov, V.V. Nabokov, Sh. Brunon, A. German, R. Bart, A.
Morgue, E. Andréa, K. Moiré.
[2] Asad Dilmurod. Rang va Mehvar.
(Colour and Axis). “Sharq Yulduzi” 2012, volume number 5-6.