Мақола А.Фитратнинг “Қиёмат” ҳикоясининг кўпсатҳли матни ва унинг мазмуний қатламлари  таҳлилига бағишланган. Ҳикоя матнидан олинган парчаларни Қуръони Карим, ҳадислар ва бошқа  диний манбалардаги талқинларга қиёслаган ҳолда муаллиф А.Фитрат ҳикоясидаги комиклик унинг диний сатҳига дахл этмасдан, балки унда акс этган тарихий, ижтимоий ва психологик жиҳатларга  таалуқли эканини асослашга ҳаркат қилади. Почамир-Рўзиқул образи таҳлили орқали ҳикоя қаҳрамонининг исми, хатти-ҳаракатлари ва нутқида намоён бўлувчи иккиёқламалилик пировардида асарга хос комикликнинг муҳим қиррасини шакллантиради деган фикр ўртага ташланган.
 

Статья посвящена анализу многослойности текста рассказа А.Фитрата «Қиёмат» (“Страшный Суд”) и его смысловых измерений. Сопоставляя фрагменты текста рассказа с толкованиями Корана, хадисов и других религиозных источников, автор пытается доказать, что комическое в рассказе А.Фитрата не затрагивало его религиозный уровень, а концентрировалось на исторических, социальных и психологических аспектах, отраженных в рассказе. Через анализ образа главного героя проводится мысль о его двойственности, отразившейся в имени, поведении речи Почамира-Рузикула, которые в сумме формируют одну из граней комического в произведении.
 

The article is devoted to the analysis of the multilayered text of A.Fitrat’s story “Kiyomat” (“The Judgment Day”) and its semantic measurements. The article highlights up to five main dimensions of the text proved to be important: Judgment Day, the World of the Protagonist, Other Heroes, the Position of the Author, Life of the Text in Time, each of which is not a frozen system, but, layering one on another, appears in different ways, depending on changing point of view on it. This proves the immortality of this work, which at different times highlights the different facets of the philosophical, social and moral problems inherent in it, but invariably remains relevant at all times, regardless of what sign (positive or negative) they perceive it as “Own” or "Alien", fans or detractors of the writer's talent.

The objective of the article is to consider the first dimension of the story: Judgment Day. Comparing the events in the story of A. Fitrat with the interpretations of the Koran, Hadith and other religious sources, it is proved that the comic in the story of A. Fitrat did not concern its religious level, but concentrated on the historical, social and psychological aspects reflected in the story. The basis for this statement is a detailed analysis of the description of the Doomsday in the work, set out in the framework of the life story of Pochamir after his death. Description of the funeral ceremony and the entire sequence of events awaiting the dead after death, starting with interrogating them in the grave by angels Munkar and Nakir, and continuing with the sounds of the trumpet of the Archangel Israfil, announcing the beginning of the Doomsday, as well as weighing the good and the evil deeds of a person on the Scales of Justice, the presentation of the Book of the Deeds of man, the movement of people across the Hair Bridge (Sirot), thrown over the enormous fire pit, and, finally, the description of paradise and paradise delights, outlined in the story, correspond to the information given in reliable sources. Comparative analysis showed that in the story A. Fitrat strictly adhered to the norms in everything: both in describing the sequence of events not disturbed even in details (the message from the Lord received by Munkar and Nakir after interrogating Pochamir), and in placing the hero in paradise, which at first was not known, but was prompted by the logic of events (lack of grave agony, the ability to drink water from the sacred lake Kavsar, safe movement across the Hair Bridge), as well as in the depiction of the details of the other world, including descriptions of frightful angels and images of charms and enjoyment of the Garden of Eden. It is noted that in the story A. Fitrat applied his religious knowledge, not allowing himself even a shadow of a smile regarding the heavenly categories. Consequently, the comic is deployed in other dimensions of the text, namely in the depiction of the world of the main character, his relationship with others, his adventures, and the author’s irony. Each of the marked dimensions of the text deserves a separate study. Based on the analysis of the single one dimension discussed above, questions already arise: can the story genre continue to be characterized as satire? Is it true that satire is written in “Kiyomat”? What did A. Fitrat mean by this word? The analysis of the subsequent levels of the work will give answers to these questions, but here we confine ourselves to the statement that the story of A. Fitrat “Kiyomat”, as a phenomenon of the great literature, has highlighted only a small edge of the meaning invested in it, and is still waiting for its equal research.