The poetics of Stephen Crane’s late novels” I. Introduction. II. The contribution of S. Crane to the development of American naturalism

IV. 1 . The main notion , content, plot and composition of the novel.
Avvalgi asarlaridan farqli o’laroq , Crane keyingi roman va hikoyalarini boshqacha usulda yaratishga harakat qiladi. Boshidan naturalistic uslubda asarlar yaratgan yozuvchi keyinchalik immpresionalist uslubiga murojaat etadi. Ko’pgina olimlar uning asarlarining qaysi uslubga tegishliligi haqida ko’plab mushohadalar yuritgan bir paytda , biz uchun eng asosiysi uning asarlari poetikasidir .
Bundan ko’rinadiki Stephen Crane ilk asarlarini naturalistic ruhda yozgan bo’lsa, keying asarlarida stylistic bo’yoqlardan keng foydalangan va buning oqibatida uning qaysi adabiy oqimda ijod qilganini aniqlash olimlar uchun qiyinchilik tug’dirgan. Bundan tashqari adib asarlarini aynan bir yo’nalishda yozmagan, balki uning hayoti so’ngida yozgan asarlarida adabiy uslublarning qorishib ketishini kuzatishimiz mumkin. Adibning so’ngi asarlari to’g’risida gapirar ekanmiz , ularning ba’zilarigina keng omma va tanqidchilar tomonidan yaxshi qabul qilinganiga guvoh bo’lamiz. Of course, the famous works of writers are always in the center of attention and they are studied with interest by critics and anyone who has anything to do with literature. But the works of writers, which are not so famous for some reasons, have to wait for their analysis for years. Stephen Crane has a lot of novels and short stories which are still waiting to be analysed . One work of Crane's that has had less critical attention than his more familiar novels and short stories is his long short story "The Monster." It was not well received by readers. But in terms of the content and the raised topic, it can easily compete with other works written by the writer. Yozuvchining Angliyadagi do’sti Jozeph Conrad Stephen Crane ning bu hikoyasini o’qib shunday so’zlarni do’stiga xatida yozadi. “ The damned story has been hunting meever since , I thinkit must be fine. It is a subject for you “ [ Stallman “ Letters]
Yozuvchi umrining oxirgi 4 yili davomida yaratgan “The third violet “ (1897) “ The Monster and Other Stories “ (1898) ,“Active Service “ ( 1898) , “O’ Ruddy” roman va qissalaridan faqatgina “ The Monster “ asari tanqidchilar va yozuvchining o’zi tomonidan ham yaxshi baholangan. Shuning uchun ham dissertatsiyamizning shu bobiga “ Monster “ asarining mazmuni , maqsadi, syujet va kompozitsiyasini o’rganishni maqsad qilib qo’ydik. Keling avvalambor asarning qisqacha mazmuni bilan tanishsak.
Plot Summary
Stephen Crane's long short story "The Monster" is set in the fictitious New England town of Whilomville (once upon a time) during the spring or early summer. In the_opening scene Jimmie Trescott is playing train in the yard while his father, Doctor Trescott, is diligently mowing the lawn. Engrossed in the full of riding in his cart, Jimmie accidently runs over a peony. After some difficulty in communication, Jimmie finally succeeds in informing his father of the mishap. Jimmie is forbidden to play his game for the rest of the day and seeks solace in the company of Henry Johnson, the doctor’s Negro stable man. Henry enjoys Jimmie's admiration and vacillates between the roles of friend and parent. Henry has the reputation in Whilomville of being a dude, and on this particular night he dresses himself carefully and walks through town to pay a social call on Miss Bella Farragut in the Negro district of Watermelon Alley. Most of the townspeople eventually gather in the town park to listen to the band. But their amusement is abruptly interrupted by the roar of a factory whistle indicating a local fire.The volunteer fire department and numerous onlookers· frantically rush to the scene of the fire--the Trescott home. The fire ultimately destroys the house and the doctor's laboratory. It also injures both 7 Jimmie and the doctor who, returning late from a call, rushes in to save his son. Henry Johnson, the first to attempt to save Jimmie, hascarried him close to safety before collapsing on the floor in the doctor's laboratory. Dr. Trescott and Jimmie recover rapidly but it takes great time and patience on the part of Dr . Trescott to save Henry, who has lost his reason and his face from chemical burns. When Henry is well enough to walk, the doctor takes him out of town to live in Alek Williams' shanty. Alek and his family are terrified by the unsightly Henry, but not many weeks pass before Henry escapes from his room and wanders merrily through Whilomville. He innocently breaks up a children's party, terrorizes Watermelon Alley, and is chased down Main Street by a rockhurling mob.As a result of Alek's fears and of the community's reaction to the harmless monster's escapade, Dr . Trescott feels obliged to care for Henry in his own home. But it soon becomes apparent that the community cannot accept the presence of the monster . Three old gossips, Martha Goodwin, her sister Kate, and Carrie Dungen feed ravenously on all rumors and news concerning Henry or the Trescott's and succeed in spreading dissent among the women of the town. Jake Winter, the father of a little girl who was frightened by Henry at the children's party, insults Dr. Trescott when the latter comes on a house call. Worst of all, Jimmie and his friends playfully but cruelly entertain themselves with Henry in the Trescott's yard. Finally, in the fall, four town leaders including Judge Hagenthorpe, who had cautioned the doctor from the beginning that he was 8 doing Henry a questionable service by saving him, visit Doctor Trescott and try to convince him to move Henry out of town, suggesting locations and offering to pay his board. But the doctor, although he admits that keeping Henry is a problem because he knows of his own son's cruelty to Henry and has experienced the anger of the townspeople, cannot personally justify moving Henry. The story ends with Dr. Trescott consoling his wife as they sit in the drawing room of their home amidst fifteen empty tea cups and untouched cake. This usually was the afternoon that Mrs. Trescott entertained and all. of her friends except one had -chosen not to come. ·Mrs. Trescott sobs, and the doctor distractedly tries to count the cups as the winter wind howls outside.

Asar syujeti haqida gapirar ekanmiz , Stephen Crane yaratgan keyingi adabiy asarlarida sujet va kompozitsiya jihatidan Amerika adabiyotida yangi bir qirra hosil qildi. Oldingi asarlari “ Maggie –a girl of the streets “ “ The red badge of the courage “ romanlaridagi naturalistic qarashlar endi falsafiy qarashlar bilan o’rin almashib boshqacha yo’nalishda davom etgan. Albatta yuqorida ta’kidlab o’tganimizdek hamma ijod namunalari ham mukammal bo’lmagan . Bunga yozuvchining o’sha paytdagi yosh , pulga muhtoj hamda betob bo’lgani o’z ta’sirini ko’rsatgan. “Monster “ asari shunday tartibda yozilganki, adib asarlaridagi voqealar har bir kitobxonning diqqat markazida turadi. Ya’ni u oddiy o‘quvchi, xoh yuqori saviyali kitobxon yoki adabiyotshunos bo‘lsin baribir adib asarlarini o‘zgacha bir mulohaza, mantiq bilan o‘qishga majbur. Chunki yozuvchi asarlarini o‘z uslubigagina xos sujet va kompozitsiya asosida yaratgan.

Epik asar mohiyati, badiiy mazmuni va mundarijasi, g‘oyaviy-estetik konsepiyasini yuzaga keltiruvchi asosiy vositalardan biri sujet hisoblanadi. Adabiyot nazariyasiga bag‘ishlangan darslik, qo‘llanma, tadqiqotlarda, shuningdek, ensklopediyalarda sujet atamasi aniqlanib, izohlab berilgan. Ularning barchasida syujet badiiy asar voqealarining yig‘indisi ekanligi ta’kidlangan. Shu bilan birga voqea tizimi o‘z-o‘zicha emas, muayyan qahramon, personajlarning xatti- harakatlari, sarguzashtlari orqali yuzaga kelishi eslatib o‘tiladi. O‘zbek adabiyotida sujet atama sifatida ilk bor Fitratning “Adabiyot qoidalar”da tilga olinadi. “Adabiyotshunoslik lugʻati”da syujet atamasi quyidagicha izohlangan: “Syujet (fr.syujet – predmet, asosga qo‘yilgan narsa) – badiiy shaklning eng muhim elementlaridan biri, asardagi bir-biriga uzviy bog‘liq holda kechadigan, qahramonlarning xatti-harakatlaridan tarkib topuvchi voealar tizimi. Syujetlilik badiiy adabiyotning xos xususiyatlaridan biri bo‘lib, S. tur yoki janridan qat’iy nazar, barcha asarlarda bor, biroq uning namoyon bo‘lishi ko‘p jihatdan qaysi tur yoki janrga mansubligiga bogʻliq”¹.
Syujet deganda, asar qahramonlari hayotidagi voqealar va ana shu jarayondagi aloqalar, munosabatlar, to‘qnashuvlar, o‘sish-o‘zgarishlar... jami tushuniladi; chunki “Adabiyotning uchinchi elementi syujetdir, ya’ni odamlarning o‘zaro aloqalari, ular o‘rtasidagi qarama-qarshiliklar, simpatiya (yoqtirish) va antisimpatiyalar (yoqtirmaslik), umuman kishilar o‘rtasidagi munosabatlar – u yoki bu xarakterning, tipning tarixiy rivojlanishi, tashkil topib borishidir”(M. Gorkiy).
Badiiy asarda syujetning yaratilishini g‘oyaviy mazmun boshqaradi, g‘oyaviy mazmunning talabiga uyg‘un holda xarakterlar namoyon bo‘ladigan va hayot ziddiyatlarini umumlashtiradigan voqealar silsilasi kashf etiladi. Voqealar silsilasi o‘z navbatida asar g‘oyasini badiiylashtiradi, uni tiriltiradi.

Sujetning adabiy-badiiy asardagi vazifasi haqida gap ketganda, avvalo, uning asar problemasini badiiy tadqiq etishga imkon beradigan hayot materialini uyushtirib berishini aytish kerak. Bundan kelib chiqadiki, sujet asarda mavzuni shakllantiribgina qolmay, balki uning qanday bo‘lishi mazmunga, yozuvchining ijodiy niyatiga bog‘liq bo‘lib qoladi. Rostdan ham, asar sujeti asosiga olinadigan voqealar muallifning istagiga binoan tanlanadi. Qanday g‘oyani ilgari surganiga ko‘ra, muallif o‘zining tasvir yaratish uslubidan kelib chiqib sujet elementlaridan keraklicha foydalanadi. Kompozitsiya esa asarning libosi hisoblanadi. Kompozitsiyasiz har qanday asar kiyimsiz ko‘chada yurgan odam kabidir. Har bir ona o‘z farzandini chiroyli va bejirim kiyintirishga harakat qilganidek, yozuvchi ham o‘z asarini xuddi shunday qoliplashga intiladi. Bundan ko‘rinadiki, sujet va kompozitiya birligi bilan bir qatorda yozuvchining badiiy-tafakkurdagi mahorati asarning muvaffaqqiyatini belgilab beradi.

Asar syujeti o’z ichiga konflikt , voqealar rivoji, tugun, ekspozitsiya, kulminatsiya, echim va bir qator unsurlarni o’z ichiga olganini hisobga olib „ Monster“ asaridagi shu unsurlarni tahlil qilsak. Badiiy syujetlar turli yo‘llar bilan yaratilishi mumkin. Ilmda, ko‘pincha, uning uchtasi haqida gapiriladi:
1. Asarda tasvirlanayotgan voqealar yozuvchi tasavvuri mahsuli bo‘ladi. ulardagi voqealarning barchasi badiiy to‘qima (fantaziya) yordamida yaratiladi. Uni “yasama” syujet deb atasa bo‘ladi.
2. Asar syujeti hayotdagi tayyor voqealar asosiga quriladi. “Prototip” shaklidagi hayotiy va tarixiy voqealarning deyarli barchasi asarda aks etgan bo‘ladi va ular “tayyor” yoki “hayotiy” syujetlar deb yuritiladi. “Navoiy”(0ybek), “Ulug‘bek xazinasi”(O.YOqubov), “YUlduzli tunlar”(P.Qodirov), “Bolalik”(Oybek), “O‘tmishdan ertaklar”(A.Qahhor), “Navro‘z”(N.Safarov), “Graf Monte Kristo”(A.Dyuma), “Zaynab va Omon”(h.Olimjon), “Aka-uka Karamazovlar”(F.Dostoevskiy) kabilar ana shu yo‘l bilan yaratilgan asarlardir.
3. Yozuvchilar o‘zlarigacha yozma adabiyotda ma’lum bo‘lgan syujetlarga asoslanadilar, ularni qayta ishlaydilar, o‘z salohiyatlari va mahoratlariga asoslanib, ularni yangicha talqin qiladilar. Bu “sayyor” yoki “o‘zlashtirilgan” syujetdir.
“Monster” syujet jihatidan  “tayyor” yoki “hayotiy” syujet yoki “sayyor” yoki “o‘zlashtirilgan” syujetga o’hshaydi. ………………..