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0THE MAIN CHARACTERISTICS OF ALLEGORICAL WORKS AND CHILDREN ROLE
IN EDUCATION
GULNARE NESIBOVA
School 143, Binegedi district, Baku, Azerbaijan
Summary. The article talks about the development features of allegory in children's drama. In particular, examples of children's literature, the main characteristics of allegorical works and their role in children's education are discussed. At the same time, forms and methods are reflected. The main role of allegorical drama works in children's education is appreciated. In our modern times, developing Azerbaijani children's drama is of great importance in educating young people and teenagers in the spirit of national traditional values. In general, the lack of certain consistency in the development of modern Azerbaijani children's drama, the episodic nature of the performances that appear at separate moments, leads to the incompleteness of the idea-artistic direction.
By passing a special stage of development, a certain literary tradition is reflected in Azerbaijani children's drama. By continuing this tradition, it is necessary to intensify its development, systematize it and enrich it with innovative ideas with a single idea-artistic level. It is necessary to adapt to the requirements of the modern globalized society. Because the influence of children's literary examples in the direction of raising citizens worthy of the future motherland is great. Special attention should be paid to the development of this area.
Key word: allegory, children's drama, fairy tale and legend, composition, folklore motifs
ALLEQORIK 9S9RL9RIN 9SAS SaCIYY9VI СЭНЭТЬЭМ УЭ U§AQLARIN
T9RBIY9SIND9KI ROLU
GULNAR9 N9SIBOVA
Binaqadi rayonu, 143 nomrali maktab Baki, Azarbaycan
Xulasa. Mdqalddd u§aq dramaturgiyasinda alleqoriyanm i§lanma xususiyyatlarindan bahs olunur. Xususila u§aq dddbiyyati numunalarindan, alleqorik asarlarin asas saciyyavi cahatlari va u§aqlarin tarbiyasindaki rolundan sohbat agilir. Eyni zamanda forma va usullar oz aksini tapir. Alleqorik dram asarlarinin u§aqlarin tarbiyasindaki asas rolu dayarlandirilir. Qagda§ dovrumuzda Azarbaycan u§aq dramaturgiyasini inki§af etdirmak ganclarin va yeniyetmalarin milli ananavi dayarlar ruhunda tarbiya edilmasinda boyuk ahamiyyat kasb edir. Umumilikda, muasir Azarbaycan u§aq dramaturgiyasinin inki§afinda muayyan ardicilligin olmamasi, ayri-ayri maqamlarda meydana gixan tama§alarin epizodik mahiyyat da§imaqla, ideya-badii istiqamat yarimgiqligina aparib gixarir.
Xususi inki§af marhalasi kegmakla Azarbaycan u§aq dramaturgiyasinda muayyan adabi anana ozunu aks etdirir. Bu ananani davam etdirmakla onun inki§afini intensivla§dirmak, sistemla§dirmak va vahid ideya-badii saviyyaya malik novator ideyalarla zanginla§dirmak lazimdir. Muasir qloballa§an camiyyatin talablarina uygunla§dirmaq lazimdir. Qunki galacak vatana layiq vatanda§larin yeti§dirilmasi istiqamatinda u§aq adabi numunalarinin tasiri boyukdur. Bu sahanin inki§afina xususi diqqat yetirilmalidir.
Agar sozfor: alleqoriya, u§aq dramaturgiyasi, nagil va afsana, kompozisiya, folklor motivlari
It is a well-known fact that children's literature has various tasks. The most important of those tasks is to guide the growing generation in a moral, moral and humanitarian way. Children's literature has an important educational function. Thus, a child artist is also a nurturing teacher. The
famous literary critic M. Jafar rightly pointed out in his report on children's literature that "A real, talented children's writer, known and loved by children, is also a teacher and educator. In some cases, he is even a teacher of teachers and tutors. Although he is not directly involved in teaching at the school, he is always an educator in the family, kindergarten, and school with his works. A writer who does not have these qualities cannot be considered a real children's writer" (3, 94). In children's drama, allegory arises in a different form in connection with various compositional elements. Some of them were written using folklore motifs. It carries modern idea content based on modern means of thinking and expression. In one part, only animals and birds, details of nature - plants, trees, mountains, valleys or celestial bodies, sun, moon, stars, etc. in the case of his participation, in the other part, together with them, people, as well as children, are in the front row as the leading characters. In the plays "Laughing Mountain" by A. Samadov, "Cock" by F. Agayev, "My Chickens" by Mutallibov, there are only details of animals and nature. Dramaturgy reflects the continuation of a number of traditional qualities gained in the field of children's poetry. A number of traditional psychological conditions existing in childhood are reflected in human life as colorful features of animal "society". The main characteristics of some allegorical works created in the field of dramaturgy differ from poetry and prose. As a rule, in poetry and prose, the analogue of this kind of presentation is created in most cases on the contrary. That is, against the background of some real or fictional events in the lifestyle of animals and birds, it manifests itself in the form of positive qualities that are shown as examples to people, especially children. Some children's plays use ceremonies and rituals that exist in people's lives written in an allegorical form. That is to say, in the play "Rabbit's Birthday" by K. Alibayli, a number of positive and negative qualities present in them are used in the description of the birthday ceremony that belongs only to people. By means of comparisons, characteristic methods of interactions with different animals are used. Nightingale, hedgehog, lamb, etc., who came to the rabbit's birthday with good intentions. beasts like foxes and wolves are dying along with living things. At the same time, they intend to spoil this celebration. Halabash, who heard about this, pulls the guard of the rabbit's house. As a result, with the help of his friends, he crushes both of them and drives them away. The physically weak unite for good causes. No strong and cunning predator can sink them. This aspect, which constitutes the main idea direction of the play, is also typical for other stage works written in the same form by H. Alibayli. The author's play "The fox goes to court" follows the same idea. Similar literary devices are used in the use of plot and content. By transferring the judicial process, which belongs only to human society, to the life and everyday life of the animal world, the writer manages to emphasize the idea he wants to instill in children through mutual comparisons. He also strives to make it concrete through visual means. It can be said that this process starts from the name of the work. Therefore, it is easy for children to understand with what insidious intentions the fox, depicted and typified in the human imagination with his identity, appearance, and all his cunning, went to the court. Almost the same literary principle is used in the plays "Cock" by F. Agayev about the life of birds, "Fate of the Fox" by S. Mammadzadeh, "Yulag Top" by F. Sadykh, whose participants are mostly natural objects, and "Laughing Mountain" by A. Samadov. independent plot, content and compositional lines emerge. The general picture of the specific field of children's drama is enriched. The idea direction of R. Alizade's allegorical plays "Bathroom in a bathroom" and F. Mammadov's "Hungry ear, peaceful ear" also meets the didactic educational position of those works. There is a unique competition of special means of expression. From this point of view, it opens the way for the discovery of non-ferrous compositional paints. As in the allegorical poem series and poems of H.Ziya, Z.Khalil and T.Elchin in the poetry genre, in the plays mentioned in the field of dramaturgy, especially in those works of F.Sadigy and A.Samadov, there are a number of original qualities within the specific possibilities provided by the genre. shows itself. It is in the spotlight in terms of the proportional solution of the problem of tradition and innovation in stage productions. F. Sadig's method of expression in this area revives imagery. It almost reveals inner voices and dialogues. Literary qualities that we often come across are found in the allegorical plays of J. Mammadguluzade and A. Shaig. We can say with regret that later it became a special tradition and
did not develop systematically. Today, when we talk about children's drama, we can only talk about their individual characteristics. In the play "Aycan" in which the characters of Kh. Alibayli are made of flowers, such signs come across at least a little. In general, despite the decorative way of describing the exotic nature, the work wins the reader's and viewer's sympathy with its mood and attitude towards the world of beauty. It instills in children a sense of love for purity, freshness and charm, as F. Dostoyevsky said, "Beauty will save the world." This allegorical play, in which children participate in the example of the siblings named Gulyaz and Aycan, also creates a basis for revealing the moral and psychological factors that determine the boundaries of good and bad, beauty and ugliness. So, through specific nature details, children are directed in the right practical direction.
The majority of modern children's dramas of the 1970s and 1980s are intended for older children. There are many plays about school life. In these plays, written in a realistic style, the direction of the educational idea is in the leading position. The numerical abundance of the repertoire stands out for its richness in terms of statistical information. In these plays, the completeness of the idea content and the artistry of the problem are reflected. S. Dagli's "Towards Clarity", G. Ilki's "New Student", Anar's "Last Night of Last Year", G. Rasulov's "Goodbye, India" and S. Gadirzade's "Shirbala Gathers Honey" plays are in the spotlight. G. Ilkin's play "New student" is dedicated to a problem that is rarely touched upon in dramaturgy - conflict situations between a teacher and a student. Here, the integrity of the compositional elements, the reality of the events, the liveliness of the dialogues lay the foundation of a play. Mainly Nazakat is worried about the conflict between the teacher and Polad, his new student who was unjustly expelled from another school. It is reflected in the field of the author's accurate life observations with real and natural lines. Although issues and problems of this type are raised in the plays of G. Ilkin's "Your Peers", Y. Azimzade's "Neighbors", R. Heydar's "Rings of Bells", J. Mammadov's "Hayatin astanasinda", which could not rise to the same level in terms of artistic artistry, their artistic the solution shows that it is at a much lower level than the artistic features in the work "New Student". S. Dagli's "Towards Clarity" and Anar's "The Last Night of Last Year" were staged based on their story and novel of the same name, respectively. Against the background of the relay of generations, the issue of building all good, human aspects on genetic roots and family traditions is considered one of the main problems that the author puts forward and tries to justify artistically in the play. The characteristic aspects are reflected in the method of upbringing of a single mother who lost her husband prematurely. In fact, by determining the future of this large family consisting of four children, it indicates the absence of a hardworking father who lived his life with honor and honor. This father actually participates throughout the play as an equal character in the work. Thus, he can put an end to the finale of the composition. From this point of view, he has his voice, words, opinions, that is, he himself. These moments and details in the play have a special impact. In both children and adults, it can arouse a sense of attachment to the family, the right and honorable way of life. Innovative elements in the work, i.e. the method of turning a long-dead person into a play character through an ordinary tape recording, lead to the result of the author's creative pursuits. There is a discussion about using the motifs of fairy tales and legends, the idea direction of didactic literature.(5, 12)
S. Daglin's play "Towards Clarity", which is taken from the life of the great playwright J. Jabbarli, opens the way to solving almost the same problems. In this work, written in a more biographical style, it is said that he devoted his life to the development of not only one family, but the cultural level of the entire nation, its theater and cinema arts. Obstacles encountered by an irreplaceable person who is a victim on this road, his sad and happy moments are presented with lively and memorable scenes, subordinating them to the general content and direction of ideas within a certain joy. Although Jabbarli cannot fully cover his life and career, both the novel and the play are important in terms of making vivid observations about a great artist. As a work written on the basis of archival materials and memories, it is invaluable in terms of filling a certain gap. G.
Rasulov's biographical historical play "Farewell, India" reflecting some moments of the life of the famous Azerbaijani traveler Haji Zeynalabdin Shirvani, which attracts attention with its content of ideas and modernity of thinking. It is one of the stage works developed in the same form. If we don't take into account certain points of using the plot line of the movie "3 Behind the Sea", which was made long before this play about the famous traveler Afanasy Nikitin, the work "Goodbye! India" has a certain importance in terms of introducing a valuable historical figure of Azerbaijan to children. A. Babayev's play "An unfinished picture" about the life of the famous Azerbaijani artist Bahruz Kangarli also has a more promotional significance, like "Goodbye, India" in the direction of encouraging the kind of document that is difficult to create a general idea through certain information and requires special effort and endurance. From the point of view of the artistic solution of this propaganda feature, both plays are at approximately the same level and are not devoid of certain innovative elements. Although the comedies "Shirbala gathers honey" by S. Gadirzade and "Sagliq ulsun" by I. MeIikzade are more intended for young students in terms of theme and idea, they are important from the point of view of creating a moral and pedagogical basis for preparing children for their future. These plays are also in the spotlight from the point of view of instilling a healthy, thought-provoking sense of humor in the little citizens who are on the verge of real life. The educational direction of the pedagogical preparation of these viewers, who will enter the student phase of their life after one or two years, constitutes the main idea of the work "Shirbala gathers honey". In terms of the artistic solution of this idea, it is suitable for their age level. In the 1970s and 1980s, the science fiction that young audiences were especially fond of in Azerbaijani children's drama could be realized only in N. Ganjali's play "Wealth of the Burnt Planet". The main content of the play is the meeting of the "Sabah" spacecraft, which took off from the Baku Cosmodrome, with the American crew of astronauts who set off with the intention of obtaining more wealth on a planet located in the Centaur constellation, and their conflicting relationship arising from their dual relationship in the same facility. In the play, the methods of the detective genre are used more than those of science fiction in the expression of the vulgar-sociological view of such system and ideology diversity, which still continues in the 1970s. The patterns and schemes noticeable in the compositional elements of the work are sometimes artificial and unnatural, as they are not subordinated to a certain artistic goal. This undermines the general spirit of the play. In general, the lack of certain consistency in the development of modern Azerbaijani children's drama, the episodic nature of the performances that appear at separate moments, leads to the incompleteness of the idea-artistic direction. The experience of world literature, including its branch of drama, shows that the variety of themes and content, ideas, and artistic elements should serve a sequence based on a certain system, a general direction characteristic of a particular school that resonates with time and period. In our modern dramaturgy, in the general picture created by the literary products of the 1970s and 80s, this principle is not observed so much. If this is related to the specific level of individual playwrights and theaters on the one hand, on the other hand, the weakness of the mobilization power and position of literary criticism should be explained. If the informative reviews dedicated to individual plays are not taken into account, there is no significant, guiding scientific critical article related to children's drama. Children's drama, as mentioned above, is usually forgotten in scientific studies and monographs. It moves away from the process of analysis and research. In connection with our topic, none of the problematic articles devoted to children's literature (M. Rzaguluzade, J. Ahmadov, Sh. Jamshidov, etc.) mention dramaturgy. But there is such drama. Among the examples of this genre, as mentioned above, there are many works with a certain idea and artistic significance.
Azerbaijani children's dramaturgy has a certain literary tradition, passing through a special stage of creation and development. By continuing this tradition, ensuring its development as a special system and directing it to an innovative quality direction with a single idea-artistic character is one of the main tasks facing this genre.
LITERATURE
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