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

Biographical Influences on the Basic Theme of "The Monster "
The biographical information to be considered here is not included as an attempt to pr ove absolutely that Crane's characterization
Of Dr. Trescott is autobiographical or that the basic theme of the "The Monster " is directly influenced by occurrences in Crane's life .
Rather, the informaton is intended to sugges t the likely influence of Crane's way of life and his ideas on the basic unifying t heme of "The Monster. " Critics who make light of the influence of the D ora Clark affair on Crane's outlook on life in general and on the themes of "The Monster" in particul ar can possibly be excused for not recogniz ing the apparent significance of the event in Crane's life because they have not had the information contained in chapter thirteen of Robert w. Stallman's recent ( 1968 ) biography at their disposal. What f ollows is a review of Crane's part in the affair ba sed on the information collected in Stallman's biography.
There is a record that about September 10 , 1896, Cr ane received William Randolph Hearst's permission to do some -studies on "real Although Stephen Crane's short story "The Monster " is referred to by many critics as a fairly significant work, it has not received extensive critical evaluation. Criticisms are either too brief or too one-sided to furnish a complete understanding of the story. There are several possible approaches to a critical evaluation of "The Monster." The story can be evaluated through its criticism of small town life , its attack on racial prejudice, or its stylistic relationship to literary naturalism and impressionism. However, the artistic unity of
The Monster" can only be seen through an analysis of the character of Dr. Trescott. Almost all critics who make reference to "The Monster " mention its social criticism, and some point cut that it is, in particular, a criticism of small town life. As such a criticism, "The Monster" is part of a large body of similar literature written between 1870 and 1930 .
Eric Solomon o’zining “ Stephen Crane , Parody to realism”kitobida “ Monster “ hikoyasiga qiyidagicha izoh berib o’tadi “The Monster is , in essense, astudy of prejudice , hypocrisy, and fear in a small town. Using a plot as simple and straightforward as those he employed in his slum and war novels , Crane anatomizes the complexities of smalltown society , regectes the traditional concept of rural neighborliness, and lays bare the savage heart that beats under the thick skin of the American villager” [Solomon Parody – p 177] Crane's Whilomville Stories, _like "The Monster," are also critical of small town life especially as it is reflected in the actions of children. In "The Monster" the criticism of small town 1ife is focused on hypocrisy and conformity as these forces threaten Dr. Trescott's individuality. Although hypocrisy and conformi ty are revealed in the actions of most of the townspeople of Whilomville, Crane considers these faults to be especially prominent among kitchen gossips, represented by Martha, Kate, and Carrie. The difference between the appearance and the reality of the fire becomes a symbol of Crane 's criticism of life in Whilomville, as the destructive nature of the fire is ultimately reflected in the inhumanity of the townspeople in their ostracism of Dr. Trescott. Crane's criticism of society also takes the form of an attack on racial prejudice. By humorously describing the actions of the Farragut and Williams families, Crane reveals the tendency of white people to consider the actions of Negroes to be more humorous and absurd than their own. Crane's attack on rac.ial prejudice is more apparent in the blindly prejudiced attitudes of the townspeople toward Henry Johnson both ·before and after the fire. In neither case is the Negro really recognized as a human being with an individuality of his own. Further , an allegorical in terpretation of Henry's reactions to the fire symbolically reveals racial prejudice toward Negroes. Elements of both naturalism and impressionism appear to some extent in Crane's style in "The Monster," especially in his diction and imagery. The use of violent diction and plant and animal imagery reflects the tendency of naturalistic writers to depict men who are controlled by their instincts and passions. In "The · Monster " -these stylistic elements emphasize the inhuman capabilities of the towns people that ultimately result in Dr. Trescott's ostracism. Crane's impressionistic use of .c olor and light imagery gives a nightmarish quality to some of his scenes. The creation of this atmosphere
emphasizes the mad , twisted morality of the townspeople and makes the inhuman actions that morality allows seem more frightening. A characterization of Dr. Trescott reveals that his actions in saving and protecting Henry are consistent with his character as Crane pre sents it in the story . The doctor save s and prote cts Henry because he is a humane pers on whose primary concern is for human life. Events in Crane's l ife as well as statements by him show that Crane believed that an individual should act with courage and compassion according to his own point of view regardless of public opinion. Such facts help substantiate this writer's contention that the basic theme of "The Monster" is Dr. Trescott's attempt to live a life of courage, integrity, and kindness as he understands them.
Demak “Monster “ asarining ekspozisiyasisidan tahlilni boshlar ekanmiz , ekpozitsiyaning ma’nosi haqida ozroq tanishib chiqsak.
Ekspozisiya (lat. Expositio-tushuntirish) – dastlabki holatda asarda yuz beruvchi voqealarning o‘rni, joyi, asar qahramonlarining harakatlariga turtki beruvchi dastlabki voqealar tasvirlanadi. Hamma asarlar ham ekspozitsiya bilan boshlanmasligi mumkin , bu narsa “ Monster “ asarida ham ko’zga tashlanadi. Ekspozisiya romanning turli qismlarida keltiriladi. “Monster” asarida asosiy voqealar ro’y bergan joy tasviriga diqqat qilaylik:
“After Johnson had taken his supper in the kitchen, he went to his loft in the carriage house and dressed himself with much care. No belle of a court circle could bestow more mind on a toilet than did Johnson. On second thought, he was more like a priest arraying himself for some parade of the church. As he emerged from his room and sauntered down the carriage-drive, no one would have suspected him of ever having washed a buggy. It was not altogether a matter of the lavender trousers, nor yet the straw hat with its bright silk band. The change was somewhere, far in the interior of Henry. But there was no cake-walk hyperbole in it. He was simply a quiet, well-bred gentleman of position, wealth, and other necessary achievements out for an evening stroll, and he had never washed a wagon in his life.” [ ]
…….A wisp of smoke came from one of the windows at the end of the house and drifted quietly into the branches of a cherry-tree. Its companions followed it in slowly increasing numbers, and finally there was a current controlled by invisible banks which poured into the fruit-laden boughs of the cherry-tree. It was no more to be noted than if a troop of dim and silent gray monkeys had been climbing a grapevine into the clouds. After a moment the window brightened as if the four panes of it had been stained with blood, and a quick ear might have been led to imagine the fire-imps calling and calling, clan joining clan, gathering to the colors. From the street, however, the house maintained its dark quiet, insisting to a passer-by that it was the safe dwelling of people who chose to retire early to tranquil dreams. No one could have heard this low droning of the gathering clans. Suddenly the panes of the red window tinkled and crashed to the ground, and at other windows there suddenly reared other flames, like bloody spectres at the apertures of a haunted house. This outbreak had been well planned, as if by professional revolutionists.
Autumn (23-bob) “The autumn smote the leaves, and the trees of Whilomville were panoplied in crimson and yellow. The winds grew stronger, and in the melancholy purple of the nights the home shine of a window became a finer thing. The little boys, watching the sear and sorrowful leaves drifting down from the maples, dreamed of the near time when they could heap bushels in the streets and burn them during the abrupt evenings.
Winter (24-bob) “Trescott loudly stamped the snow from his feet and shook the flakes from his shoulders. When he entered the house he went at once to the dining-room, and then to the sittingroom. Jimmie was there, reading painfully in a large book concerning giraffes and tigers and crocodiles.
Ko‘rinyaptiki, bu parchada Stephen Crane voqealar kechadigan vaqtni, joyni, shart-sharoitni, asar qahramonlari Dr Terescot, Johnsonlarning boshidan o’tadigan voqealarning debochasi haqida ilk ma’lumotni beradi. Demak, ekspozisiyada kitobxon asar qahramonlari bilan tanisha va ularning shaxsiga qiziqa boshlaydi. Obrazlarning o‘zaro aloqalari, ular o‘rtasidan qarama-qarshiliklar, simpatiyalar va antipatiyalar ekan, demak, u hayot ziddiyatlarini ham ixtiro qiladi, umumlashtiradi, kashf etadi. hayotiy ziddiyatlar asarga ifoda etilgan g‘oyalar, tasvirlangan xarakterlar, kayfiyatlar kurashi tarzida ko‘chadi va u konflikt deb yuritiladi.
Konflikt - syujetni harakatga soluvchi kuch. Uning ta’sirdorligini, qiziqarligini, ko‘lamini belgilovchi unsurdir. Uning turli xillari uchraydi:
1. Psixologik (ruhiy) konflikt qahramon qalbidagi hissiyotlar, tushunchalar (ojiz va kuchli jihatlar) kurashi;
2. Ijtimoiy konflikt – asar qahramonlari bilan ular yashayotgan sharoit o‘rtasidagi kurash;
3. SHaxsiy – intim konflikt – bir biriga qarama-qarshi xarakterlar, guruhlar o‘rtasidagi kurash. Konfliktning ushbu uch xili hamma romanlarda ham uchraydi, lekin psixologik konflikt etakchi bo‘lgan asarlar (“Sarob” - A.Qahhor; “Ulug‘bek xazinasi” – O.YOqubov) doimo adabiyotning sifat ko‘rsatgichi bo‘lib, yorqin iz qoldirganlar.
Jumladan, “O‘tkan kunlar” romanida YUsufbek hoji, Otabeklarning maslakdoshlari bilan Musulmonqul, Azizbekka o‘xshash feodal tuzum hukmdorlari orasidagi to‘qnashuv – ijtimoiy konfliktga asos solsa, Otabek, hasanali, Qutidor va homid, Mutal, Sodiq, Jannat kampir o‘rtalaridagi olishuv-shaxsiy-intim konfliktni keltirib chiqaradi. Otabek ikkinchi martaba uylanish Kumushga nisbatan xiyonat ekanini tushunadi, axloqsizlik qilayotganini tan oladi, biroq ota-onaning irodasiga bo‘ysinadi. Ana shu jarayonda qalbida kechgan kurash-psixologik konfliktni vujudga keltiradi. Uch xil konflikt birlashib, katta qudrat kasb etadi va “O‘tkan kunlar” syujetining shiddatli va ta’sirchan harakat qilishini, asar qahramonlarining dramalarini yaqqol ochilishini ta’minlaydi.
3. Tugun – badiiy asardagi harakatning boshlanishi, konfliktning “urug‘i”. U ilk tarzda, “urug‘” shaklida ko‘ringan qarama-qarshilikni kuchaytiradi. Konfliktning boshlanish jarayonidan xabar beradi.
“O‘tgan kunlar”dagi konfliktning “urug‘i” Otabek bilan homid o‘rtasida sodir bo‘ladi. ular uylanish haqida bahslashadilar. Otabek “Oladurg‘on xotiningiz sizga muvofiq bo‘lishi barobarida er ham xoting‘a muvofiquttab’ bo‘lsin,” – desa, homid “Xoting‘a muvofiq bo‘lish va bo‘lmasliqni unga keragi yo‘q, xotinlarg‘a “ er” degan ismning o‘zi kifoya...” – deydi. Otabek yakka muhabbatni yoqlasa, homid ko‘p xotinlikni ma’qullaydi. Mirzakarimboy otlig‘ savdogarning “SHundog‘ ko‘hlikki, bu o‘rtada uning o‘xshashi bo‘lmas” qizi tilga olinganda “homidning chehrasi buziladi”, toqatsizlanadi. Otabek esa “g‘ayriixtiyoriy bir tebranadi”, chayqaladi.
Otabekning Kumushga ishq qo‘yishi va homidning ham Kumushdan umidvorligi to‘qnashgan joy – tugunni keltirib chiqaradi. Demak, tugun harakatni aniqlashtiradi, voqeaning asosli va shiddatli rivojlanishiga turtki bo‘ladi, syujetning rivoj yo‘liga, qanday echilishiga kitobxonni qiziqtiradi.
4. Voqea rivoji. Tugundan boshlab to kulminasion cho‘qqigacha tasvirini topgan voqealar – voqea rivoji hisoblanadi. Voqea rivojida – obrazlarning o‘zaro munosabatlari (kurashlari, simpatiya va antipatiyalari) keng va batafsil tasvirlanadi, xarakterlarning qirralari baralla ochiladi, asarda aks ettiriluvchi muammo o‘zligini bo‘yi-basti bilan yaqqol ko‘rsatadi.
Masalan, “O‘tgan kunlar” romanida Otabek Kumushga uylanadi. Kumushdan benasib qolgan homid tuhmat uyushtiradi: uning chaqimchiligi natijasida Otabek va Qutidor qamoqqa olinib, dorga osishga hukm qilinadilar. Gunohsizligi oshkor bo‘lib, dor yonidan qaytadilar. O‘zbek oyim tazyiqi (to‘g‘rirog‘i orzusi) tufayli Otabek Zaynabga uylanadi. homid Otabek nomidan “taloq xati”ni uyushtiradi. Qutidor kuyovini darbozasi oldida “Uyatsizga manim uyimdan o‘rin yo‘q, uyatsiz bilan so‘zlashishga ham toqatim yo‘q” – deya quvlaydi. Kumush Komilbekka unashtiriladi. Komilbek o‘ldiriladi. homidning siri fosh bo‘ladi. Otabek u bilan kurashishga bel bog‘laydi.
YUzaki tarzda bayon etilgan ushbu voqealar – “O‘tgan kunlar” romanining voqea rivoji sanaladi: sof, beg‘ubor muhabbatning og‘riqli, ziddiyatli chigalliklari tobora avjlanib boradi, u rivojlangani, o‘sgani sayin – Otabek va homid guruhi bilan bog‘liq obrazlar galereyasi olami o‘quvchi ko‘z o‘ngida yaqqol gavdalanadi.
5. Kulminasiya (lat. Culmen- cho‘qqi) – syujet rivojining eng yuqori cho‘qqisi sanaladi. Bu “cho‘qqi”dan turib qarasak, asarda ishtirok etuvchi hamma obrazlarning qismati aniq ko‘rinadi: ular xarakteri to‘la-to‘kis ochiladi.
“O‘tgan kunlar”da Otabek bilan homidning hayot-mamot kurashining yakuni, ya’ni Kumushni o‘g‘irlashga urinish kechasi Otabek tomonidan avval Mutal polvonni, so‘ng Sodiq tomtesharni, keyin homid xotinbozni o‘ldirilishi – kulminasiya sanaladi. Ana shu voqeadan so‘ng, voqealar rivojlanishi xotimaga tomon yo‘naladi.
6. Echimda-asar syujetidagi voqea va qahramonlar taqdiri hal qilinadi. Tugun echiladi. Kurash xotima topadi. “Oqilona hayot” o‘zining adolatli hukmini chiqaradi. “O‘tgan kunlar”da homid va uning hamtovoqlarining ayanchli o‘limi, Kumushning vafoti, Otabekning shahid bo‘lishi – echimga dalolatdir.
7. Epilog (yunoncha. Epi – so‘ng, logos-co‘z) – xotima (ar. Biror narsaning oxiri, so‘ngi, tugashi, tamom bo‘lishi) syujetning asosiy voqealari tamom bo‘lsa-da, hamon taqdiri aniq bo‘lmagan ba’zi qahramonlarning qismati xotima topadi.
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“Asarning syujetli bo‘lishi uning estetik qimmatining eng muhim shartlaridan biridir. Syujetsizlik badiiysizlikka olib keladi” (N.CHernыshevskiy , demak, syujet badiiy adabiyotning barcha turlari va janrlarida bo‘lishi tabiiydir. Lekin uning voqey bo‘lishi har bir tur va janrning predmetiga, tabiatiga mos bo‘ladi. Chunonchi, g‘azalda ham syujet mavjud, unda, ayniqsa, syujetning to‘rtta tarkibiy qismi (tugun, voqea rivoji, kulminasiya, echim) doimo mavjud bo‘ladi. Eng asosiysi, unda voqea rivoji yaqqol ko‘rinmasa-da, lekin sezasiz: tasvirlanayotgan kechinma (hislar, tuyg‘ular silsilasi) tarixi, taraqqiyoti, rivoji, yakuni yaqqol ko‘zga tashlanadi:
Badiiy asar syujeti bilan kompozitsiya birlashganda, yaxlitlashganda – ularning qudrati beqiyos bo‘ladi: hayotiylikni, badiiylikni, ta’sirdorlikni tiriklik nuri bilan ta’minlaydi, jonbaxshiydalik qiladi, o‘zligini asar g‘oyasiga, xarakterlarga baxshida etadi va ayni chog‘da, ularga beminnat xizmatidan o‘zi ham go‘zallikka o‘ranadi, takrori yo‘q badiiy vosita ekanligini voqe qiladi.