SOME REFLECTIONS ON THE EVOLUTION OF THE FABLE GENRE

Аннотация

This article provides scientific and theoretical analyses of the traditions of storytelling andtheethnic characteristics ofworld storytelling. Keywords: Image, allegory, type, figurative meaning, animation, personification, diagnosis, invocation, metaphor, transfer, andso on. Everything that has survived from ancient times and serves as a basis for reconstructing the history of the past—whether it be inscriptions on stone and other monuments, written testimonies of antiquity, buildings, or tools of labor—constitutes a source for the study of antiquity, including written sources. Everything that has survived from ancient times and serves as a basis for reconstructing the history of the past—whether it be inscriptions on stone and other monuments, written testimonies of antiquity, buildings, or tools of labor—constitutes a source for the study of antiquity, including written sources. The fable is a lyrical-epic genre, rich in lessons and moral teachings. It reflects problematic situations between society and individuals through symbolic and figurative imagery. It is characterizedbythe generalizationofgoals and ideas, based onamicrocosm of reality. “Fable” is an Arabic word meaning “example” or “model.” A fable is a short story, originally part of oral folk creativity, written in either verse or prose form. It is based on dynamic symbolic and figurative images presented in a satirical and humorous manner, often carrying an educational ormoral message. The closeness of this genre to folk poetic creativity is evident from the fact that it was initially created by the wise people and later refined by writers, including Aesop. The fable genre was further developed by Babrius in the 2nd century, by Phaedrus in Rome (1st century CE), and Avianus (4th century). Significant contributions to the evolution of the fable were also made by the French fabulist La Fontaine (17th century), the Russian fabulist Ivan Krylov, the Danish fabulistHolberg (18th century), and theGerman fabulist Lessing (19th century). page1862 INTERNATIONAL JOURNAL OF ARTIFICIAL INTELLIGENCE ISSN:2692-5206,ImpactFactor:12,23 AmericanAcademicpublishers,volume05,issue06,2025 Journal: https://www.academicpublishers.org/journals/index.php/ijai Alongside the development of the fable in Western literature, it also evolved within the literatures of the peoples of Central Asia, where prominent examples of fables appeared in the works of classical writers. In particular, significant contributions were made by renowned Uzbek and Tajik authors such as Alisher Navoi, Abdurahman Jami, Nasir Khusraw, Ubayd Zakani, Amiri, Yaqi, Saydon Nasafi, Mushfiqi, and Gulkhani. Similar contributions were also made by Kazakh and Kyrgyz intellectuals such as Ibray Altynsarin, Abai Qunanbaiuly, and Dugalak Molda. It has been suggested that, while continuing the traditions of oral folk creativity and ancient fables, these authors creatively developed the genre, imbuing their fables with a national character, new content, and new ideological directions, all while absorbing the spirit of their respective eras. It is also noted that the fable has become an "international genre" of artistic literature. Theseideas were highlighted in theresearch ofKhalmatov. Following this logic, if Aesop is recognized as the father of the world fable, then Elbek is considered the founder of the fable tradition in Uzbek literature. A poet and educator with a deep understanding of children's psychology, Elbek made a tremendous contribution to the formation and development of Uzbek children's literature. He created dozens of children's poems, collections offables, and epics, all rooted inthetradition oforal folk creativity. As rightly noted by the prominent literary critic, linguist, writer, and educator Ashurali Zakhiri: “Poet Elbek was a great artist who extensively utilized the accessible and expressive power of the vernacular in adapting and transmitting oral literature. El created the genre of the fable withinchildren's literature.” Professor Abdurahmon Saadi also emphasizes this point: “It was Elbek who initiated fable writing—not through translation, but through the creation of original fables. No one else was seen onthis pathbefore him.” Elbek and Mubarak had a son in 1922, whom they named Ulugbek with great hope. Ulugbek’s youth peaked during the 1930s and 1940s. As the child of a “public enemy,” he spent the years of World War II on the labor front in the Ivanovo region of Russia. Despite facing surveillance andharassment, hemanaged to completehis education and even became a teacher. I had a close relationship with Ulugbek aka Elbekov as a relative. In the early years of independence, together with Sunnat Ahmedov, we prepared a show dedicated to the Shermukhamedov family. I suggested featuring Ulugbek’s brother. He told the television audience about his parents, Elbek and Mubarak, as well as about his uncles Mirmulla, Mirmukhsin, and Mirmuslim Shermukhamedov—remarkable stories about whom few p