THE PRESENCE OF MYTHICAL ELEMENTS FROM FAIRY TALES IN MODERN SHORT STORIES (A Case Study of Khurshid Dustmuhammad's Story «Jajman»)

Аннотация

This article analyzes mythical characters found in folk tales and their interpretation in modern short stories. The artistic expression of mythological and folklore elements is examined based on Khurshid Dustmuhammad’s short story «Jajman». Through the characters such as Khurmacha Polvon, Kholpolvon, and Pufakvoy, the paper explores archetypes embedded inthe collectiveconsciousness ofthepeople. Keywords:Mythical elements, folklore, plot, motif, character, fairy tale, Kholpolvon, Jajman, mythological element. It is well known that mythology is closely connected to oral folk traditions and ceremonial folklore. Folklore scholars Jakob and Wilhelm Grimm are considered the founders of the mythological school in literary studies. Through their work, they demonstrated the strong relationship between mythology, oral traditions, and literature. Many of the tales in their collection are, in fact, modern representations of ancient Germanic mythology. Stories involving magical objects, characters, and events related to natural forces preserve traces of ancient beliefs andmyths. In Uzbek literature, mythical elements have similarly found expression in fairy tales, and these elements (plots, motifs, characters) are also clearly visible in contemporary Uzbek storytelling. From the 20th century onward, storytelling in Uzbek literature experienced significant development, enriched by many talented writers. Among them, Khurshid Dustmuhammad stands out as a notable figure. He is one of the most prominent representatives of Uzbek literature, and hisstories havebeen highly praised for theirdistinctiveand unique style. In particular, his story «Jajman» became a major event in the literary world. It has been the subject of many scholarly articles and various interpretations by literary critics. Writers have analyzed it from different angles. Mythical elements are characters and motifs that reflect ancient layers of popular consciousness, commonly found in fairy tales, legends, and ritual folklore. In this paper, we aim to analyze the mythical elements in Uzbek stories, using «Jajman» as a case study, and compare them totraditional Uzbekfolk tales. page2329 INTERNATIONAL JOURNAL OF ARTIFICIAL INTELLIGENCE ISSN:2692-5206,ImpactFactor:12,23 AmericanAcademicpublishers,volume05,issue05,2025 Journal: https://www.academicpublishers.org/journals/index.php/ijai First of all, the title of the story itself draws attention and arouses curiosity. Why was the story given such atitle?Who—or what—is «Jajman?!» The author, in an interview titled «Without Discovery, There is No Literature» with journalist Umid Ali, commented on the meaning of the word «Jajman» as follows: «When it comes to the meaning of the word, fans often ask this question at literary meetings and gatherings. But I have always left it unanswered. That’s my secret—it's part of the story’s charm. Let thereader figureit out themselves».1 This implies that the reader must deduce the meaning and symbolic nature of «Jajman» while reading the story. However, interpretations may vary. In her article «The Charms of Jajman», N. Dovurboyeva offers a unique explanation. She notes that in the Explanatory Dictionary of the Uzbek Language, «Jajman» in dialects can mean «jajji», or «small». If we consider this as the first meaning, a second interpretation links the word to Alisher Navoi’s «Saddi Iskandariy» from his Khamsa. We are familiar with the figures of Ya’juj and Ma’juj in that work. The roles of these figures (Navoi’s Ya’juj-Ma’juj and Dustmuhammad’s Jajman) are similar—they both bring disaster upon humanity. Perhaps the author, inspired by this resemblance, derived anew word byabbreviating theterm usedbyNavoi. It is possible that the syllable «juj», which belongs to the two parts of «Ya’juj-Ma’juj», was taken, and by adding the adjective-forming suffix «-man» to it, the vowel «a» in the suffix may have been harmonized with the «u» in «juj». This may have created a new word with the meaning ofcalamity or disaster—perhaps intentionally.2 Indeed, in the story, Khurshid Dustmuhammad describes Jajman as a very small creature. «The old man was startled, as if his gaze had been disturbed, upon seeing a strange creature no tallerthan ahandspan, casting a dangerous shadowacross his heart». In the «Construction of Iskandar’s Wall» section of Alisher Navoi’s novel «Saddi Iskandariy», part of his Khamsa, the monstrous beings Ahraman and the Ya’juj-Ma’juj are depicted. Navoi describes them as «one as small as one span, the other ten fathoms tall».3 Similarly, Khurshid Dustmuhammad notes that Jajman is one span in height. This parallel suggeststhat both authors are reflecting onsimilarmythical beings.4 Moreover, in her article, N. Dovurboyeva describes Jajman as a metaphor for corrupt individuals—bribe-takers, extortionists, embezzlers, and profiteers—figuratively, the small internal enemies of the nation.5 In truth, Jajman symbolizes the most powerful adversary of humanity: unbridled desire. In th