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NEO-MYTHOLOGY AND METAMORPHOSES IN ENGLISH AND
UZBEK LITERATURE.
Fayzieva Komila Akhrororvna
Economic and Pedagogical University. Associate Professor, Doctor of Philological
Sciences, Associate Professor, Department of International Language. Karshi.
Republic of Uzbekistan.
Теl.+998903148448
e-mail:komila.fayziyeva.85@bk.ru
https://doi.org/10.5281/zenodo.14738294
Annotation.
Style is the general tone and coloring of a work of art, a
method of analyzing an image, a principle of the artist's attitude to reality. They
arise as a feature that holistically reflects the main aspects of form at the final
stage of the artistic process. Style cannot be blindly reduced to the linguistic
characteristics of a work, separating it from the general creative expression of
the author. Image and style are closely intertwined. The interdependence of
image and style is based on the artistic reflection of the writer.
Key words:
heroes of the past, the meaning of lyricism in poetry, minor
poetic names, important features of romantic literature.
It is not true that there are as many writing styles in the world as there are
writers. Because many of those who can write lack style, imitate others and
repeat each other. As a result, they cannot enrich the literary treasury.
Style covers the choice of subject, the way of expressing emotions, the
author’s intention, the construction of the plot and composition and many other
aspects.
The concept of “individuality” is considered the main quality of style.
Thousands of different ideas are embodied under “individuality”. “Privacy” is the
most useless word we have, and it has become a universal term. [1. P. 66.] We
continue to use the concept of “unique” for any work, because we can find no
other definition. The task of a literary critic is to find the “unique” features of a
given writer. [2. P. 243.] The stylistic originality of a writer is determined by
revealing the originality of language, style of expression, rhythm, worldview, level
of talent, principles of description, plot and composition construction, creation of
images, categories of form and content.
“Style in translation from Arabic means order, system”. [3. P. 289-306.] In a
broad and narrow sense. In a broad sense - a style characteristic of the literature
of a certain period or people. In a narrow sense, it is used in a methodological
sense in relation to a specific writer or work.
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Individual style is a style inherent in a specific artist or one of his famous
works.
In fact, even if two peoples have writers, they can have writers with a similar
style: there is a similarity in the styles of Navoi and Jami, Chekhov and A. Kahor.
Individual style is reflected in the form and content of a work of art. The style of a
work of art reflects the language, plot, composition, ideological content, principles
of description and the writer’s worldview.
The absence of style is the absence of appearance. We have many creative
people who do not have their own individual style. They remained in the shadow
of others’ imitations in style. Many creative people have a lack of style rather than
the presence of a distinctive style. Kadiri says: “Style is a recognizable
characteristic that depends on the knowledge of the language and is similar to the
movements of the language of each writer. Therefore, as soon as you develop the
skill of writing, your style will arise by itself.” [4. P. 84.]
The English writer S. Maugham describes style as follows: “If a man thinks
vaguely, he writes vaguely. If he is of a capricious nature, then his prose will have
a delicate character; if he has a quick, agile mind, then any topic will remind him
of hundreds of others, and I think that sometimes he will lose his serious
composure and decorate the text of the work with comparisons and metaphors”.
The opinion of A. N. Sokolov: “The style of a work is both an idea, and an
image, and a method determined by the genre”. Style is not a one-sided concept,
and selective emphasis on a certain aspect of it can be effective.
Style is a set of basic, typical ideological and artistic features of a writer’s
work, repeated in his works. The writer’s worldview and the main ideas
associated with the content of his works, the range of plots and characters that
the author describes most often, the artistic means of depiction that are most
often found in the artist’s work, his unique language make up his individual style.
Individual style is understood as a set of basic stylistic elements that are
invariably present in the author’s works in a certain period or are characteristic
of his entire work. [5. P. 45.]
The styles of Oybek and A. Kahor, who wrote in Uzbek, are also seriously
unique. However, the styles of A.P. Chekhov and A. Kahor, who wrote in different
languages, are similar. This methodological harmony is explained by the
closeness of the literary and aesthetic views of the two writers and their mastery
of the language.
Most of Nikolai Nosov's works were translated into Uzbek by P. Mumin, a
beloved children's poet whose style matches the author’s style and whose works
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are also rich in satire. In 1953, he first translated the story “Vitya Maleev at
School and at Home” into Uzbek, and in 1954, the play “Two Friends” based on
the same story. A special place in the poet’s translation work is occupied by the
translations of the works “Experiments of Bilmasvoy and His Friends”, written in
1958, and “Bilmasvoy in the City of the Sun”, written in 1964. It should be noted
that the similarity of his work with the work of N. Nosov - a satirical style - was
useful to P. Momin when translating these works. Because finding the style of
the original is one of the main conditions in translation. Also, the translator’s
skillful use of the rich possibilities of the Uzbek language led to the fact that the
works about Bilmasvoy became the most beloved books of Uzbek children for
many years. There is another aspect of the issue – literary influence. Usually, the
translation of one good work leads to the creation of another. P. Mumin’s fairy-
tale plays “Kovakvoy and Chanakvoy” and “Sukatoy-Konfetvoy”, according to the
poet himself, were created under the influence of the works about Bilmasvoy.
The influence of the works about Bilmasvoy is clearly visible in the famous story
by H. Tokhtaboev “The Magic Hat”. [6. P. 327-329] Because while Bilmasvoy’s
numerous adventures and visions occur thanks to a magic wand, Hoshimjon’s
travels and experiences are realized through a magic hat. Even the conclusion of
both authors at the end of the work: “Nothing can be achieved without
knowledge” is consistent. If we pay attention to another external similarity, then
“The Adventures of Bilmasvoy and Friends” [9. P. 52.] was originally a fairy tale,
while the next two books appear in the form of a fairy tale novel. “The Magic
Hat” was also initially a story, and then the novels “Riding the Yellow Giant” and
“The Death of the Yellow Giant” appeared.
List Of References:
1. G. Salomov. “Tarjima Nazariyasi Asoslari”, Tashkent, 1983, p. 66.
2. Kunin A. V. Phraseology of Modern English. Moscow, 1972. p. 243.
3. Popovich A. Problems of Literary Translation: Study Guide. Trans. from words.
Moscow, Higher School, 1980. – P. 289–306.
4. Fayzullaeva R. National Color and Literary Translation. Tashkent, Fan, 1979. –
P. 84.
5. Fedorov A. V. Fundamentals of General Theory. Higher School, Moscow, 1983.
– P. 45.
6. https://www.in-academy.uz/index.php/zdit/article/view/7714. C. 327–329.
7. https://newjournal.org/01/issue/view/323. – C. 52.
