American Journal Of Social Sciences And Humanity Research
56
https://theusajournals.com/index.php/ajsshr
VOLUME
Vol.05 Issue06 2025
PAGE NO.
56-59
10.37547/ajsshr/Volume05Issue06-14
24
Srealization of Sensations in Synesthetic Epithets
Oripova Mavludakhon Bakhriddinovna
2nd year doctoral student Tashkent State University of Uzbek Language and Literature named after Alisher Navoi, Uzbekistan
Received:
14 April 2025;
Accepted:
10 May 2025;
Published:
17 June 2025
Abstract:
Synesthetic epithets are a means of figurative expression, especially frequently encountered in poetic
texts, and they perform a semantically enriching function. Due to the intermodal nature of synesthesia, sensations
are expressed subtly, sensitively, and precisely. Visual, auditory, tactile, gustatory, and olfactory sensations are
transferred to psychological and emotional states, resulting in strong occasionality.
Keywords:
synesthetic metaphor, epithet, sensation, transfer, lexical meaning, occasional meaning.
Introduction:
Through sensory organs, humans receive
various types of information about the environment.
These sensory impressions are integrated in
consciousness, allowing them to be applied in practice
even to objects that do not inherently possess certain
features. Such synesthetic metaphorization is one of
the ways to further develop the polysemantic
properties of lexemes denoting attributes.
Psychologically and linguistically interconnected
language units allow one to express signs perceived by
humans. Below, we will discuss the ways of synesthetic
transfer in epithets and the criteria for understanding
such images. Human sensations are carried out through
five sensory channels: visual, auditory, tactile,
gustatory, and olfactory. Each of these reflects a
specific aspect of the surrounding object, and these
perceptions are formed holistically in the human mind.
Synesthesia
is
an
intermodal
phenomenon,
manifesting the connection between each type of
sensation. Lexemes denoting objects change their
semantics and mean perception by another sense.
Sensory perception not only expresses physical
properties but also shapes our emotions. Therefore,
synesthetic compounds have strong emotional content
and sometimes carry an extremely powerful emotional
"burden."
METHODS
A. Veselovsky studied epithets linguistically and
explained their development in connection with the
internal and external changes of words. According to
the author, the internal development of a word's
meaning occurs as a result of the expansion or
narrowing of its lexical meaning. When an epithet
denoting a sign or characteristic expresses its meaning
through other words or synonyms, an external
development of meaning occurs. The linguist divides
epithet-metaphors into a separate group depending on
whether epithets have a literal or figurative meaning
and analyzes them in detail according to their meanings
[Veselovsky A., 1989:65].
The use of epithets arises from the need to highlight a
specific aspect of a particular thing that the creator has
perceived and wishes to emphasize separately in the
artistic work. While epithets are a method of artistic
expression or depiction, tropes are a means of artistic
portrayal and expression.
A. Potebnia correctly notes that epithets serve to
highlight a specific feature or characteristic of an object
or reality. The author discusses the means of
expressing epithets and parts of speech, categorizing
them as follows: 1. Attributive adjectives 2. Noun
modifiers 3. Adjective determiner and adjective 4.
Adverb and adjective 5. Adverb and verb 6. Verb and
verb [Potebnya 1990: 165]. Consequently, from the
nature of these combinations, it is evident that epithets
are used not only in the relationship between modifier
and modified, but also in the relationships between
explanatory and explained, subject and predicate, and
adverbial modifier and predicate.
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American Journal Of Social Sciences And Humanity Research (ISSN: 2771-2141)
R. Kungurov, studying epithets within the framework of
tropes, writes: ..."a type of characterization. However,
it differs from permanent adjectives in its
expressiveness and use in a figurative sense," and
applies the term "poetic attribute" to epithets.
[Qo'ng'urov R. 1990: 78] However, B. Umirqulov
explains that "epithets are essentially close to
modifiers but differ from them in their emotional
impact and extraordinary nature."
In Uzbek literary studies dictionaries, the epithet is also
explained under the term "sifatlash" (characterization).
The characterization does not appear alone, but within
a certain phrase structure, transferring its essence and
features to it. Such a combination is called a
metaphorical characterization. The purpose of using
characterization is to draw the reader's attention to the
observed aspect, to a certain feature of the
phenomenon. Although adjectives are often used in
characterization, various parts of speech can also serve
this function.
RESULTS
An epithet is a linguistic device that clearly and vividly
illuminates a thing or reality; in particular, it consists of
a word or phrase that expresses characterization. If we
examine the syntactic structure of an epithet,
sometimes the part explaining a phenomenon, object,
or abstract concept is not just a simple modifier.
Rather, it is a referent of the derived meaning,
perceived through one sense, compared to the referent
of the forming meaning, perceived through another
sense. Although referents may be perceived through
completely different senses, their properties are
generalized in the human mind and are perceived
similarly. Their determinants are expressed through
lexemes perceived via different senses, i.e., synesthesia
occurs. For example,
Bir o’zim, sen yo’qsan endi yo’limda,
Serzavq davralarda yurarsan
o’ynab.
Achchiq she’r silqiydi yara ko’nglimni
Qadimiy so’zlarni qiynab terarman. (R.Parfi)
[Alone, you are no longer on my path,
You dance and play in joyful gatherings.
Bitter poetry shakes my wounded heart,
I painfully collect ancient words.]
If we examine the genetic nature of the lexemes that
form the components of the "bitter poem"
combination expressed in these lines, we find that the
lexeme "poem" contains a "hearing" seme in its
semantic structure. This lexeme cannot form a valency
with words expressing taste. In this instance, the
lexeme that should be perceived through the sense of
"hearing" is expressed through the sense of "taste."
Thus, a figurative meaning has emerged through
different sensations.
DISCUSSION
Sensory stimuli are sometimes perceived from a
distance, and sometimes through direct contact.
Therefore, sensations can be distant (remote) or
contact-based. Accordingly, the epithets perceived
through the empirical qualities we are studying are also
divided into two groups:
Epithets related to distant sensation. These include:
epithets perceived through visual, auditory, and
olfactory senses.
Epithets related to contact sensation. These include:
epithets perceived through taste and skin (tactile)
senses.
In most cases, distant and contact sensations
complement each other, cooperate, or substitute for
one another, i.e., synesthesia occurs.
The criterion for distinguishing the lexico-semantic
variants of empirical qualifiers is through which sense
organ the characteristic is perceived. Based on this, we
divide synesthetic qualifications into the following
groups and conditionally use the term synesthetic
epithets.
Synesthetic epithets perceived through the sense of
"sight"
Sometimes in artistic speech, we encounter figurative
expressions that arise through lexemes representing
various colors, shapes, and appearances perceived
through the sense of "sight." For example,
Yoshlik
–
zangor fasl, kechdi, sarg’ardi,
To’kildi u. Shafqat bilmas bargr
ezon,
Qora sovuqlarga otib yubordi,
Shamollar poyida sinmoqda xazon.
[Youth - a blue season, passed, turned yellow,
It fell. The merciless autumn,
Cast it into the bitter cold,
Fallen leaves are breaking at the feet of the winds.]
Synesthetic epithets perceived through the sense of
"taste"
In speech, there are frequently occurring figurative
expressions where lexemes perceived through the
sense of "taste" are used as modifiers for denotata that
should typically be perceived through other senses. For
example,
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American Journal Of Social Sciences And Humanity Research (ISSN: 2771-2141)
Uning bilan kechgan damlardan
Senga qolgan shirin xotira
Mening esa achchiq g’amlardan
Tortib ketdi ko’zlarim xira. (R. Parfi)
[From the moments spent with him
A sweet memory remains for you
While from bitter sorrows
My eyes have grown dim.]
If we examine the semantic structure of the
lexemes "memory" and "grief" used in the
combinations "sweet memory" and "bitter sorrow"
presented in these verses, we see that "memory,"
according to the meanings given in the explanatory
dictionary, consists of semes such as "thought,
thinking, idea, imagination, memory, memorable
impression." This lexeme with such semes cannot
directly enter into a syntactic relationship with lexemes
containing the seme "taste" in its associative field. So
why did the author use the lexeme "sweet" as an
attribute of this lexeme? If we consider the essence of
the verses, a lover who has not reached their beloved,
in the torment of separation, sometimes involuntarily
feels joy on their face when recalling memories
associated with their beloved. Sometimes a similar
feeling of pleasure occurs in us during the consumption
of "sweet-tasting" products. This connection stimulates
the interaction of the lexeme "sweet" with the lexeme
"memory," and the content becomes abstract, creating
a beautiful example of figurative language. This
phenomenon is manifested in the same way in the
combinations sweet word, sweet child, sweet pain, and
sweet feeling.
Synesthetic epithets perceived through the sense of
smell
Synesthetic metaphors formed by lexemes expressing
smell are distinguished by their ability to convey strong
emotionality. For example, on May 14, 1993, a foul
misfortune befell the members of the Association. For
all of us, our respected teacher, our toilet, our own
White Pot, our pure white pot has left us. (R.Parfi,
Prisoner of Faith)
1. Synesthetic epithets perceived through the sense of
"hearing"
If we examine the synesthetic epithets formed with
lexemes perceived through the sense of "hearing," we
observe that most situations that actually produce no
sound are perceived precisely through the seme of
hearing. For example,
Tovushlarning rangiga qarang,
Qarang tez ranglarning tovushiga
[Look at the colors of the sounds,
Look quickly at the sound of colors]
I wonder if this poor moon is also a poet.
Synesthetic epithets perceived through the "skin"
sensation
If we examine figurative expressions formed with
lexemes that convey temperature and various
properties of objects perceived through the "skin"
sensation, we witness a process of strong abstraction
taking place. For example,
Sovuq yolg’onzorning mozori ochiq,
Xo’rlangan qismatlar chirqirab yotar.
[The grave of the cold liar's den lies open,
Humiliated fates lie wailing.]
CONCLUSION
Epithets are a unique linguistic device, and if we
examine their syntactic structure, we find that they are
not merely simple modifiers explaining a phenomenon,
object, or abstract concept. Rather, they compare the
referent of a derived meaning, perceived through one
sense, to the referent of the original meaning,
perceived through another sense. Although these
referents may be perceived through entirely different
senses, their characteristics are generalized in the
human mind and understood similarly. In other words,
their modifiers are expressed through lexemes
perceived by different senses, resulting in synesthesia.
Consequently, unusual synesthetic epithets with
figurative meanings emerge. For example, "bitter
smell" and "sweet agony."
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