54
O’RTA ASRLAR INGLIZ RITSARLIK ROMANLARIDA QAHRAMON OBRAZINI
YARATISHNING LISONIY VOSITASI.
Durdona Boychayeva
NamDChTI tadqiqotchisi.
tel:(998) 99-917-74-45.
dboychayeva@mail.ru
https://doi.org/10.5281/zenodo.12810354
Annotatsiya.
Har qanday san’at asaridagi badiiy obrazning asosiy predmeti bosh
qahramon obrazi bo‘lib, unga muallif turli xil stilistik uslublardan foydalangan holda tashqi
ko‘rinish va xarakterning ma’lum xususiyatlarini beradi. Ushbu uslublar o‘quvchilarga adabiy
asar olamiga kirib borishga yordam beradi, muallifning bosh qahramonni ichki holati, his-
tuyg‘ulari, kayfiyati va harakatlariga oid maqsadini tushunishga yordam beradi. Markaziy
qahramonlar haqida to‘liq tushunchaga ega bo‘lgan o‘quvchi butun asar tushunchasiga
chuqurroq kirib bora oladi. Ushbu maqolada qahramon obrazini yaratishning lisoniy vositalari
misollar yordamida yoritib berilgan.
Kalit so’zlar:
metonimiya, lisoniy vosita, obraz, antiteza, mubolag’a, metafora.
THE LINGUISTIC MEANS OF CREATING THE IMAGE OF THE HERO IN ENGLISH
NOVELS OF THE MIDDLE AGES.
Abstract.
The main subject of the literary image in any work of literature is the image of
the main character, to which the author gives certain features of appearance and character using
various stylistic methods. These techniques help readers to enter the world of the literary work,
help to understand the purpose of the author regarding the inner state, feelings, mood and actions
of the main character. A reader who has a complete understanding of the central characters can
go deeper into the concept of the whole work. In this article, the linguistic means of creating the
image of the hero are explained with the help of examples.
Key words:
metonymy, linguistic tool, image, antithesis, exaggeration, metaphor.
ЯЗЫКОВЫЕ СРЕДСТВА СОЗДАНИЯ ОБРАЗА ГЕРОЯ В АНГЛИЙСКИХ
РОМАНАХ СРЕДНЕВЕКОВЬЯ.
Аннотация.
Основным предметом литературного образа в любом литературном
произведении является образ главного героя, которому автор, используя различные
стилистические приемы, придает определенные черты внешности и характера. Эти
приемы помогают читателям войти в мир литературного произведения, помогают
понять цель автора относительно внутреннего состояния, чувств, настроения и
действий главного героя. Читатель, имеющий полное представление о центральных героях,
55
может глубже проникнуть в концепцию всего произведения. В данной статье на примерах
объясняются языковые средства создания образа героя.
Ключевые слова:
метонимия, языковой инструмент, образ, антитеза,
преувеличение, метафора.
Badiiy asar qahramoni hamma tomonlama haqiqiy odamdan ustundir. Masalan, asar
qahramoni murakkab, o‘zgaruvchan, ba’zan sirli bo‘lishi mumkin, lekin u o‘quvchiga doim
tushunarli bo‘lishi kerak. O‘quvchi qahramon obrazini uning harakatlarini o‘rgangandan s o‘ng,
uning boshqa personajlar bilan yoki o'zi bilan munosabatlarini tahlil qilgandan s o‘ng o‘z ongida
shakllantiradi. Qolaversa, qahramonning xarakteri va qiyofasi tashqi xususiyatlar orqali va uning
yaqinlari muhiti, unga tegishli narsalar orqali ochiladi. Qahramonning fikr va harakatlariga alohida
e’tibor beriladi.
“Badiiy obraz har doim ham shaxsning umumlashtirilgan, tiplashtirilgan tasviri
bo‘lavermaydi. Badiiy asarda konkret shaxs va hodisalarni tasvirlash orqali butun bir davrning
umumlashtirilgan obrazi, jamiyat yoki tabiat obrazi yaratilishi mumkin”.
1
Qahramon obrazini
yaratishning navbatdagi lisoniy vositasi metonimiyadir. Metonimiya muayyan obʼekt yoki belgi
haqidagi gʼoyalarni kuchaytiradi va buni quyidagi misolda koʼrish mumkin:
But the other knight hit him so hard in midst of the shield, that horse and man fell to the
earth, and therewith Arthur was eager, and pulled out his sword, and said, I will assay thee, sir
knight, on foot, for I have lost the honour
on horseback
.
Tarjimasi:
Va ritsar uning qalqoni oʼrtasiga shunday kuch bilan urdiki, ot va chavandoz erga quladi.
Shunda Artur gʼazablanib, qilichini chiqarib dedi: "Endi men sizga piyoda hujum qilaman,
ser ritsar, chunki men egarda qarshilik qila olmadim va magʼlub boʼldim."
Eʼtiborli jihati shundaki, “Аrturning oʼlimi” romanida badiiy obraz yaratish vositasi
sifatida metonimiya nihoyatda kam uchraydi, “Qirol Xorn” romanida esa umuman yoʼq.
Foydalanish darajasi boʼyicha metonimiya bilan bir qatorda antiteza mavjud. Antitezaning
eng yorqin misoli quyidagilardir:
At that time came in the Knight with the Two Swords and his brother Balan, but they two
did so marvellously that the king and all the knights marvelled of them, and all they that beheld
them said they were sent
from heaven as angels, or devils from hell
…
1
Власова Е.С. Значение языковой природы художественного образа в литературе. – M.: Молодой учёный, 2011. – c.84.
56
Tarjimasi:
Ikki qilichli ritsar akasi bilan u erga etib keldi va ikkalasi shunaqangi moʼjizalar koʼrsatdiki,
qirol va barcha ritsarlar hayratda qolishdi. Ularni jangda koʼrgan har bir kishi, ular osmondan
yuborilgan farishtalar yoki er osti dunyosidan kelgan shaytonlar boʼlsa kerak, deb aytishdi.
Garchi qirol va uning ritsarlari oʼz davlatlarida eng kuchli va jasur boʼlsalar ham, ular bu
ikki ritsar ularni magʼlub etganini tan olishadi, va bunda ularga faqat samoviy yoki shaytoniy
kuchlar yordam berishi mumkinligiga ishora qiladi. Ehtimol, bu oʼrinda muallif nafaqat jismoniy,
balki butun ritsarlikning maʼnaviy kuchini ham koʼrsatishga uringandir.
Har bir qahramonning oʼziga xosligi va individualligini taʼkidlash uchun muallif koʼpincha
mubolagʼadan foydalanadi. Quyida “Аrturning oʼlimi” asaridagi mubolagʼaga ayrim misollar
keltirilgan.
…here lieth a duchess dead, the which was
the fairest of all the world
, wife to Sir Howell,
Duke of Brittany, he hath murdered her in forcing her, and hath slit her unto the navel.
Tarjimasi:
... bu erda Bretani gertsogi, ser Xauelning rafiqasi, dunyoda goʼzallikda tengi boʼlmagan,
marhuma gertsoginya yotadi. Eri uni zoʼravonlik bilan oʼldirdi, va uni kindigigacha yirtib tashladi.
Bu oʼrinda muallif nafaqat ayolning goʼzalligini, balki qotilining shafqatsizligini
koʼrsatmoqchi boʼlgan. Bu usul ayollarni himoya qilishga majbur boʼlgan ritsarlardan farqli
oʼlaroq, qotilning asossizligini taʼkidlash uchun ishlatiladi.
But, sir, said the lady, as thou art called
the worshipfullest knight of the world
, I require
thee of true knighthood, keep me and save me.
Tarjimasi:
Oh, janob, - dedi xonim, - siz dunyodagi eng olijanob ritsar hisoblanasiz, men sizdan
ritsarlik burchingizni oʼrtaga qoʼyib soʼrayman - meni himoya qiling va qutqaring, chunki u sizga
nima demasin, baribir meni oʼldiradi, chunki u shafqatsiz.
Bu misol, shuningdek, baʼzi qahramonlarning shafqatsizligi va boshqalarning
olijanobligini koʼrsatadi va shu bilan ularni qarama-qarshi qoʼyadi.
"Qirol Xorn" romanida ham mubolagʼa mavjud:
Heo luvede so Horn child
That negh
heo gan wexe wild
:
For heo ne mighte at borde
With him speke no worde
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Qirolning qizi Rimenxild Xornga boʼlgan muhabbatdan “aqldan ozdi”, bu qizning unga
boʼlgan haqiqiy his-tuygʼulari haqida gapiradi. Biroq, u hali ham qizning sevgisini qabul qila
olmaydi, chunki u oʼzga yurtda boʼlgani uchun past tabaqa vakili deb hisoblanardi. U qizning his-
tuygʼularini oʼz maqsadlari yoʼlida ishlata olmaydiki, bu ham uning olijanobligidan dalolat edi.
Yuqorida qayd etilgan lingvistik vositalardan tashqari, u yoki bu darajada qahramonlar
obrazini yaratishga yordam beradigan boshqa vositalarni ham topdik. masalan, “Аrturning oʼlimi”
romanidagi maʼlum bir maʼnoni anglatuvchi ismlarni olaylik: Sir Gilbert the Bastard (nikohsiz
tugʼilgan), King Anguish of Scotland (bu ism qirolning fojiali taqdirini bildiradi) yoki
podshohlarning jangchilari sonini koʼrsatishni olaylik:
The first that began the oath was the Duke of Cambenet, that he would bring with him
five
thousand
men of arms... Then sware King Brandegoris of Stranggore that he would bring
five
thousand
men of arms on horseback. Then sware King Clariance of Northumberland he would
bring
three thousand
men of arms. Then sware the King of the Hundred Knights, that was a
passing good man and a young, that he would bring
four thousand
men of arms on horseback.
Then there swore King Lot, a passing good knight, and Sir Gawain's father, that he would
bring
five thousand
men of arms on horseback. Also there swore King Urience, that was Sir
Uwain's father, of the land of Gore, and he would bring
six thousand
men of arms on horseback.
Also there swore King Idres of Cornwall, that he would bring
five thousand
men of arms
on horseback. Also there swore King Cradelmas to bring
five thousand
men on horseback. Also
there swore King Agwisance of Ireland to bring
five thousand
men of arms on horseback. Also
there swore King Nentres to bring
five thousand
men of arms on horseback. Also there swore
King Carados to bring
five thousand
men of arms on horseback.
Tarjimasi:
Bu bayramga Lot va Orkney qiroli Lut va u bilan birga besh yuzta ritsar keldi; bayramga
Gur yurtining qiroli Uriens ham keldi va u bilan birga toʼrt yuzta ritsar bor edi; qirol Garlota Kantr
va u bilan etti yuzta ritsar keldi; shotlandiya qiroli ham bu bayramga hali yosh boʼlsa-da, olti yuz
ritsar bilan kelgan. Yana bir qirol etib keldi, u yuz ritsarli qirol deb atalgan, ammo uning oʼzi va
uning xalqi hamma narsada mukammal qurol va jihozlarga ega edi; qirol Karados ham yetib keldi
va u bilan birga besh yuzta ritsar bor edi.
Yaʼni, qirolning qancha koʼp jangchisi boʼlsa, oʼzi ham shunchalik kuchli va dono boʼladi.
Barcha lingvistik vositalarni oʼrganib chiqib, ularni tahlil qilib, biz quyidagi xulosalarga
keldik: ritsarlik romanining har bir muallifi oʼziga xos ritsarlik gʼoyasiga va ritsarlar obrazlarini
yaratishning oʼziga xos usullariga ega, chunki ikkita romanda biz asosiy tilshunoslikni tahlil qildik.
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Vositalari juda boshqacha – “Аrturning oʼlimi” romanida bu mubolagʼa va epitet, “Qirol
Xorn” romanida esa metafora va taqqoslash.
Xulosa qilib aytish mumkinki, ritsarlik romanlari mualliflari koʼpincha qahramonlarning
ichki qiyofasini yoki tashqi koʼrinishini tasvirlashga murojaat qilmaydilar, aksincha, koʼp hollarda
ular qahramonlarning xatti-harakatlari, nutqlari va his-tuygʼularini aks ettiradilar. Ular uchun
ritsarlarining jasorati va odilligi, ayollarning goʼzalligi va nazokati, qirol va shahzodalarning kuch-
qudrati, dushmanlarning zaif va qoʼrqoqligini oʼz harakatlari va soʼzlari bilan koʼrsatish
muhimroqdir. Buning uchun ular turli stilistik vositalardan unumli foydalanganlar.
REFERENCES
1.
Власова Е.С. Значение языковой природы художественного образа в литературе. –
M.: Молодой учёный, 2011. – c.84.
2.
Фрэй Джеймс. Как написать гениальный роман. – Москва: Издательство
Амфора, 2005 г. – с.46.
