The article explores the features and some functionalities of a parable character. The author, based on the study of fables and parables in Eastern and Western literature, conducts a comparative typological analysis, reveals the factors that determined certain peculiarities and universals. The paper is devoted to comparative analyzing of the fable and fable type works. Observing peculiarities of their development in the writers works. The author gives outcomes about specific features of the genres, about their similes and difference.
Key words: comparative analyzing, the fable and fable type works, peculiaritres of fable, specific features of the genres, similies and difference, «Kalila and Dimna», «Zarbulmasal», «Stefanit and Ikhnilat», «Ramul», «Panchatantra».
In the era of modern globalization of the XXI century, spirituality is considered one of the core tasks. Undoubtedly, its centuries-old literary and cultural heritage plays a huge role in the evolution of the thinking of every nation. The reason for the vitality of samples of fiction is the fact that they are put in the center and are aimed at the education of artistic taste and aesthetics of the human heart and its morality. Also, literature can act as a means of fighting against some negative forms of behavior that are alien to the culture and spirituality of the East. Today’s literary criticism, progressing outside the criteria and patterns of the Soviet ideology of the last century, is now following a course of scientific objectivity. It is for this reason that the need is born to rethink and study the literary and artistic works of our heritage. Studying the works of art created by our great ancestors and teaching these works to the younger generation is an important task in enhancing the spirituality of the nation. A comparative typological study of fables and works of fable type, firstly, is important for the spirituality and history of the culture of society, and secondly, serves to establish literary, cultural, and political relations between different peoples.
In the theoretical characteristics-assessments given to the fable, it is stated that it has a short form, written in verse or prose, morality plays a leading role in it. This monograph discusses not only the genre features of the fable, but also provides a comparative typological analysis of works of fable type. It should be noted that among the Turkic peoples the word “fable” was also used in such meanings as the proverb, saying, aphorism, wise dictum, moral teaching, instruction. And in the literary samples of the most ancient epoch, motifs similar to fable are observed. It should be emphasized that the historical roots of fables and proverbs have one foundation. If myths are the first form of thinking of people of the most ancient epoch, then society and people are in the center of the epic, and fables and works of fable type were used as a ready-made decision regarding life events.
The similarity of works of fable type, created in Eastern and Western literature, can be traced in the plot and composition, in the interpretation of images, essence and form. For example, some motifs of the works “Kalila and Dimna”, “Panchatantra”, “Hitopadesha”, works of Aesop and Alisher Navoi, Abdurahman Jami, Jalaliddin Rumi are among them. Despite this, the original scale of the image, the way of expression and presentation, stylistic properties and poetic features. On the basis of similar plots of works that are close in a similar way, national originality, realities, and national coloring have been expressed. The presence of schemes of similar plots in the literature of two peoples, located far from each other in territorial terms, speaks of their literary connection or is evidence of the appearance in an independent form as a result of certain circumstances. This is the basis for asserting the relocation of the plot, on the other hand, means that it is necessary to take into account the typological similarity between the works. Modern folklore and literary studies, without denying the wandering subjects, recognize that the independent emergence of similar subjects occurred as a result of socio-historical conditions and ethical-aesthetic needs [3, p.58].
Fable is considered an international genre, it is found in all nations, but the original samples were created in Indian and Greek literature. Fable in Arabic means a sample, similarity, an example. Fable is considered polysemic, that is, a multi-valued word. Here is an explanation of its values related to literature: 1) be similar; 2) to depict; 3) to animate (that is, to transfer the actions of the individual to inanimate objects); 4) play a role; 5) demonstrate; 6) to compare; 7) identify; 8) to assimilate; 9) take an example, imitate; 10) catch the eye; 11) to be similar to each other, identity, to be close in the symmetric relation; 12) be of the same genus [1, p.741]. In the two-volume «Explanatory Dictionary of the Uzbek language» the following interpretation is given to the word «fable»: «Fable — 1. A small allegorical story with a conclusion that serves as instruction to people. 2. Outdated, bookish word. Proverb; proverb " [6, p.449]. The lexical meaning of the word is proportional to its scientific term. This explanation provides two fable values. The second meaning is interpreted as an outdated and bookish word. The Dictionary of Sources of Classical Literature explains the application of the fable in four meanings: 1. A word, a sentence. A lying word does not live long (Proverb) 1. Proverb. All time falls at your feet Spit. As the saying goes: at the foot of the lamp is dark. 3. Rumors, rumor, fame. Because of love, I became famous, even a legend. Praise be to Allah, I love you again, and we are obsessed with love. (Navoi). 4. When used in the phrase has the meaning of «how», «like» [4, p.200–201]. In addition, in the Russian and European literature one can observe the use of the term “parable” in more than one sense.
Fable has peculiar genre features. In terms of content, it relates to didactic-instructive literature, is of practical importance, and in view of the vital necessity, the narrator, by analogy with a similar situation, sets out a fable in order to argue his thought, give it an artistic hue, wake up the emotionality of the reader or listener. Participation in the fables of allegorical images — objects, things, animals, living beings, trees, birds and insects — determines its universality. Thus, a specific circumstance depicted in a fable can be a solution for various circumstances encountered in life [7, p.161–162]. Russian researcher fables M. L. Gasparov believes that the fable must necessarily include an exposition, a concept, an event, an unexpected result [2]. Building the plot in the final order determines the sequence of the event logic. In other works, besides fable, parts of the plot may be interchanged. However, a certain order is preserved in the fable.
A light laugh is sometimes characteristic of a fable — irony, sometimes — social criticism. There are also similar to the anecdote side. The presence of allegory distinguishes fable from a joke. In the joke, as in the fable, images of animals may be involved, but in it the allegorical image serves as an auxiliary artistic detail [5, p.10]. In general, the fable genre characteristic of folklore has conservative features. Fable, as a rule, has a short poetic or prose form. The type of fable with the shortest volume is called an apologist. In the XIX century was used as a synonym for fable. Poetic apologists-fables-quatrains appeared in the 18–19 centuries in Russian and French poetry [3, p.58]. Genre of didactic-allegorical content is considered a parable. The difference between a fable and a parable is defined as follows: Fable. 1. a story with a short volume, in most cases it happens in a poetic form; 2. consists of two parts: the main narrative part and the instructive part, the narration is the basis of the fable; 3. heroes are animals that are portrayed as possessors of a certain character; 4. expresses allegorical meaning; 5. not associated with a specific text, exist in a separate form; 6. The plot must be completed. Parable. 1. instructive story; 2. It is important to admonish the reader to make a conclusion; 3. Heroes — people, animals, external characteristics of behavior are not given; 4. reflects the figurative meaning; 5. understood in its own meaning only as part of a certain text; 6. The plot does not have wide dimensions [2].
As stated above, the basis for the emergence of fables were the plots in ancient Indian literature. Therefore, there is reason to say that there was no external influence in their formation. Indian fables were formed on the basis of purely national traditions, the national language in themselves. The works “Kalila and Dimna”, “Stefanit and Ikhnilat”, “Ramul”, “Zarbulmasal”, created on the basis of “Panchatantra”, also consist of fables. Indian fables are written both in verse and in prose form. Their theme, ideological and artistic features, the system of images influenced the fables of other nations. The specific properties of fables and the general and distinctive aspects of works of fable character show that it is necessary to investigate in a comparative typological sense the existing works of fable type of peoples of the world. And this plays a role in fulfilling the tasks existing in literary criticism, in strengthening the relations of various peoples in the sphere of world literature and culture.
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