Stylistics. I.R.Galperin.M “H.S.”. 1977

1. Stylistics. I.R.Galperin.M “H.S.”. 1977.

Two human being are compared. Eshik ochilib, shop mo`ylov, go`shtdor yuzidan zaxar tomchilagan Mocholov bilan birga, uning kabi pochonli, yarog`-aslaxali ikki tora zinada qaqqaydi.

The nature of simile is to compare two (or several) objects which belong to different class of things. Simile finds one or several features which are common to the objects compared: The sun was as red as ripe new blood. (J. Steinbek). Men seni olganimda, oftobda qurigan turshakdek butishgan, qop-qora eding. Endi to`lishib, tuxumdek silliq tortib ketding …, dedi Jamoliddin Nuriga.

Different features may be compared in simile: the state, actions, manners, Eg. My heart is like a singing bird; I crawled like a mole onto my bed; the body was tensed as a strong leaf spring. U quyosh nurida cho`g`dek lovillab turardi. Boshimdan laptarlardek uchdi ming-minglab xayol.

If we compare a simile with a metaphor we can see that a metaphor is also based on the similarity of two ideas, but in simile both ideas are denoted by word used in their direct meaning: Della’s beautiful hair fell about her ripping and shining like a cascade of brown water … Arbab quyning mayib bo`lganini ko`tib qaynar qozondek toshdi. In a metaphor an idea is expressed by a word used in a figurative meaning. Down rippled the brown cascade of her hair. (Down fell in ripples her hair). Shamol kuchaygan sari, dengiz chayqalar, qaynar, ko`pirar. In the first sentence the word “cascade” “qaynar” has retained its direct meaning, in the second examples it is used in a figurative meaning as a metaphor.

Similes enrich English phraseology: like a squirrel in a cage; as clear as crystal; to sleep like a dog; like a streak in lighting, busy as a bee, blind as a bat, qo`yday yuvosh, it olgan tulkiday, qutirgan bo`riday, suvga tushgan mushukday, muzday sovuq, bolday shirin, tulkiday ayyor, qora qarg`aday. These phraseological units are trite similes and have become clichés. The stylistic function of simile may be different:

1) Imaginative characterization of a phenomenon.

2) To produce a humorous effect by its unexpectedness. A nice old man, hairless as a boiled onion. …boshi oshlangan teriday silliq, qoshlari quay tushgan po`stakdeksiyrak sex boshlig`i

Periphrasis. Periphrasis is the nomination of an object or action through exhibiting certain features of this object or action. Such periphrasis is based on one of the original features of the object: The sun was beginning to yawn and edge towards his bed, behind the far mountains (S. Maugham), the sun was setting. She wondered a little to and fro, perhaps clumsily, but still with marked success, maintaining her balance on those two tiny supports (A.Bennett), standing on her little feet.

Biroq qizi tushmagurning xusnimi, shirin so`zlarimi, xar qalay G`iyossiddinning til-jag`ini bog`lab, qulog`ni kar, ko`zini ko`r qilib qo`ygan edi.

Periphrases are divided into to group: logical and figurative. In the first group of periphrasis the logical notion prevailes while in the second group-the figurative notion is leading and periphrasis is based on some image. The logical periphrasis constitutes the essence of traditional dictionary periphrasis: to turn over a new leaf (make a new, a better start), one’s better half (one’s wife), to tie the knot (to marry); the House of God (the church or chapel) “til jag`ini bog`lab” gapira olmaydigan, “qulog`ini kar”xech narsani eshita olmaydigan, “ko`zi ko`r”xech narsa ko`rmaydigan. All these word combinations are synonyms by nature and have become phraseological units. Many of such word combinations are used in the language of mass media. Some of them are spread in the language of official style because they have become clichés.

Figurative periphrasis is often based on the use of a metaphor or metonymy; Five weeks of perfect liberty … would have prepared her for the day of bells (for the day of wedding). He jumped to his feet, rattled his throat, planted firmness on his brows and mouth … that his blood might be lively at the throne of understanding (his brains).

“Yoz bo`yi elpig`an elpig`ichini,

Erga yo`shab soldi qishga ko`rpacha”

“Oppoq mo`ylovini burab kelar qish”

One of the stylistic functions of periphrasis is to produce a satirical or humorous effect sarcastic description. In “Come on”, said Miss Hand forth, “has the cat got your tongue?” (Can you speak?).

Euphemism is a periphrasis, which is used to rename an unpleasant word or expression. Eg. Death: the journey’s end; to die; to cross the bar; to join the majority, to hop off the twig, “aqli qisqa” instead of “axmoq” qulog`I og`ir instead of kap, qo`li egri instead of o`g`ri; olamdan o`tmoq, qurbon bo`moq, jon bermoq instead of o`lmoq. Usually euphemisms are defined as words or phrases which produce some mild effect. Instead of saying “to lie” people usually use such expressions as: to tell stories, to possess a vivid imagination.

The origin of the term “euphemism” discloses the aim of the device very clearly. I.e. speaking well—from Greek –eu=well+-pheme=speaking.

Euphemisms do not live for a long time. We trace periodic changes in terminology: the madhouse, lunatic asylum, and mental hospital; “qizamiq” ® “gul, oymoma, xaymoma”; “chayon” ®“oti yo`q, benom, besh bo`g`in”;

We distinguish the following groups of euphemisms; religious, moral, medical, poetical. The political euphemisms always delude public opinion, distort the political events. Instead of saying “a liar” in the political sphere we usually come across such expressions as; terminological inexactitudes; “ishsizlar” ®ijtimoiy-foydali mexnat soxasida band bo`magan kishilar.

In emotive prose euphemisms are usually expressed by metonymy, metaphors or periphrases.

One of the stylistic functions of euphemisms-is to produce a humorous effect or to distort the truth, to make the statement milder. Eg. Intoxication drunkenness; perspiration-sweat; tomog`ini moyladi-pora berdi, kesilib ketdi-qamaldi.

Hyperbole. Hyperbole as a SD must be distinguished from exaggeration as every exaggeration cannot be regarded as a SD. For example, the following expressions: Haven’t seen you for ages; I`m dying to see it; Immensely obliged, Seni deb o`lib turibdi, osmonga ustun bo`1armiding; osmondan kelmoq, bir dunyo narsa oldik. Are common colloquial phrases used in every day speech. Usually individual hyperboles constitute a SD;I ought to be shot for not recognizing it. My mother was shocked to morrow of her bones by the thought. Toychoqqinam, kolxoz osnginatuzilmagan, qon to`kkanmiz.

A hyperbole is employed for direct quantitive exaggeration: “Do you think we have anything to say one another?”-She asked quickly-“miles”. I don’t know any of my relations, are they many? –“Tons”

Hyperbole may be expressed in a periphrastic descriptive way: What I suffer in that way no tongue can tell. (K.Jerome). “No tongue can tell” means “it is very difficult to express by means of the language”. In this case hyperbole is based on metonymy (tongue) Hyperbole may be used in combination with other SD, hyperbolic similes: His mind began to move like lighting. She was as grace full as a meridian of longitude; hyperbolic metaphors; Gradually he was becoming acclimatized to the strange town, primitive and isolated entombed by the mountains. Hyperbole may be found in repetition. I’d have been out there days ago-days ago. Mendek dangalchiga xam shunaqa tuxmat qilasizlarmi oshnalar? Menman degan xo`kizning shoxini sindirishga xam kuchim etadi-ya.

III. Conclusion

In the conclusion section I’d like to write brief in formations about lexical stylistic devices of the Uzbek and English languages with examples.

The stylistic device based on the principle of identification of two objects is called a metaphor. The SD based on the principle of substitution of one object for another is called metonymy and the SD based on contrary concepts is called irony.

There is an opinion that a metaphor is a productive way of building up new meanings and new words. Language can be called the “dictionary of faded metaphors”.

Examples of trite metaphors: The salt of life; a flight of imagination: the ladder of fame; to burn with passion (anger). The following metaphors enriched English phraseology; foot of a bed, leg of a chair, head of a nail, to be in the same boat, blind window, to fish for complements. Here Uzbek examples o`q yomg`iri, o`lim do`li buloq ko`zi.

Examples of genuine metaphors: The lips were tight little traps the whole space was a bowl of heat; this virus carried a gun; the dark swallowed him;

Mrs. Small`s eyes boiled with excitement; the words seemed to dance …. Xademay, ularning safari qoridi. Daryo oqar, vaqt oqar, umr oqar paydar-pay. Boshimdan kaptarlardekuchdi ming-minglab xauol. Gullar go`yo eshitar ta`zim.

SD based of the interaction of dictionary and contextual Logical Meanings.

a) The epithet is a stylistic device which is built on the interplay of two meanings of a word: emotive and logical. Eg. Eng. green old age.

Uzb. Pokiza yoshlik.

b) Oxymoron joins two antonymous words into one syntagm, most frequently attribute or adverbial, less frequently of other patterns.

Ex: Eng. Shouted silently

Uzb. Ishbilarmon dangasa.

SD. Based on the interaction of lexical and emotive meaning. The interplay between the logical and nominal meanings of a word is called antonomasia

Ex: Eng. Lord Nobody; Miss Careless

Uzb. Tolmas, qo`rqmas.

Eng. The Iror Lady (M.Tcatcher, the former Prime Minister of G.B)

Uzb. Atala Maxsum Qovoq Devona.

SD of descriptive character. Sometimes for a specialreason one of the features of the thing is made the most essential, describes some detail and intensifies it.

Periphrasis is the nomination of an object or action through exhibiting certain features of this object or action. Such periphrasis is based on one of the original features of the object.

Ex: Eng. He showed satisfaction as he took possession of his well-earned reward; instead of “He grinned as he” pocketed the coin.

Uzb. Onasini chizgan chizig`idan chiqmaydi. “Onasini aytganini bajaradi”o`rniga

In conclusion I’d like to say that in many cases lexical E.M. and SD of both languages are similar in many cases.

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[5] See “Style in Language”, ed. By T. Sebeok. N. Y., 1960, p.427.