Maxmasharifova Shodiyabegim

A prospective specialist acquiring knowledge in Economics and Pedagogy

The Motif of Fear in Abdulla Qahhor’s Short Story “Daxshat”:

The Clash Between Psychology and Social Environment

Abstract

This article analyzes the short story “Daxshat” by the prominent Uzbek writer Abdulla Qahhor. In the work, the motif of fear is not presented merely as a narrative element, but as a manifestation of the violation of individual social rights and profound psychological suffering. The story is examined from the perspective of modern psychology, particularly through the theory of fear developed by Sigmund Freud. The literary-critical views of Ozod Sharafiddinov and Matyoqub Qo‘shjonov are also discussed in a scholarly and publicistic manner.

Keywords: Abdulla Qahhor, “Daxshat”, Unsin, motif of fear, social oppression, realism, cemetery.

Abdulla Qahhor entered Uzbek literature like “a ray of light.” Each of his short stories represents a small world; however, carrying the weight of this world requires considerable emotional and intellectual readiness from the reader. Despite their concise form, Qahhor’s stories possess deep psychological intensity.

As literary scholar Ozod Sharafiddinov noted:

“Qahhor turns his gaze to such layers of the human soul where the boundary between fear and courage, baseness and nobility, is thinner than a strand of hair.”

The image of Unsin in Abdulla Qahhor’s short story “Daxshat” exists precisely on this fragile psychological boundary. Analyzing Unsin’s inner experiences through the lens of modern psychology—specifically Sigmund Freud’s theory of fear—helps reveal the core essence of the work. Freud classified fear into three types: real fear, neurotic fear, and moral fear. In Unsin’s character, all three forms tragically collide.

Real Fear and the External Environment

According to Freud, real fear arises from a tangible danger in the external world. For Unsin, the nighttime cemetery, wild animals, or corpses represent real sources of danger. However, Qahhor’s artistic mastery lies in using real fear merely as a background element rather than the central focus. When Unsin enters the cemetery, his mind sends a signal to “escape,” yet social pressure and coercion shackle his movements and suppress this instinct.

Moral Fear and the Superego

Moral fear emerges from a person’s sense of responsibility toward their conscience and the moral norms imposed by society. Freud explains this phenomenon through the concept of the Superego. Unsin fears not the horror of the cemetery as much as Dodkho’s wrath and the violation of his honor and dignity. His tragedy lies in the fact that the Superego—social obligation—defeats his instinct for survival. Although he fears death, he trembles even more at the prospect of living in forced submission with Dodkho.

Neurotic Fear

The most critical moment in the story occurs when Unsin’s foot sinks into the mud and he imagines that he has stepped on a corpse. This episode is a classic example of neurotic fear as defined by Freud. Here, the threat does not originate from the external world but from the individual’s internal imagination. Under extreme emotional tension and panic, rational thinking collapses. Unsin’s unconscious fears are awakened, and reality is interpreted in a horrifying manner. As a result, the human psyche cannot withstand such pressure.

Regarding this scene, Ozod Sharafiddinov states:

“Unsin’s death is not merely a cardiac arrest, but the collapse of a human imagination that crashes into the terrifying wall it has created itself.”

Literary scholar Matyoqub Qo‘shjonov writes:

“It was not the cemetery that killed Unsin, but the remnants of outdated traditions that enslaved his will and the violation of human dignity that led him to this state.”

Conclusion

The motif of fear in Abdulla Qahhor’s “Daxshat” serves as a symbolic representation of a society in which personal freedom is suppressed. Through Unsin’s tragic death, the author exposes the ugly reality of his era and highlights the individual’s psychological loneliness. The story demonstrates that fear is not solely generated by external threats, but is intensified by inner powerlessness and social oppression.

In my view, for contemporary readers, this story stands as a profound moral lesson emphasizing the importance of protecting human dignity and liberating individuals from the shackles of fear and ignorance.

References

Qahhor, A. Selected Works. Tashkent: G‘afur G‘ulom Publishing House, 2010.

Sharafiddinov, O. The Difficult Path of Creativity. Tashkent: Literature and Art, 1980.

Qo‘shjonov, M. The Mastery of Abdulla Qahhor. Tashkent: Fan, 1988.

Freud, S. Introductory Lectures on Psychoanalysis. (translated edition)