THE ARTISTIC REPRESENTATION OF INNER EXPERIENCES IN ISAJON SULTON’S SHORT STORY “ONAIZORIM”

Аннотация

This article discusses the works of Isajon Sulton, with a particular focus on his novel “Onaizorim.” It explores how various psychological devices are used to artistically express the emotional experiences of the characters’ inner worlds. Special attention is given to theauthor's useof nature imagery to reflect thespiritual stateof theprotagonists. Keywords:short story, national spirit, landscape, external monologue, father figure, and others. Isajon Sulton's short stories hold a special place in Uzbek prose due to their depiction of various aspects of the human psyche. In his works, the author interprets the complex dimensions of human psychology. The protagonists in his stories are distinguished by their unique worldviews and ways of thinking. In his story Onaizorim, the author presents a typical image ofthe Uzbek mother, through which heseeks toexpress the essence of thenational spirit. This national spirit is revealed through thewoman’s fate, the trials she faces inthe course of her life, and thedignified mannerin which she responds tothosechallenges. The story begins with a distinctive and concise introduction, opening with a depiction of spring. The author skillfully aligns the landscape with the emotional and psychological states of the characters. As is widely recognized, spring is cherished as a season of renewal and rejuvenation. During this time, all of nature awakens and brings a unique beauty to the environment: “Spring adorns the vast expanses stretching from the mountain peaks to the distant, unseeable pastures with countless wildflowers of various colors, shapes, and forms. The winds carry their scents, pollen, and seeds, scattering them across faraway lands. Birds of many kinds peck at these gifts and sing joyfully. Among the thick bushes, insects and birds produce a variety of sounds, grasshoppers leap about, and ants scatter in every direction in search of food. There are two elements here that refresh the air and invigorate nature: wind and water”[1]. This description serves as an introduction to the story’s plot, subtly referencing the protagonist’s innocent childhood moments. As literary scholar T. Shermurodov notes: “This landscape presented in the introduction prepares the reader for the onset of childhood memories—the beginning of events. It alludes to the purity with which a person, at the dawn of life, perceives the world, creation, and living beings, suggesting the advantages of an unspoiled human nature. 1Internetsayti:https://kh-davron.uz/kutubxona/uzbek/isajon-sulton-onaizorim-qissa.html page341 INTERNATIONAL JOURNAL OF ARTIFICIAL INTELLIGENCE ISSN:2692-5206,ImpactFactor:12,23 AmericanAcademicpublishers,volume05,issue04,2025 Journal: https://www.academicpublishers.org/journals/index.php/ijai It invites the reader to sense the sacred and vital wisdom embodied in the blessings of wind and water”[2]. Indeed, a child’s world is pure and untainted; they view existence through a unique lens. Every element of nature appears wondrous and magical to them. These scenes symbolize the irreversible moments of childhood—memories that remain etched in the human mind forever. As one grows older and becomes immersed in the burdens of life, they begin to pay less attention to their surroundings. Yet, when recalling or recounting their childhood, they vividly remember those lush gardens, trees, nature’s miracles, insects and creatures, and the memories associated withthem. In reality, the same natural scenery may still surround them, but the adult can no longer perceive it with the innocent, wonder-filled gaze of their childhood. In the introduction, the author emphasizes the sacredness of wind and water, and their movement and imagery recur like a refrain throughout the story, symbolizing continuity and emotional resonance. In the work, thedepiction of spring and autumn, and at times summer, is given considerableattention. The author describes the seasons in harmony with the emotional states of the characters, as if the characteristics of the seasons reflect their inner worlds: “Father fell ill and took to bed. Autumn had arrived. The quince leaves had turned golden, the poplar trees were crimson and golden, the long blades of grass had yellowed from the base, and the water in the irrigation ditch had taken on a green hue. Dragonflies began to fly in the air. In the mornings, the meadows would be soaked with dew, and the gray soil of the fields would darken from the moisture”[3]. The father's illness and confinement to bed signals that the autumn of his life had begun. Just as the leaves fall from the trees in autumn, so too the leaves of his life were gradually withering away. This fading also stirred many memories in his soul, though he could not express them in words: “Ra’no seemed to understand the words her father couldn’t say. What had this large, broad-shouldered man wanted to say in that moment? Her heart sensed the storm within, she wanted to throw herself into her father’s embrace, to