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ABSTRACT
This article is devoted to comparative analysis of metaphor in English and Uzbek languages, problems of translating
metaphors, especially, comparative study of metaphor in English and Uzbek, and metaphors in the novel “A farewell
to Arms” by E. Hemingway an
d their translations from English into Uzbek. The article emphasizes the peculiarities of
the metaphors both in English and the Uzbek languages and also, the analysis of various aspects of their translation
in Uzbek and the specific features of metaphors used E. Hemingway "A Farewell to Arms". It concludes that
comparative analysis of Metaphor in English and Uzbek is significant from practical point of view. Training students in
the context of professional and specific aspects of the foreign languages, and also studying its genres helps them in
the future to establish correct intercultural communication, to be well informed about linguistics, obviously helps to
improve literacy skills, to become among colleagues authoritative, stimulates professional growth in the professional
environment.
KEYWORDS
Metaphors, intercultural communication, comparative analysis, Uzbek and English Lexicology, novel, stylistics,
linguistics.
Research Article
METAPHORS IN THE NOVEL “A FAREWELL TO ARMS” BY E.
HEMINGWAY AND THEIR TRANSLATIONS FROM ENGLISH INTO UZBEK
Submission Date:
October 08, 2023,
Accepted Date:
October 13, 2023,
Published Date:
October 18, 2023
Crossref doi:
https://doi.org/10.37547/ajps/Volume03Issue10-08
Ashurova Maftuna
Teacher Of Karshi State University, Practical English Department, Uzbekistan
Rustam Yuldoshev
Karshi State University, Uzbekistan
Journal
Website:
https://theusajournals.
com/index.php/ajps
Copyright:
Original
content from this work
may be used under the
terms of the creative
commons
attributes
4.0 licence.
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INTRODUCTION
The term “metaphor”, as the etymology of the word
reveals, means transference of some quality from one
object to another. From the times of ancient Greek and
Roman rhetoric, the term has been known to denote
the transference of meaning from one word to
another. It is still widely used to designate the process
in which a word acquires a derivative meaning.
A metaphor becomes a stylistic device when two
different phenomena (things, events, ideas, and
actions) are simultaneously brought to mind by the
imposition of some or all of the inherent properties of
one object on the other which by nature is deprived of
these properties. Such an imposition generally results
when the creator of the metaphor finds in the two
corresponding objects certain features which to his
eye have something in common.
LITERATURE REVIEW
Studied in many disciplines and from many
perspectives, metaphor, as seen by linguists and other
students of language, are primarily linguistic
utterances, produced by speakers and processed by
listeners. In analyzing metaphors as linguistic
phenomena, investigators want to understand the
structure of metaphorical utterances, the features that
distinguish them from both literal utterances and other
figurative speech and their truth and meaning: they
study how metaphors are used in communication in so
far as what is intended to be understood is different
than what is literally said and they try to answer why
people so often resort to metaphor to communicate
and stretch the cognitive and expressive capacities of
language.
Metaphor
–
it is a stylistic device, where the relation
between the dictionary and contextual meanings may
be maintained along different lines: The stylistic device
based on resemblance of two objects, ideas, actions
and etc.
The metaphor is a well
–
known semantic way of building new meanings and
new words.
Metaphors, like all stylistic devices can be classified
according to their degree, of unexpectedness. The
metaphors, which are absolutely unexpected, are
called genuine metaphors original, fresh metaphors.
The metaphors, which are commonly used in speech
and sometimes even fixed in dictionaries, are called
trite metaphors. V.V. Vinogrodov states: “…a
metaphor if it is not a cliché, is on act of establishing an
individual word outlook, it is an act of subjective
isolation. There for a word metaphor is narrow,
subjectively enclosed; it supposes on the reader a
subjective view of the object or phenomenon and its
semantic ties.
For example: -
floods of tears. Ko’z yoshlar toshqini
.
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Stylistic function and through the metaphor that
writers reveal their emotional attitude towards life.
Sometimes a metaphor is not confined to one image.
The writer finds it necessary to prolong the image.
A Farewell to Arms, by Ernest Hemingway, is a story
about love and war. Frederic Henry, a young American,
works as an ambulance driver for the Italian army in
World War I. He falls tragically in love with a beautiful
English nurse, Miss Catherine Barkley. This tragedy is
reflected by water. Throughout the novel Ernest
Hemingway uses water as metaphors. Rivers are used
as symbols of rebirth and escape and rain as tragedy
and disaster, which show how water plays an
important role in the story.
It was again as if the river has established an
opportunity to lead a new life, away from the war in
Italy to a more comfortable life. Henry’s and
Catherine’s escape through the river not only leads
them to a better life but the unborn child, too.
As a symbol of tragedy rain is frequently used by
Hemingway in this novel. Rain is a symbol of disaster
already beginning in the first chapter when the reader
learns that the war is not going well and that "the
permanent rain brought the cholera". Here rain is
related to illness. Rain also falls when Frederic and
Catherine are looking for a hotel room so they can be
together before Frederic must leave for the front.
Catherine buys a nightgown for the evening. And when
they find a room, she looks in the mirrors and feels
cheap, while Frederic looks outside at the storm. The
rain degrades the farewell of Frederic, and Catherine
tells him that „she never felt like a whore before". Rain
also falls during the troop's retreat which is
symbolizing a failure. One night when Catherine and
Frederic are in the hotel in Italy, Frederic awakens to
the sound of rain and learns that he will be arrested.
And during their time of escape from Italy to
Switzerland it is very windy and rainy. That symbolizes
how their escape would definitely be difficult. It takes
them many hours to row to Sw
itzerland’s shore.
Rivers in A Farewell to Arms represent rebirth. They
symbolize a departure from a previous life and an
entrance to a new one. The first evidence of this comes
during the retreat of the Italian troops from their post.
While walking with his fellow soldiers, Frederic is
arrested and fears that he will be executed. "He jumps
in the river with a splash" allowing it to float him along.
It is like when Frederic jumps in the river, he is baptizing
himself and cleansing his soul. The trip down the river
gives him time to think about his future life with
Catherine, even though he is uncertain if there will ever
be a future between them again. The river eventually
takes him to a railroad where he makes the decision
that he is done with the war and that he made his
"farewell to arms". Hemingway uses water as a
metaphoric cleansing for Frederic’s past experiences.
When Henry emerged from the river, it was as if he was
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reborn. Rivers in this novel can also be a symbol for an
escape. Weeks later, when Frederic hears from the
barman about his expected arrest, he and Catherine
escape for Switzerland by boat. They leave their old
lives behind in search of a clean start in Switzerland.
They row along the river, finally reaching their
destination. Upon their arrival they are "arrested", but
then quickly released. It was again as if the river has
established an opportunity to lead a new life, away
from the war in Italy to a more comfortable life.
Henry’s and Catherine’s escape through the river not
only leads them to a better life but the unborn child,
too. As a symbol of tragedy rain is frequently used by
Hemingway in this novel. Rain is a symbol of disaster
already beginning in the first chapter when the reader
learns that the war is not going well and that the
“the
permanent rain brought the cholera”. Here rain is
related to illness. Rain also falls when Frederic and
Catherine are looking for a hotel room so they can be
together before Frederic must leave for the front.
Catherine buys a nightgown for the evening. And when
they find a room, she looks in the mirrors and feels
cheap, while Frederic looks outside at the storm. The
rain degrades the farewell of Frederic, and Catherine
tells him that “she never felt like a whore before”. Rain
also falls during the troop's retreat which is
symbolizing a failure. One night when Catherine and
Frederic are in the hotel in Italy, Frederic awakens to
the sound of rain and learns that he will be arrested.
And during their time of escape from Italy to
Switzerland it is very windy and rainy. That symbolizes
how their escape would definitely be difficult. It takes
them many hours to row to Switzerland’s shore. A
second role that rain plays in A Farewell to Arms is to
reflect death. On a "rainy day" when Frederic is
recovering from his injury, Catherine describes the
weather as scary. She tells him that she is afraid of the
rain „because sometimes she sees them dead in it. This
may be interpreted as meaning that rain is an omen of
death. And Hemingway foreshadows through this
sentence how rain will symbolically impede and end
their relationship. When the time comes for Catherine
to have her baby, it is raining again and it continues to
rain during the delivery. It is still raining when she and
the child die, which proves Catherine's fears to be
correct. Hemingway uses rain as a sign of death,
sadness or to give one of his characters the state of
being afraid. The despair brought by rain, Frederic says
“good
-bye to Catherine, and then leaves the hospital
and walks back to the hotel in
the rain”. The rain
described as he walks home represents again a
cleansing in which Tenente will be forced to start a
whole new life now. Ernest Hemingway uses water as
a metaphor that foreshadows events in A Farewell to
Arms.
The Rain
The rain is a metaphor for death in the story. Toward
the end of Catherine and Frederic's idyll in Milan, she
tells him that she has always been afraid of the rain
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because she can imagine herself or him lying dead in it.
He replies that he has always liked the rain and through
this comment we understand that though he has
suffered a combat injury and seen men die, he has not
been touched by fears of mortality. Catherine on the
other hand has been deeply affected by her fiancé’s
death. For her, death is a more immediate and palpable
and the rain serves to remind her of her mortality and
the mortality of those she loves. Thus the rain falls
when death is most tangible, such as when they part at
the train or when Frederic narrowly escapes being shot
by diving into the river. Most significantly, when
Frederic leaves the hospital after Catherine has died,
we are told that he walks back to the hotel in the rain.
He is familiar with the emotional ramifications of death
and its ability, like the rain, to fall upon anyone at any
time.
Sports, Competition and Love
Throughout the story, Hemingway uses sports and
gaming metaphors to reflect on the quality of love.
Frederic's initial attraction to Catherine is tied to
winning her affection as in "the moves in a chess
game". Later, he compares their relationship to a game
of bridge where "nodiv had mentioned what the
stakes were. It was all right with me." In this way
Catherine, unlike the girls in the bordello, presents a
challenge and something to be prized. The sports
metaphor is used again during the group trip to the
horse races. When Catherine and Frederic bet with the
group they win, but they discover that they are
happiest by themselves. Even though the horse they
choose comes in next-to-last, it doesn't spoil their
mood. This episode reflects a deeper understanding of
love in which competition has been replaced by
understanding and support.
Now I would like to write examples of metaphors:
1. “In the bed of the river, there were pebbles and
boulders, dry and write in the sun, and the water was
clear and swiftly moving and blue in the channels”.
In this sentence ‘the bed of the river’ is a metaphor.
Because the word ‘a bed’ is a piece of furniture and
Hemingway used this word for river, meaning ‘the
bottom of river’.
2. “Troops went by t
he house and down the road and
the dust they raised powdered the leaves of the trees”.
The word ‘powdered’ is used for ‘dust’ and I find it as
metaphor. It is “personification” because ‘dust’ can’t
do any action. But the writer used as the person.
3.“The trunks of the trees too were dusty and the
leaves fell early that year and we saw the troops
marching along the road and the dust rising and leaves,
stirred by the breeze, falling and the soldiers marching
and afterwards the road bare and white except for the
leaves”.
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In this sentence the word ‘bare’ used for road with
nodiv or nothing on. T
he real meaning of ‘bare’ is
‘without clothing, covering, protection, or decoration’.
But we say “bare road” the meaning is ‘the road
without anydiv or anything on’.
4. “The vineyards were thin and bare
- branched too
and all the country wet and brown and dead with the
autumn”.
In this sentence there are two metaphors “bare
-
branched” and “dead”. The writer wrote about
vineyards “bare –
branched” as he wanted to write
“vineyards were without leaves”.
The second metaphor is “dead”. The writer used this
word
for ‘country’, but this word is in inanimate,
because of it I find the word dead metaphorical
personification.
5. At the foot of the bed was my flat trunk, and my
winter boots, the leather shiny with oil, were on the
trunk.
In this sentence the word “foot” is metaphor. This
word is the part of div of animate objects. Here it is
used for ‘bed’. That’s why it is personification.
6. They were top
–
heavy blunt- nosed ambulances,
painted grey and built like moving
–
vans.
In this sentence the word “blunt
- nos
ed” is metaphor.
This word is the part of face of animate beings. Here it
is used for “ambulances”.
7. I went along the narrow road down towards the
river, left the car of the dressing-station under the hill,
crossed the pontoon bridge, and went through the
trenches in the smashed down town and along the
edge of the slope, the bridge was protected by a
shoulder of the mountain.
In this sentence the writer used the word “shoulder”
for mountain. The “shoulder” as the part of mountain
used here, but its dictionary meaning is the part of
div.
8. It took the enamel off your teeth and left it on the
roof of your mouth.
In this sentence the word “roof” is used for mouth, but
its dictionary meaning is “the higher part house”. The
writer found the likeness between the higher part of
the mouth and the higher part of the house. So, I find
it as metaphor.
9. “The saint hung down on the outside of my uniform
and I undid the throat of my tunic, unbuttoned the shirt
and dropped him under the shirt”.
The dictionary meaning
of the “throat” is “the front
part of the neck”. By the combination “the throat of
the tunic” we can understand “the collar of the tunic”.
That’s why it becomes a metaphor.
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10. “We were in the foot
-hills on the near side of the
river and as the road mounted there were the high
mountains off to the north with snow still on the tops.
In this sentence the word “foot” is used for “hill”.
Dictionary meaning of this word is “part forming the
lover and of the leg”, contextual meaning is “lower
part of the hill”.
11. Beyond the mule train the road was empty and we
climber through the hills and then went over the
shoulder of a long hill into the river-
valley”.
This sentence also has such kind of metaphor but here
instead of “foot” used “shoulder”. Dictionary meaning
of this word is “that part of div of a human being or
animal where an arm foreleg is joined to the trunk, or
where the wing of a bird going its neck”, contextual
meaning is “the higher part of hills but not the top”.
The writer found likeness between these two
meanings.
12. “The road went up to the valley a long way and then
we turned off and commenced to climb into the hills
again”.
Here the “road” described as an animate abject. But
we know it is inanimate thing, so the combination “the
road vent up” is
metaphorical personification.
13. The road climbed steeply going up and back and
forth through chestnut woods to lever finally along a
ridge.
This sentence is also like the last one a foresaid.
Difference is that “the road climbed” not “went up”.
We can give to this sentence such of definition as
above mentioned one.
I try to give some examples related to the translations
of Metaphors from English into Uzbek.
1. In the bad of the river were pebbles and boulders, dry
and white in the sun, and the water was clear and
swiftly moving and blue in the channels.
Daryoning
o’zagi
oftobda
oqargan,
quruq
qayrag’ochlar va mayda shag’al bilan qoplagan, daryo
shahobchalarida esa suv tip-
tiniq va ko’m
-
ko’k bo’lib,
sho’h shaldirab olib borardi.
2. Troops went by the house and down the road and
the dust they raised powdered the leaves if the trees.
Kulba oldidagi yo’ldan qo’shinlar o’tib borar ularning
oyog’idan ko’tarilgan to’zon yog’ochlarning barglariga
o’tirardi.
3. “The trunks of the trees too were dusty and the
leaves fell early that year and we saw the troops
marching along the road and the dust rising and leaves,
stirred by the breeze, falling and the soldiers marching
and afterwards the road bare and white except for the
leaves”
Ogohlarning shoxlari ham rangga burkangandi, o’sha
yili yaproqlar erta to’kila boshlagandi, biz bo’lsa,
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yo’ldan qo’shinlarning o’tib borishini, chang to’zonning
ko’kka o’rmalashini, shamol yaproqlarni yulkib
-sulkib
o’girib
ketayotganini
, soldatlarning odimlarini, so’ng esa
kimsasiz, bo’m
-
bo’sh tuproq
yo’lda yolg’iz yaproqlargina to’kilib yotishini tomosha
qilardik.
6. The vineyards were thin and bare-branched too and
all the country wet and brown and dead with the
autumn.
Tokzorlarning ham orasi ochilib, quruq novdalargina
qoldi, tevarak
–
atrof
qo’ng’ir tusga kirdi, hammayoq rutubat, kuzgi
so’lg’inlikka cho’mdi.
8. “When you come back bring a photograph”
“Bring good opera disks”
“Bring Caruso”
- Qaytib kelayotganingizda grammofon ola keling.
- Yahshi opera plastinkalaridan obkeling
- Karuzoni obkeling
- Karuzo kerak emas, uvillaydi.
9. At the foot of the bed was my flat trunk, and my
winter boots, the leather shiny with oil, were on the
trunk.
- Karavotning oyoq tomonida sandiqcham, sandiqcham
ustida ega yiltiratib
moylab qo’yilgan qishlik etigimni turadi.
12. They were top-heavy, blunt-nosed ambulances,
painted grey and build like moving-vans.
Bular oldi to’mtoq, kuzoblari baxaybat, och rangga
bo’yalgan, mebel tashiydigan furgonlarga o’xs
hash
sanitar mashinalar bor edi.
13. It took the enamel off your teeth and left it on the
roof of your mouth.
U tishlarimizning sirlarini ko’chirib, tanglayimizga
yopishtirib qo’ymoqda edi.
15. The saint hung down on the outside of my uniform
I find the throat of my Tunic, unbuttoned the shirt
collar and dropped him in under the shirt.
Avliyo xarbiy fringim ustida turib qoldi, men yoqamni
ochib,ko’ylagimning
yoqasini boshatdim-da, avliyo Antoniyni ichimga solib
qo’ydim.
CONCLUSION
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In shortly saying, metaphor is a ubiquitous feature of
natural language. While the ability of understand
metaphors and use them is characteristic of nature
linguistic competence, the ability to use metaphors
well was considered by Aristotle a “mark of genius”
and remains today a feature of intelligence tests and
assessments of creativity. In literature, in professional
discourses, in scientific language and in daily discourse,
metaphors provide expression for experiences and
concepts for which literal language seems insufficient,
thereby increasing the range of articulation possible
within the language.
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Galperin I.R. Stylistics. - Moscow 1973.
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From Metaphors to Idioms. New
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Goatly A. The Language of Metaphors.- New
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Hemingway E. “A Farewell to Arms”. Charles
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Morris Ph. T. Linguistics and stylistic devices. -
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Pith G. R. Metaphor, metonymy in our life. -
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