European International Journal of Philological Sciences
23
https://eipublication.com/index.php/eijps
TYPE
Original Research
PAGE NO.
23-25
DOI
OPEN ACCESS
SUBMITED
24 December 2024
ACCEPTED
26 January 2025
PUBLISHED
28 February 2025
VOLUME
Vol.05 Issue02 2025
COPYRIGHT
© 2025 Original content from this work may be used under the terms
of the creative commons attributes 4.0 License.
Syntactic Figures In The
Works Of
O‘TKIR
HOSHIMOV
Khaydarova Feruza
Lecturer at Jizzakh Polytechnic Institute, Uzbekistan
Abstract:
To evaluate whether the use of words in a
literary text reaches the level of artistic expression or
not, it is first necessary to have a clear understanding of
words, their meanings, and the structure of these
meanings. This is because additional nuances of
meaning that emerge in connection with word usage
can acquire a specific meaning through various
descriptive techniques and devices. In linguistics, such
phenomena are referred to as stylistic figures, poetic
syntax, or sometimes rhetorical figures.
Keywords:
Syntactic Figures, Rhetorical Figures.
Introduction:
To evaluate whether the use of words in a
literary text reaches the level of artistic expression or
not, it is first necessary to have a clear understanding of
words, their meanings, and the structure of these
meanings. This is because additional nuances of
meaning that emerge in connection with word usage
can acquire a specific meaning through various
descriptive techniques and devices. In linguistics, such
phenomena are referred to as stylistic figures, poetic
syntax, or sometimes rhetorical figures.
When discussing stylistic figures, we refer to special
syntactic constructions that influence the reader and
enhance the impact of the text. Syntactic figures and
tropes complement each other, as one adds clarity to
the other. Tropes are special syntactic speech units that
increase the expressiveness of speech and enhance its
imagery. Since figures within speech exert a stronger
emotional impact on the reader, they serve as syntactic
tools to intensify or diminish the overall meaning
conveyed by a sentence. While tropes operate on the
level of individual words, figures rely on sentence
structure and the overall meaning derived from the
sentence.
Poetic Figures and Their Classification in Modern
European International Journal of Philological Sciences
24
https://eipublication.com/index.php/eijps
European International Journal of Philological Sciences
Philological Studies
Poetic figures in contemporary philological research
are classified based on the following characteristics:
1.
Figures distinguished by the unique nature of
semantic and grammatical connections in semantic
constructions:
o
Antithesis, ellipsis, pause (silence), cutting,
concatenation (linking), oxymoron, comparison
(simile).
2.
Figures
distinguished by
the
unusual
arrangement
of
components
in
syntactic
constructions:
o
Inversion, parallelism, repetition.
3.
Figures distinguished by the intonational
characteristics of syntactic constructions:
o
Gradation, emotional sentences, rhetorical
questions, enumeration, etc.
In this article, we focus on figures distinguished by the
unique nature of semantic and grammatical
connections in syntactic constructions.
In particular, we aim to analyze such syntactic and
grammatical figures through examples from the works
of O‘tkir Hoshimov. As mentioned above, syntactic
figures in this category include ellipsis, antithesis,
concatenation, cutting, and oxymoron.
The great master of words, O‘tkir Hoshimov, skillfully
employs all these figures in his works, making them an
essential component of his literary style.
For example, the phenomenon of ellipsis occurs when
certain words are omitted in speech, shifting the
emphasis to another word and directing the speaker’s
attention to the main subject. Thus, the omission of
some words leads to the ellipsis phenomenon.
Through this stylistic technique, the writer can convey
their idea concisely and effectively in short and precise
sentences.
For instance:
"I begged Olimjon.
–
Knock harder. Like thunder."
If we were to reconstruct this sentence according to all
syntactic rules, it would be structured as follows:
"You should knock on the door harder. They probably
don’t hear the knocking because of the thunder."
The above example is typical of spoken language. In
conversational and oral speech, the speaker’s
gestures, the continuity of the topic, and contextual
factors allow for the omission of some sentence parts.
The speaker and listener can still understand each
other based on the situation and the flow of thought.
In such cases, ellipsis plays a crucial role.
If we analyze the example above, we notice that ellipsis
occurs more frequently in urgent situations and
imperative sentences. This is because commands and
requests are often short and direct, aimed at achieving
an immediate response. As a result, ellipsis naturally
emerges in such contexts.
Observant and meticulous writers do not overlook such
nuances in human life. Thus, ellipsis is predominantly
found in imperative sentences and frequently appears
in word-sentences and incomplete sentences.
The Phenomenon of Silence in Literary Texts
Another syntactic figure commonly used in literary texts
is the phenomenon of "silence", which refers to a
character’s lack of response to another’s speech.
In literary works, silence serves a specific purpose, often
utilized by characters to convey meaning without
words. However, when a character remains silent, the
reader may become intrigued, wondering about the
reason behind it. This draws the
reader’s attention,
encouraging them to engage more deeply with the text
and analyze the character’s motives.
Thus, silence itself can hold literary significance,
fostering a deeper connection between the reader and
the character. The intentional use of silence enhances
the artistic impact of the text, making the reader more
actively involved in interpreting the scene.
Purposes of Using Syntactic Figures in Literary Texts
Example of Silence in Dialogue:
"My father looked into his eyes and sighed softly.
–
Thank you... If I stay alive, this kindness of yours..."
In this passage, the character's sense of gratitude is
expressed through pauses and unfinished sentences.
The hesitation and emotional tension reveal the inner
turmoil of the character, making the reader witness
their nervous state. Such speech phenomena are
commonly found in many literary works.
Ellipsis (Breaking Off a Sentence)
This technique is also present in classical literature.
Abdurauf Fitrat comments on this phenomenon:
"Sometimes, a person experiences thoughts and
emotions that cannot be fully conveyed through words.
In such cases, any additional words may only weaken
the intended meaning rather than enhance it. We often
hear phrases like ‘I can’t express this thought properly,
words are not enough to describe it.’ This indicates that
there are emotions and ideas beyond verbal expression,
and forcing additional words in such instances would be
inappropriate."
Interrupted Speech (Sentence Cut-Off)
During conversations, interruptions and abrupt breaks
occur in the speech of characters. This phenomenon is
European International Journal of Philological Sciences
25
https://eipublication.com/index.php/eijps
European International Journal of Philological Sciences
especially common in spoken dialogue and literary
works, where characters' speech may be interrupted
or continued by another speaker.
It is important to note that an interruption must
maintain the coherence of the topic to ensure a sense
of unity. If the dialogue suddenly shifts to a different
subject, it is no longer an instance of continuation but
rather a separate break. However, if one character's
incomplete speech is completed by another, it reflects
the writer’s stylistic mastery and aesthetic te
chnique.
Antithesis (Contrast in Meaning)
The term "antithesis" originates from Greek, meaning
"opposite", and is used to express contrasting
concepts. In classical literature, it is known as "tazod"
(contrast).
Antithesis involves the use of words, phrases, or
expressions that contradict each other, creating a
stylistic effect.
For example:
"Life is like that. Sometimes, someone’s mourning
turns into a celebration for another."
In this sentence, the contrast between "mourning" and
"celebration" creates antithesis, emphasizing the
ironic and dual nature of life. Such examples are
frequently found in literary texts, enhancing
expressiveness and depth of meaning.
Simile as a Stylistic Device in Literary Texts
One of the fundamental stylistic figures in literary texts
is simile. Simile is a linguistic device used to compare
two objects, events, or phenomena based on their
similarities to convey a more vivid, expressive, and
emphasized description of one object through its
resemblance to another.
Similes are among the oldest descriptive techniques
and play a significant role in enriching speech,
especially literary language, by ensuring imagery and
depth in expressions.
The Structural Components of Simile
A fully formed simile in language and literature consists
of four essential components:
1.
The Subject of Comparison (Simile Subject)
2.
The Standard or Model of Comparison (Simile
Standard)
3.
The Basis of Comparison (Simile Basis)
4.
The Structural Indicator of Simile (Simile
Marker)
Example from the Works of O‘
tkir Hoshimov:
"He felt that his div started trembling like a leaf and
grabbed Alimardon’s collar."
In this example:
•
The Simile Subject: His div
•
The Simile Standard: A leaf
•
The Simile Basis: Trembling
•
The Simile Marker: "-day" (like)
This comparison emphasizes that Anvar’s trembling was
not an ordinary momentary reaction but rather an
intensely emotional state. The writer enhances the
expressiveness of the situation by establishing a clear
contrast between the human div and the delicate
trembling of a leaf, making the imagery more powerful
and emotionally impactful.
CONCLUSION
In this study, we analyzed syntactic figures in literary
texts, specifically focusing on semantic and grammatical
distinctions found in the works of O‘tkir Hoshi
mov. By
examining examples from his works, we explored how
syntactic figures enhance expressiveness, imagery, and
emotional depth in literary narration.
REFERENCES
Арасту.Поэтика. Аҳлоқи кабир.–Т., 1978.
Телия
В.Н.Коннатативний
аспект
семантик
коминативных единиц. –
М., 1986.
