Comparative analysis of the play Pygmalion by G.B. Shaw in the English and Uzbek languages - Педагогика - Дипломные работы

Информация о документе

Цена	12000UZS
Размер	251.0KB
Покупки	0
Дата загрузки	07 Ноябрь 2026
Расширение	doc
Раздел	Дипломные работы
Предмет	Педагогика

Comparative analysis of the play Pygmalion by G.B. Shaw in the English and Uzbek languages

Купить

Comparative analysis of the play "Pygmalion" by G.B. Shaw in the
English and Uzbek languages
CONTENT
Chapter I: A brief information about practice of translation
1.1. Types of translations……………………………………………… ... 8
1.2. Translation of phraseological units………………………………….20
Chapter II: The Practice of translation of “Pygmalion” of G.B.Shaw
2.1. A brief information about the play………………………………….29
2.2. The difference between lexemes in Uzbek and English versions of
work..………………………………………………………………………….51
Conclusions………………………………………………………….......65
List of used literature……………………………………………………..70

Mundarija
Bob I. Tarjima haqida qisqacha ma’lumot
1.1.Frazeologik birliklar haqida ma’lumot………………………………8
1.2.Frazeologik birliklarning tarjimasi …………………………………..20
Bob II. G.B.Shounning ’’Pygmalion’’asarining amaliy tarjimasi
2.1.Asar haqida qisqacha ma’lumot……………………………………..29
2.2.Asarning o’zbek va inglizcha matnlaridagi leksemalarning farqi:
affiksatsiya, qo’shma so’zlar………………………………………………….51
Xulosa…………………………………………………………………….65
Foydalanilgan adabiyotlar………………………………………………..70

Introduction
It is well known that literature plays an important role in learning a foreign
language. In rapidly developing contemporary world the level of learning
foreign languages may have crucial effect on well-being of a personality and the
whole society. Without good specialists who know foreign languages
professionally well this is impossible to have beneficial and effective
negotiations and talks with foreign partners. All spheres of contemporary social
and economic life today demand global contacts.
The English language today serves as a means of this contact between
people and nations of the universe. That's why the importance of learning and
propagating of this language was paid attention by the President of the Republic
of Uzbekistan. In his speech in Samarkand on November 12, 2010 he pointed
out the importance of learning and teaching English and gave priority to the
learning of it. It is not for nothing. Today it is well known that knowing this
language may bring only favor and no harm.
The purpose of the study is a comparative analysis of linguistic means
that can indicate personality development in English and Uzbek; in identifying
ways of translating English lexical means that nominate personality
development into Uzbek; in a comparative analysis of the translation techniques
used that made up the translation methodology.
The subject of the study is a comparative analysis of lexical units, capable
of reflecting the development of personality by their meaning, used in an
English literary text and translated into Uzbek.
The object of study is the vocabulary and affixation of the English
language in that part that can indicate the development of personality.
The theoretical and methodological basis of the research was made up of
the works

- in the field of general lexicology: Yu.D. Apresyan [Apresyan, 1995], R.A.
Budagov [Budagov, 1965, 1983], V.V. Vinogradov [Vinogradov, 1977], D.N.
Shmelev [Shmelev, 1973];
- cognitive linguistics: E.S. Kubryakova, I.A. Sternin [Kubryakova, Sternin
1985; 2001], N.N. Boldyrev [Boldyrev, 2001];
— general and specific phraseology: V.P. Zhukova [Zhukov, 1978], A.V.
Kunin [Kunin, 2005], V.N. Telia [Teliya, 1996];
— translation theories: E.V. Breus [Breus, 1998], L.L. Nelyubin [Nelyubin,
2003, 2005], V.N. Komissarova [Komissarov, 2006], Yu.D. Levin [Levin,
1985];
— terminology and theory of languages for special purposes: E.I.
Golovanova [Golovanova, 2010; 2011; 2014]; E.A. Sorokina [Sorokina 2017].
In this work the tasks set were:
1. To examine the term «phraseological unit» from many points of view of
scientists;
2. To elicit what changes were made in some phraseological units;
3. To learn the rules of correct translation of phraseological units in the
literary works.
For solving the formulated tasks in this work we have used the following
methods:
1. Cognitive method;
2. Comparative analysis;
3. Descriptive method
4. Componential analysis
For learners of English language as a foreign language this layer of
language presents difficulties in learning, but after the mastering of
phraseological units we could begin to speak like British people, and to catch the
native meanings at once. Sometimes it is easier to say a phraseological
expression to tell our thoughts and sense than try to find necessary words and
sentences. In many cases the knowledge of English phraseology helps us to

avoid, i.e. literally translation of sentences from Uzbek into English. In this way
we would like to make a conclusion that actuality of this term is indisputable.
The novelty of the research : the study of history of development of Uzbek
schools of translation and its own specifics and originality.
The detailed analysis of basic translation methods and techniques of
translation of the novel was carried out. The results of the theoretical part of the
investigation can be applied to the practical study of various translation
problems of fiction translation.
Structure of the work . The dissertation consists of an introduction, two
chapters, a conclusion and a bibliography, which includes titles in Uzbek,
Russian and English. The total volume of work is pages.

Chapter I. A brief information about translation
1.1. Types of translation
The English language has a thousand-year history. At this time a lot of
expressions appeared, which were founded as well turned, neat and fine. In this
way a special layer of the language appeared, it is phraseology – the whole set of
stable expressions, which have their independent meaning.
The learning of the English language is widely-spread among our country.
Good knowledge of language is impossible without knowing English
phraseology. If we know phraseological expressions of English and our native
language it will make us easier to translate and understand.
The world of Modern English phraseological expressions is so grand and
various that every aspect of its study is worth of due regard.
A.S. Pushkin, the famous Russian writer, considered «what the author said
it must be paraphrased by an interpreter». A.K. Tolstoy thought that «we must
not translate words, sometimes even meanings; we need just to give one’s
impressions».
Phraseological expressions are widely used almost in all parlances,
especially in informal speech and literary language. But for interpreters and
translators phraseological expressions offer the biggest problem. Because some
phraseological expressions, especially Primordial Uzbek cannot be translated
into English, if they are connected with culture and traditions. And interpreters
translate only the sense of expressions.
In modern linguistics there is no unique opinion in a question about essence
and definition of set phrase as a language unit. There is some theoretical
difference on the occasion of phraseology and character of linguistic facts,
named as phraseological units. Lexicological practice testifies the importance of
precise definition of phraseological unit. When in dictionaries in capacity of
phraseological units usual word combinations (feeling of fellowship; do

something at the first try; not a sound; things are doing etc.) and words
(hostilities; for nothing; word-perfect etc.) are given.
Charles Bally gave the definition of phraseological unit: «combinations,
which firmly came into language, are called set phrases». Linguists S.G. Gavrin,
V.L. Arkhangelskiy, V.N. Teliya name phraseological unit as a language unit,
which has such minor criteria as metaphoricalness, equivalence and synonymity
of the word. V.V. Vinogradov suggested the most important sign of
phraseological unit is equivalence and synonymity of the word. But in N.M.
Shanskiy’s opinion almost all words have metaphoric meaning, but not all
phrases have equivalence. So, inclusion of such minor criteria and dependent
signs in definition of phraseological unit is not correct. The scientist emphasized
that «the correct definition of phraseological unit cannot exist without its
difference from the word and free combination».
In his book «Phraseology of modern Uzbek language» Shanskiy gives the
next definition «set phrase is readable language unit, consisted of two or more
stressed components of word character, fixed (i.e. constant) by value,
composition and structure». The linguist is of opinion that the major attribute of
set phrases is their readability, as «phraseological units are not created in the
process of communication, so they are reproduced as finished integral units». In
this way phraseological units «to the other end of the world», «somebody has
disappeared into thin air», «one has nothing to say for oneself» etc. are fully
extracted in our mind. Readableness is significant for phraseological units in
their finished type with attached and strictly fixed meaning, composition and
structure. Phraseological units are significant language units. It is typical of
them proper value, independent from the meaning, which constituents their
components. Set phrase consists of the same components, arranged in strict
established order. We ascertained that in the Uzbek language some
phraseological units could have different word order: uyatdan yonmoq (to burn
with shame), aldamoq (chew the fat (the rag)).

N.M. Shanskiy made out some difference between set phrases and free
word combinations. Set phrases differ with readableness, integrity of the
meaning, steadiness of composition and structure and also with structure
tightness. In scientist’s opinion the difference between set phrases and words is
in the next: words consist of elementary significant units of the language,
morphemes, and phraseological units consist of components of word character.
Therefore, we understood that phraseological units have characteristic set of
differentia:
1.These are finished language units, which are not created in the process of
communication, they are fully extracted in our mind;
2.These are language units, which have constancy in meaning, composition
and structure;
3.These are divided into parts foundation, whose components are realized
by speakers as words.
Phraseological units must consist of all signs, which were mentioned
before.
The source of idiom origin in Modern English language is very various.
We could divide all phraseological units into two groups: primordial
English phraseological units and adoptions. On its part, all adoptions are divided
into interlingual adoptions and intralingual adoptions.
Therefore we could single out 3 groups of phraseological units:
1.Primordial English phraseological units
2.Interlingual adoptions, i.e. phraseological units adopted from foreign
languages and translated by any type of translation
3.Intralingual adoptions, i.e. phraseological units adopted from the
American English or other variants of the English language.
1.Primordial English phraseological units
In most cases phraseological units of the English language are primordial
English phrases, which authors are unknown. We could give some wide-spread
examples of such phrases, which were created by people: bite off more than one

can chew – og’zingizga yutib yuborishingiz mumkin bo’lgandan ko’ra ko’proq
soling- nonni kata tishlasang ham gapni katta gapirma pay though the nose –
in Uzbek it can be also translated into two way, «otasining narxini qo’ymoq
etc.»
Primordial English phraseological units are connected with traditions,
customs and English popular belief, but also with actual, legendry, historical
facts. We would like to give some examples connected with each point
mentioned above.
1.Phraseological units connected with traditions and customs of English
people:
Baker’s dozen – « O’n ikkitalab (according to old English custom, people
who sells bread received thirteen loaves of bread instead of twelve, and
thirteenth loaf was not paid by sellers at that); good wine needs no bush-Yaxshi
sharobga yorliq kerak emas, (according to old custom, innkeepers hung out one
ivy bush, which meant there was some wine on sale).
2.Phraseological units connected with actual:
Put somebody in the cart – which is translated into Uzbek kimnidir qiyin
ahvolga solib qo’yish (cart was a carriage in which criminals were delivered to
execution yard or were driven over the town with a shame); a strange bedfellow
(It is a part of proverb «adversity makes strange bedfellows» in the Uzbek
language it means -Muhtoj bo’lganizda hech kim bilan kelisholmaysiz. In
middle ages in England, especially in XVI – XVII centuries there were not much
single beds, so same-gender people slept together).
3.Phraseological units connected with names:
The phraseological unit according to Cocker which can be translated into
the Uzbek language as- Barcha qoidalarga muvofiq to’g’irlang (E. Cocker – the
author of arithmetic book);
4.Phraseological units connected with popular belief:
A black sheep translates into Uzbek as tirraqi buzoq (according to old
popular belief, a black sheep was a stamp of devil); an unlicked cub which in the

Uzbek language means «o’gzidan ona suti ketmay» (there was the belief when
bear cubs were born a female bear licks them into shape)
5.Phraseological units connected with historical facts:
As well be hung for a sheep as a lamb – yo ostidan yo ustidan (the old
English law was that if you stole a sheep you would be hung).
At this point we noticed that proverbs in English have only one meaning,
we cannot change or add any word, but we could translate these proverbs into
Uzbek in two or more ways without any changing in their meaning. And with
this we want to say that the Uzbek language is a very rich language with words
and word-meanings, while translators and interpreters translate Uzbek proverbs
by naming the sense of the proverb, they do not translate every word, which
could be unknown to foreigners.
A great amount of English phraseological units is connected with the
antique mythology, history and literature. The majority of such phraseological
units have an international character, as they are found in many languages.
To the antique mythology we could attribute the next phraseological units:
Achilles' heel (or the heel of Achilles) –Axillesning tovoni; the apple of discord
– janjal sababchisi; Augean stable(s) – Augean otxonalari; the golden age –Oltin
asr (this expression we meet at the book «Works and days», which was written
by Greek poet Hesiod. In this book there was written how people lived at the
Saturn century, they lived like gods, without cares, wars and hard work); a
labour of Hercules (the labours of Hercules) (also a Herculean labour or
Herculean labours) – Gerakl mehnati; a labour of Sisyphus (also А Sisyphean
labour) – Sizif ishi; Lares and Penates – issiq o’chog’ (lares and penates at
ancient time in Roman mythology were Gods, who protected hearthside).
With Homer poems «Iliad» and «Odyssey» were connected the
expressions:
between Scylla and Charybdis – qiyin vaziyatda; Homeric laughter –
Gomercha kulgi (this set phrase was connected with the description of God’s

laugh by Homer); on the knees of the Gods – Faqat Allohga ayon; Penelope's
web –, vaqtni cho’zish; winged words – mashhur so’zlar.
The expression the unwritten law –Yozilmagan qonun belongs to Athenian
law-giver Solon.
From philosophic works of Plato such expressions were taken: hand on the
torch –ilm nurini taratish; Platonic love –Platonik sevgi
Some expressions come from fables of Aesop and other Greek fairy-tales
and fables: blow hot and cold–Bir–birini istisno qiladigan narsalarni qilishdan
ikkilanib noaniq pozitsiyani egallaydi; kill the goose that laid the golden eggs –
foydadan quruq qolish; cry wolf too often (also cry wolf) – yolg’on vahima
qilmoq (from the fable about shepherd, who had fun to cheat people crying
«Wolf! Wolf! »); the lion's share – eng katta ulush; cherish (nourish or warm) a
viper in one's bosom – qo’ynida ilon saqlamoq ; an ass in a lion's skin – usti
yaltiroq, ichi qaltiroq.
The majority of English phraseological expressions were connected with
Ancient Rome. For example: a bed of roses –xotirjam hayot. (Nowadays this
expression is used in negative sentences, take for instance, life is not a bed of
roses – Holva degan bilan og’iz cho’chimaydi. In Ancient Rome rich men
strewed their couch with rose leaves).
Many of English phraseological expressions were adopted from Latin
language through French. But there are some expressions, which were adopted
from the Latin language escapes French. This we could prove with that there are
not such expressions in the French language: anger is a short madness –G’azab
qisqa muddatli jinnilik forewarned, forearmed – Oldindan ogohlantirilgan,
qurollangan like cures like – achchiqni achchiq kesadi, one fool makes many –
Ahmoqlik yuqumli. Some phraseological expressions were adopted from the
French language: after us the deluge –bizdan keyin dunyoni suv bosmaydimi;
appetite comes with eating –Ishtaha ovqat vaqtida keladi, burn the candle at
both ends –o’ysiz yashamoq, castles in Spain – orzular. This expression is
connected with epos «Chansons de Geste», whose heroes, knights got tenure

unconquerable castles in Spain); the game is not worth the candle –Bunga
arzimaydi, gilded youth –Oltin yoshlik, it goes without saying – Bu so’zsiz.
Not many English phraseological expressions were adopted from Old
French Language. For example, cry havoc – Zaiflashtirmoq, curry favour with
somebody – laganbardorlik qilmoq (red horse was a sign of cunning and lies).
In the English language we could find adoptions from different languages:
1.The Uzbek language: the Sick Man of Europe –Yevropaning bemor
odami (the Uzbek King Nicolay I named Turkey with such words. Nowadays
this expression means any country in Europe with poor economic position).
2.The Danish language: an ugly duckling –Xunuk o’rdak (the person who
was estimated lower his own value).
3.The Dutch language: forlorn hope – Xafli topshiriqni bajarayotgan yoki
o’limga mahkum bo’lgan otryard; still life – natyurmort.
4.The Italian language: every dog is a lion at home –Hamma ham o’z uyida
botir.
5.The Chinese language: lose face– Obro’sini yo’qotmoq, xo’rlanmoq.
6.Phraseological expressions connected with Arabic literature: from the
fairy-tale «One thousand and one nights» were adopted next expressions:
Aladdin's lamp –Allovuddinning sehrli chirog’i (talisman, which hits all spots
of its owner); rub the lamp – osongina orzuga erishish.
We need to mention that analogue phraseological expressions are translated
variously into different languages. That into the English, French and Spanish
languages is translated as word-combination, but in German it is translated very
often as a difficult word. Some phraseological expressions in modern languages
correspond as calking from old classic languages, especially from the Latin
language.
The English language is popular simple language. It has a lot of
borrowings, adoptions of phraseological expressions, but it is not wealth in
grammar and lexicology.

Phraseological expressions improve our speech. Sometimes it is easier to
say a phraseological expression to tell our thoughts and sense than try to find
necessary words and sentences. But there are such phraseological expressions
which can be translated variously into different languages.
With these we would like to say that without phraseological expressions
our speech would be considered as poor. So, if we want to improve our speech
we need to know and understand phraseological units in our native language.
And if we want to avoid problems with the translation of these phraseological
expressions we need to learn them by heart.
The creators of the most set phrases are known.
Benjamin Franklin: Time is money –vaqt- pul («Advice to a Young
Tradesman», 1748)
Washington Irving: the almighty dollar – qudratli dollar
Fennimore Cupper: go on the warpath – jamgga kirishmoq
Henry Longfello: ships that pass in the night –o’tkinchi,tasodifiy
uchrashuvlar
John Hoy: the grapes of wrath – G’azab belgilari
Jack London: the call of the wild –Tabiat chaqiruvi; the iron heel –temir
tovon.
Theodor Roosevelt: the big stick – kuchli siyosat
Nowadays we think that there is a difference between the American
English and the British English, but the difference is connected with the
pronunciation of some words, meaning of some word and we thing that
Americans use wrong language. They could use wrong tense, wrong word, and
we not to mention pronunciation. It is possible that some of us would think that
it was a stupid thing to adopt phraseological expressions from the American
English.
In our opinion, there is not anything bad in idiom adoptions from the
American English. British people just wanted to improve and renew the English
language. They did not change anything in American phraseological

expressions. So, we cannot imagine how we would live if we did not have these
expressions.
In Modern English Language there are a lot of phraseological expressions,
which have the main function is to heighten the aesthetic aspect of the language.
A lot of phraseological units appeared in connection with traditions, customs
and English popular belief, but also with actual, legendry and historical facts,
but also we must not forget that the majority of phraseological expressions
appeared from poems of famous writers.
The phraseological expressions from poems of the popular English
classical writer William Shakespeare are considered as one of the most
important origin, which improved the English language. Their total amount is
near one hundred. We give the examples of the most popular phraseological
expressions of William Shakespeare or Shakespearean phrases: the be-all and
end-all («Macbeth») – Hayotdagi hamma narsa; eat somebody out of house and
home («King Henry IV») – xonavayron qilmoq; a fool's paradise («Romeo and
Juliet») – Hayoliy baxt, hayoliy dunyo; give the devil his due («King Henry V»)
– raqibga tan bermoq; the green-eyed monster («Othello») –rashk; the observed
of all observers («Hamlet») –Hammaning diqqat markazida; paint the lily
(«King John») – Nilufar rangini bo’yash, e.g.Yaxshilash yoki bezashni talab
qilmaydigan narsani yaxshilashga yoki bezashga harakat qiling; the seamy side
(«Othello») –Biror narsaning orqa tomoni; the wish is father to the thought
(«King Henry IV») – Istak fikrni keltirib chiqaradigan odamlar o’zlari xohlagan
narsaga bajonidil ishonadilar.
William Shakespeare was the greatest dramatist, whose novels were of
great importance in forming of the English literary language. The most active
process in XVI-XVII centuries was the creation of phraseological expressions.
So W. Shakespeare was one of the writers whose phraseological expressions
continue to be used.

M.M. Morozov, a researcher of Shakespeare’s works, writes «It is
wonderful that the majority of the Shakespeare phraseological expressions are
continued to be used in Modern English language».
The researches write that it is very hard to assign when the transformation
of Shakespearean phrases into phraseological units appeared. In their opinion
the transformation appeared in works of different authors. They used
Shakespearean phrases in their works, and changed something in his phrases.
In Modern English language some Shakespearean phrases were changed.
Some examples of such changes we could show in the following way.
The Shakespearean phrase at one fell swoop («Macbeth») – Bir lahzada, bir
urinishda, nowadays is used in contracted form at one swoop, as a result
appeared quantitative variants. Quantitative variants are formed with reduction
or adding some elements in phraseological expressions.
They go quick, one after another – five of them vanished already at one
swoop (S. O'Casey).
We need to note that the American variant of the phrase is in one fell
swoop.
Mr. Strongfort had decided, he said, to teach me everything in one fell
swoop. (W. Saroyan).
Also were changed the next phraseological expressions:
Shuffle off this mortal coil («Hamlet») –o’zini o’ldirmoq nowadays is used
as (this) mortal coil –bevafo dunyo.
Out of joint –kayfiyati tushmoq was used as the time is out of joint
(«Hamlet»).
He phrase to wear one's heart upon one's sleeve for daws to peck at
(«Othello») – His-tuyg’ularizni namoyish etmoq in Modern English is used in
contracted form: to wear one's heart upon one's sleeve.
We could give the example of Shakespearean phrase with the addition of
elements, more honoured in the breach than in the observance. This
phraseological expression was created by William Shakespeare in the poem

«Hamlet», but without the second preposition in. This preposition was added
later, and as a result quantitative variants appeared.
Shakespeare combined the set phrase more honoured in the breach than the
observance with the word custom. In Modern English language the combinatory
power of this Shakespearean phrase is widely used, and the phrase could refer to
everything that is violated.
In the course of time a lot of Shakespearean phrases started to have their
own lexical variants: take for instance, applaud (or cheer) to the echo –Shovqin-
suron bilan, hayajon bilan olqishlamoq (applaud to the echo – Shakespearean
phrase; «Macbeth»); cram (ram or thrust) something down somebody's throat –
Birovga yuklamoq (your own opinion, your point of view etc.) (thrust something
down somebody's throat – Shakespearean phrase; «Titus Andronicus»); get
(have, take or catch) somebody on (upon) the hip – birovning qo’li, qo’l ostida
bo’lmoq.
In contamination of two Shakespearean phrases gild refined gold and paint
the lily appeared the new set phrase gild the lily, which is considered as a variant
of the phraseological expression paint the lily.
The Shakespearean phrase the better part of valour is discretion («King
Henry IV») – Jasorat belgilaridan biri kamtarlik in Modern English language is
used with changed word order: discretion is the better part of valour.
We could give more examples with changed word order:
Somebody’s memory is green – hanuz xotirada in Modern English is used
as something is green in somebody’s memory;
as night follows day –kecha-kunduz kabi muqarrar nowadays was changed
to follow as night the day;
give somebody pause – ikkilanib qolmoq was changed to give pause to
somebody.
The set phrase lay it on with a trowel –Oshirib yuborish was used in
passive voice by W. Shakespeare:
Сelia: Well said: that was laid on with a trowel («As You Like It»).

In Modern English this phraseological unit is used in active voice:
She continued to flatter him... She got a little private amusement by seeing
how much he should swallow. She laid it on with a trowel (W.S. Maugham).
In the phraseological expression buy golden opinions – o’zi haqida ijobiy,
xushomadgo’y fikrga ega bo’lmoq, in Modern English the verb win is used
instead of the verb buy.
be food for worms – o’lmoq, the word food was changed to the word meal.
And nowadays the phraseological expression sounds as to be meat for worm;
set a stone rolling – xafli yo’lni tutmoq, nowadays changed to put a stone
rolling;
the devil can cite (quote) scripture for his purpose – proverb jannat uchun
hamma narsaga tayyor.
The set phrase the milk of human kindness – hahm-shafqat Lady
Macbeth: ...yet do I fear thy nature: It is too full o' the milk of human kindness...
(«Macbeth»). In Modern English language this phraseological unit is used in
appreciation, but also jocularly and ironically.
Besides a man with the milk of human kindness in him can scarcely abstain
from doing a good-natured action, and one cannot be good-natured all around
(G. Eliot).
Sellers said privately that Rossmore was the most extraordinary character
he had ever met – a man just made out of the condensed milk of human
kindness... (M. Twain).
We know that all these phraseological expressions appeared in XV-XVI
centuries, and it is logical that they must be changed in whole course of their
existence. Because any language is changed, something becomes unpopular,
something disappears, some words change their meaning and something new
was appeared.
We need to mention that a lot of Shakespearean phrases were changed,
some of them changed their word order, some words in these phraseological
expressions were changed, and also some prepositions were added. But their

meaning was not changed. This means that all these expressions would never
disappear; they also would be changed for improving the English language.
2.2. Translation of phraseological units
1.Complications in translation of English phraseological units
Difficulties in translation of phraseological units start with their recognition
in the text. Practically in any language there are several types of phraseological
units:
1.Fixed in the dictionary and known by everybody
2.Out-of-use, but fixed in the dictionary
3.Known only by certain social groups
In any case, the first and the main condition is to be able to recognize
phraseological units in the text. The most productive way is the skill of selection
of contradict units in text, as a rule, exactly the forthcoming of such units
indicates an extended sense. For example: By that time he had reached the
condition to see pink elephants. If we translate this phrase literally, i.e. «orzular»
it forms us an unmeaning context. From these facts, we may conclude that if we
see the expression, which is logically contradicts the context, we can put down it
like a probable phraseological unit.
The second condition in the process of recognition of phraseological units
consists in the skill of analyses their language functions. For example the
conflict between extended sense and direct meaning is used by the author for
description of esthetic, emotional and other associations, but also for creation of
humoristic effect. Moreover, phraseological units could be fixed by any layer of
society. And they have different stylistic nuances: these could be the grand style,
neutral style and low style or slang expressions.
Also an interpreter could face a problem of national-cultural difference
between similar phraseological units in both different languages. Having the
same sense, phraseological units could have different stylistic nuances. For
example: the phraseological expression when Queen Ann was alive, in which

the sense could be explained as- Qadim zamonlarda or to save the direct
meaning «qirollik davrida». It would be correct to translate it as-Qirol Artur
zamonida or any other royal name which is well-known to Uzbek readers or to
translate more general «o’rta asrlarda».
There are a lot of complications in translation of phraseological units and
the rules of the best idiom translation, which we would show below.
2.Classification of methods of idiom translation
In order to speak about methods of translation of phraseological units
theoretically we need to arrange discursively all phraseological units of this
language into groups, and we will see which method repeats more often. A lot of
authors take as a source linguistic classifications, which were constructed on
criteria of indivisibility of phraseological units, continuity of its components,
reason for meaning, metaphoricalness. V.V. Vinogradov divided all Uzbek
phraseological units into four groups: phraseological fusion, phraseological
unity, phraseological combinations, and phraseological expression. This
classification was used into the work of theory and practice of translation of
L.V. Phedorov. He said that some phraseological units would present some
difficulties for interpreters and translations as all Uzbek phraseological
expressions have different degrees of motivation and national specification.
Ya.I. Retsker also holds this classification, but he divided Uzbek phraseological
units into two groups: phraseological unity, phraseological fusion. He thinks that
phraseological units would have non-ordinary methods of translation: «the
translation of phraseological unit must be figurative and imaginative», and «the
translation of phraseological fusion must be fully translated».
We must not think that this classification of methods of idiom translation is
incorrect. However, theorists of translation include new additional division of
phraseological expressions into imaginative and non-imaginative units.
Literally translation of full value depends on correlation of original
language and target language:
1.Phraseological expression has the complete analogue in target language;

2.Phraseological expression has some differences in target language, which
is translated by analogue method;
3.Phraseological expression in target language does not have equivalents,
analogues and which is untranslatable in word order.
In interpreter’s point of view, we could divide phraseological units into two
groups: phraseological units, which have the equivalence in transferable
language, and phraseological units with no direct equivalents in other languages.
We should note here that phraseological expressions are translated in
phraseological translation, if there are the equivalences or the analogues for
phraseological expressions, or in non-phraseological translation, if there is a lack
of equivalences and analogues.
These methods of translation show us the problem of translation of
phraseological units, but also broaden and simplify the choice of the most
suitable and appropriate method of translation.
1.Phraseological method
It is well known that phraseological method consists of equivalence and
analogue. In this part we would like to give examples of full phraseological
equivalents and partial phraseological equivalents and analogues in the English,
Uzbek and Italian languages. Doubtless, only a great knowledge of language and
dictionaries could help us to translate phraseological units correctly.
To begin with, phraseological equivalent is a phraseological unit on
transferable language, which is equal in all performances to transferable unit. As
a rule, it must have the same denotative and connotative meanings, no matter
from the context. It means there must not have any differences in point of
semantic content, stylistic nuance, metaphoricalness, emotional-expressive
nuance between these correlative phraseological units. They must have
approximately the same component structure; have the same lexico-grammatical
signs: combinative power, belonging to the same grammatical category,
connection with context words etc., but also there must be the absence of
national color.

First of all, let us try to understand which equivalents belong to full and
partial phraseological equivalents. Full phraseological equivalents are
equivalents, which coincide with English (or other language) phraseological
units in their meaning, lexical structure, figurativeness, stylistic orientation and
grammatical structure. For example the English phraseological expression take
the bull by the horns – maqsadga o’tish, belongs to full phraseological units.
Into the Italian language it is translated as prendere il toro per le corna and
would also belong to full phraseological units, as they have the same structure
and the same sense. Or for example, the phraseological unit «dangasalik
qilmoq» is translated into English as play (or act) the fool and into the Italian
language as fare lo stupido also would belong to full phraseological units.
We should, however, not forget that partial phraseological units are
equivalents, which do not coincide with English (or other language)
phraseological units in lexical structure, and grammatical structure, but coincide
in their meaning.
We would like to give some examples of full phraseological units in both
languages:
A drop in the ocean – D engizdan tomchi
Be in the seventh heaven – Yettinchi osmonda
Be on the tip of one’s tongue –Til uchida bo’lmoq
He would not hurt a fly –Pashshaga ham ozor bermaydigan
Keep a snake in one’s bosom – Qo’ynida ilon saqlamoq
Sharp tongue –Hozir javob
To play with fire – O’t bilan o’ynashmoq
To sit on the phone –Telifonga mukkasidan ketmoq
To take oneself in hand – O’zini qo’lga olmoq
Waste money–Pulni behuda sarflamoq
The examples we have presented would indicate that all these
phraseological expressions are literally translated into both languages. There is

no problem to translate full phraseological units into the English or Italian
languages.
But we could have some difficulties in translation of partial phraseological
units. As we have mentioned before partial phraseological units coincide in their
meaning, but have some lexical or grammatical differences. For example, the
English phraseological expression to hang by a thread –qil ustida, belongs to
partial phraseological units. It is translated into the Italian language as è appesa a
un filo and would also belong to full phraseological units, as they have the same
sense, but these variants a little differ from the Uzbek variant. The words
«thread» and «filo» are translated into the Uzbek language as «qil».
Or take for instance the English phraseological unit it is a jawbreaker
which also belongs to partial phraseological units and is translated into Uzbek as
«til aylanmaydi». The word «jawbreaker» is translated into the Uzbek language
like «jag’ni sindirib olmoq», so these two phraseological expressions have the
same meaning, but they differ in lexical structure. If we translate this
phraseological unit into the Italian language which would sound as c’è da
rompersi la lingua and would fully conform to the Uzbek phraseological unit –
«til aylanmay qoladi». In this case we must label the Italian translation of this
phraseological expression belongs to full phraseological units, as it was literally
translated.
Or for example the Uzbek phraseological unit «toshday unsiz» is translated
into English as dumb as an oyster, which belongs to partial phraseological units.
Because the English word «oyster» is translated as «ustritsa » , so there is a little
difference in this phraseological expression. The same expression is translated
into the Italian language as muto come un pesce, and we noticed again that this
expression was literally translated.
We would like to give a famous example of the English partial equivalent
of phraseological unit; it is to be like a squirrel in a cage, which has a little
difference in some words with the Uzbek expression «Chumoliday tinmay
ishlamoq». Into Italian it is translated as girare come una trottola, which is the

full equivalent to the Uzbek phraseological unit. In these three examples we see
that they have the common word «squirrel», it is because of a squirrel is a sign
of quickness, spryness and tirelessness. Dexterity of a squirrel shows us its
slyness, and almost in all countries a squirrel is a sign of persistence.
So we ascertained that the majority of Uzbek phraseological expressions
are literally translated into Italian, it is because the Italian language was very
popular and had a great influence on many languages, including Uzbek, in the
Renaissance period. We cannot possibly accept the fact that a lot of words in the
Uzbek language were adopted from Italian, which became our native words
nowadays. From this fact, we may conclude that as we use the Italian words in
our language, it makes us easier to translate Uzbek phraseological units into the
Italian language.
An example of analogue is the expression «yuvilmagan qoshiqday», which
is differently translated into the English and Italian languages. This expression is
very rude and impolite; it describes a person, who shows an initiative in deals
which he must not participate. Into English there is the analogue of such
expression, it is one who has a finger in every pie, which is literally translated
«burnini tiqmoq». It is necessary to mention that the first pies appeared in the
12th century in Great Britain. English people put a finger in a pie for checking if
the pie is ready or not. The English analogue is connected with English customs
and traditions, that’s why we cannot literally translate it. But there is not any
analogue in the Italian language. Italians only call such people like ficcanaso,
which meaning is a curious person, i.e. it is not the analogue to the English
phraseological unit, but the description of this expression.
Or for example the phraseological unit «tuyaning dumi yerga tekkanda»,
which is also differently translated in both languages. The origin of this
phraseological unit is connected with Uzbek popular belief and legendry.The
analogues cannot be literally translated into the Uzbek language, because they
differ from the Uzbek expressions, as they are connected with customs and
traditions. Let us take for instance, the English phraseological unit to draw the

wool over someone’s eyes, which offers many difficulties for interpreters. If we
translate it literally, i.e. «do’ppiga to’n kiygazmoq», English people will not
understand the sense of this expression, as there is no similar expression in the
English language. The correct way for interpreters would be to explain the sense
of the expression or to learn it by heart that we could remember it at once. The
translation of this translation is «aldamoq » which has the full equivalent in the
Italian language – that is portare per il naso.
Phraseological analogue offers big problems to interpreters, because it is
connected with customs and traditions, which quite differ from each other. If we
do not know the traditions of the language we deal with, we could translate
phraseological units incorrectly. But we have another way of the translation of
phraseological units, it is the descriptive method, which makes the translation
easier, naming the sense of the phraseological unit.
Non-phraseological method of idiom translation conveys phraseological
units with the help of lexical ways, but not phraseological ways in target
language. This method is used when it is known that there are not any
phraseological equivalents and analogues. It is difficult to name such translation
of full value; there are always some losses, such as figurativeness, expressivity,
connotation and aphoristic character. It makes interpreters use non-
phraseological method of idiom translation only in case of emergency. In this
part we would like to give examples of these types of idiom translation in the
English, Uzbek and Italian languages.
Non-phraseological method consists of four ways of idiom translation:
calking, antonymous translation, combined translation and explication or
descriptive translation.
It is well known that some types of translation, such as calking and
explication, are more widely used than antonymous and combined translations.
We will start with calking way of idiom translation.
Calking or literally translation of phraseological units is used in cases when
it is impossible to use another ways of translation, saving semantic-stylistic and

expressive-emotional meanings of phraseological expression. We can use
calking if the literal translation could bring the sense and the idea of an
expression to a reader and the native speaker of target language could
understand the sense of phraseological units correctly. Take for instance the
phraseological expression keep your cool – to control your temper and stay calm
in a difficult situation, which is translated into the Uzbek language-xotirjamlikni
saqlamoq , and into the Italian language as «mantenere la calma». In both
languages they were literally translated, i.e. using the calking way of idiom
translation. Or for example another phraseological unit which was translated
with calking is over my dead body – used to emphasize that one completely
opposes something, into the Italian language it is translated as «dovrai passare
sul mio cadaver» and into Uzbek – «meni ko’mib kelib».
Calking gives us a great opportunity to avoid peculiarities, which could
appear in original. For example, the English phraseological expression it is
raining cats and dogs, which is usually translated as «yomg’ir chelaklab
quyayapti». But it is differently translated in combination with other words; a
good example is it was raining cats and a little puppy got on my page. It would
be better to translate the expression using parenthesis, for example, it was
raining cats and dogs and a little puppy dropped on my writing table. Such type
of translation is used when the original expression is a little changed with
additional components.
The other way of translation of phraseological unit is antonymous
translation. Antonymous translation is a lexical-grammatical transformation, in
which affirmative form in original is substituted into negative form in
translation, or vice versa from negative form into affirmative. For example: to
keep one’s head – remain calm, which is translated into Uzbek «sovuqqon
bo’lmoq», to keep one’s head above water – avoid succumbing to difficulties,
typically debt is translated as «qarzdorlikdan qutulmoq», to keep one’s pecker
up – remain cheerful, which has two ways of translation into the Uzbek
language «boshni baland ko’tarib yurmoq ».

The essence of antonymous translation of phraseological expressions
consists in expressing the idea of phraseological unit though the opposite
meaning with some changes in the structure. We would like to give an example
of the Uzbek phraseological unit «til uchida bo’lmoq» which is translated with
antonymous translation into the English language, i.e. to be on somebody’s
tongue all the time, but into Italian the expression is translated with a little
difference – ce l'ho sulla punta della lingua which is literally translated as
«tilning uchida bo’lmoq».
Or for example the expression -narxi bir tiyin is translated into the English
language like it is not worth a brass farthing which literally means «bir tiyinga
ham arzimaydi» and into Italian the expression is translated as non vale un soldo
bucato, that is- bir chaqaga ham arzimaydi. But these translations are connected
with Uzbek, English and Italian cultures, values of people.

Chapter II. Practice of translation of ’’Pygmalion’’G.B.Shaw
2.1. A brief information about the play
English language developed in the course of time in its birthplace -
England and later in such countries as the USA, Australia, New Zealand. The
development of a language is determined by the development of literature. All
the positive (and negative) features of a language can find their reflection in
literature. Thus language is influencing the literature. In this point we can say
that literature and language are intertwined and the learning of one demands the
learning of the other one.
English literature has passed great and complicated way of development. It
gave to the treasure of world literature such great names as Shakespeare,
Chaucer, Byron, Shaw, Hemingway, Twain and so many others.
The theme of my course paper sounds as following: “Literary analysis of
the play Pygmalion by George Bernard Shaw”. In this work, I investigated life
and creative activity of George Bernard Shaw and especially his famous play
Pygmalion: the characters of the play and their spiritual philosophy, conflict and
social background of the play, writing style of Pygmalion and the origin of its
title.
Bernard Shaw occupies a conspicuous place in the historical development
of the English and the world literature. In his books Shaw could realistically
describe the social life of people. He considered language a lot and tried to
reform English and make it easier to read and to learn. This point of Shaw's
creative activity determines the actuality of my course paper.
Shaw entered drama area as the original innovator. He established a new
type of a drama at the English theatre - an intellectual drama in which the basic
place belongs neither to an intrigue, nor to a fascinating plot but to those intense
disputes, witty verbal duels which are conducted by its heroes. Shaw called his
plays "plays-discussions". They grasped the depth of problems, the
extraordinary form of their resolution; they excited consciousness of the
spectator, forced him to reflect tensely over an event and to laugh together with

the playwright at the absurd of existing laws, orders and customs. In this
assignment I intend to analyze the play «Pygmalion» of Bernard Shaw and show
its peculiarities to the reader.
Socially, the Edwardian era was a period during which the British class
system was very rigid. It is seen, as the last period of the English country house.
Economic and social changes created an environment in which there was more
social mobility. Such changes included rising interest in socialism, attention to
the plight of the poor and the status of women, including the issue of women's
suffrage, together with increased economic opportunities as a result of rapid
industrialization. These changes were to be hastened in the aftermath of the First
World War.
The society of that time can be divided into three categories: the upper
class, the middle class and the working class.
The Edwardian Upper Class consisted of the King and the Queen,
Aristocrats, Nobles, Dukes, Viscounts and other wealthy families working in the
Victorian courts. A distinguishing factor of the Upper Class was that the nature
of their work was such that it held them in a powerful position giving authority,
better living conditions and other facilities which was out of the reach of the
other two classes. Due to the changing nature of the basic standard of living of
the people, the traditional aristocratic class was now slowing disappearing and
instead a new combination of nobles and the steadily growing wealthy class
comprised of the Upper section of the society.
The Upper Class was by inheritance a Royal Class which was completely
different from the Middle class or the Working Class. Thus, they were never
short of money. In terms of education also those belonging to the rich families
got the best tutors to provide education. The fact that they represented the royal
class gave these people an advantage at everything. They could buy expensive
clothes imported from Europe, or afford other riches of life that was beyond the
scope of others.

Middle class was the next in social ranking as many of them only lacked in
title of being a duke or other royals. Most of the professionals like doctors or
teachers comprised of the middle class.
Middle class people also owned and managed vast business empires and
were very rich. At times, the rich were equated with the middle class if they had
nothing to promote their royalty and richness. Thus, those having their own
businesses were regarded as rich and wealthy.
The Lower/ Working Class: the lowest among the social hierarchy were
those who belonged to this section of the society. Like the middle class, those
belonging to this class very large in number. The working class remained aloof
to the political progress of the country and was hostile to the other two classes.
For some working families the living conditions were so pathetic that they
required their children to work in order to bring home some extra home to
survive. The death of their father meant that there is no income to the family and
they eventually were forced to live on streets or some public housing.
All these conditions had a negative impact on their lives. Many of them lost
out opportunity to get education and better their living status as their entire life
right from the age of five or six years was spent on working in a factory. They
thus ended up doing dangerous and dirty jobs. Another class that existed was the
paupers. They were ranked below the working class since they lived in object
poverty.
Surveys showed that at the beginning of the 20th century 25% of the
population were living in poverty. They found that at least 15% were living at
subsistence level. They had just enough money for food, rent, fuel and clothes.
They could not afford 'luxuries' such as newspapers or public transport. About
10% were living in below subsistence level and could not afford an adequate
diet.
The main cause of poverty was low wages. The main cause of extreme
poverty was the loss of the main breadwinner. If father was dead, ill or

unemployed it was a disaster. Mother might get a job but women were paid
much lower wages than men.
The children of the poor were expected to help towards the family budget,
often working long hours in dangerous jobs for low wages. Agile boys were
employed by the chimney sweeps; small children were employed to scramble
under machinery to retrieve cotton bobbins; and children were also employed to
work in coal mines, crawling through tunnels too narrow and low for adults.
Children also worked as errand boys, crossing sweepers, or shoe blacks, or
selling matches, flowers, and other cheap goods. Some children undertook work
as apprentices to respectable trades, such as building, or as domestic servants
(there were over 120,000 domestic servants in London in the mid 18th century).
Working hours were long: builders might work 64 hours a week in summer and
52 in winter, while domestic servants worked 80 hour weeks.
George Bernard Shaw (26 July 1856 - 2 November 1950) was an Irish
playwright and a co-founder of the London School of Economics. Although his
first profitable writing was music and literary criticism, in which capacity he
wrote many highly articulate pieces of journalism, his main talent was for
drama, and he wrote more than 60 plays. Nearly all his writings deal sternly with
prevailing social problems, but have a vein of comedy to make their stark
themes more palatable. Shaw examined education, marriage, religion,
government, health care, and class privilege.
He was most angered by what he perceived as the exploitation of the
working class, and most of his writings censure that abuse. An ardent socialist,
Shaw wrote many brochures and speeches for the Fabian Society. He became an
accomplished orator in the furtherance of its causes, which included gaining
equal rights for men and women, alleviating abuses of the working class,
rescinding private ownership of productive land, and promoting healthy
lifestyles.
George Bernard Shaw ranks next to Shakespeare among English
playwrights, and yet he did not begin to write drama until he was middle-aged.

He made up for lost time with an amazing output of more than 60 plays during a
creative life that spanned the Victorian and modern eras. A brilliant and
opinionated man, Shaw was essentially self-educated, and he did a splendid job
of teaching himself what he needed to know. Above all else, he was always
vigorously engaged with the world around him; his long, productive life bristled
with vitality, intelligence, and a consuming passion for ideas.
George Bernard Shaw was born in Synge Street, Dublin in 1856 to George
Carr Shaw (1814-85), an unsuccessful grain merchant and sometime civil
servant, and Lucinda Elizabeth Shaw, n й e Gurly (1830-1913), a professional
singer. Shaw briefly attended the Wesleyan Connexional School, a grammar
school operated by the Methodist New Connexion, before moving to a private
school near Dalkey and then transferring to Dublin's Central Model School. He
ended his formal education at the Dublin English Scientific and Commercial
Day School. He harboured a lifelong animosity toward schools and teachers,
saying: “Schools and schoolmasters, as we have them today, are not popular as
places of education and teachers, but rather prisons and turnkeys in which
children are kept to prevent them disturbing and chaperoning their parents”. In
the astringent prologue to Cashel Byron's Profession young Byron's educational
experience is a fictionalized description of Shaw's own schooldays. Later, he
painstakingly detailed the reasons for his aversion to formal education in his
Treatise on Parents and Children. In brief, he considered the standardized
curricula useless, deadening to the spirit and stifling to the intellect. He
particularly deplored the use of corporal punishment, which was prevalent in his
time.
When his mother left home and followed her voice teacher, George
Vandeleur Lee, to London, Shaw was almost sixteen years old. His sisters
accompanied their mother but Shaw remained in Dublin with his father, first as a
reluctant pupil, then as a clerk in an estate office. He worked efficiently, albeit
discontentedly, for several years. In 1876, Shaw joined his mother's London
household. She, Vandeleur Lee, and his sister Lucy, provided him with a pound

a week while he frequented public libraries and the British Museum reading
room where he studied earnestly and began writing novels. He earned his
allowance by ghostwriting Vandeleur Lee's music column, which appeared in
the London Hornet. His novels were rejected, however, so his literary earnings
remained negligible until 1885, when he became self-supporting as a critic of
the arts.
Influenced by his reading, he became a dedicated Socialist and a charter
member of the Fabian Society, a middle class organization established in 1884
to promote the gradual spread of socialism by peaceful means. In the course of
his political activities he met Charlotte Payne-Townshend, an Irish heiress and
fellow Fabian; they married in 1898. In 1906 the Shaws moved into a house,
now called Shaw's Corner, in Ayot St. Lawrence, a small village in
Hertfordshire, England; it was to be their home for the remainder of their lives,
although they also maintained a residence at 29 Fitzroy Square in London.
Shaw's plays were first performed in the 1890s. By the end of the decade he
was an established playwright. He wrote sixty-three plays and his output as
novelist, critic, pamphleteer, essayist and private correspondent was prodigious.
He is known to have written more than 250,000 letters. Along with Fabian
Society members Sidney and Beatrice Webb and Graham Wallas, Shaw founded
the London School of Economics and Political Science in 1895 with funding
provided by private philanthropy, including a bequest of Ј 20,000 from Henry
Hunt Hutchinson to the Fabian Society. One of the libraries at the LSE is named
in Shaw's honor; it contains collections of his papers and photographs.
During his later years, Shaw enjoyed attending to the grounds at Shaw's
Corner. He died at the age of 94, of renal failure precipitated by injuries incurred
by falling while pruning a tree. His ashes, mixed with those of his wife,
Charlotte Payne-Townshend, were scattered along footpaths and around the
statue of Saint Joan in their garden.
Much of Shaw's music criticism, ranging from short comments to the
book-length essay The Perfect Wagnerite, extols the work of the German

composer Richard Wagner. Wagner worked 25 years composing Der Ring des
Nibelungen, a massive four-part musical dramatization drawn from the Teutonic
mythology of gods, giants, dwarves and Rhine maidens; Shaw considered it a
work of genius and reviewed it in detail. Beyond the music, he saw it as an
allegory of social evolution where workers, driven by "the invisible whip of
hunger", seek freedom from their wealthy masters. Wagner did have socialistic
sympathies, as Shaw carefully points out, but made no such claim about his
opus. Conversely, Shaw disparaged Brahms, deriding A German Requiem by
saying "it could only have come from the establishment of a first-class
undertaker". Although he found Brahms lacking in intellect, he praised his
musicality, saying "...nobody can listen to Brahms' natural utterance of the
richest absolute music, especially in his chamber compositions, without
rejoicing in his natural gift". In the 1920s, he recanted, calling his earlier
animosity towards Brahms "my only mistake". Shaw's writings about music
gained great popularity because they were understandable to the average well-
read audience member of the day, thus contrasting starkly with the dourly
pretentious pedantry of most critiques in that era. All of his music critiques have
been collected in Shaw's Music. As a drama critic for the Saturday Review, a
post he held from 1895 to 1898, Shaw championed Henrik Ibsen whose realistic
plays scandalized the Victorian public. His influential Quintessence of Ibsenism
was written in 1891.
Shaw wrote five unsuccessful novels at the start of his career between 1879
and 1883. Eventually all were published. The first to be printed was Cashel
Byron's Profession (1886), which was written in 1882. Its eponymous character,
Cashel, a rebellious schoolboy with an unsympathetic mother, runs away to
Australia where he becomes a famed prizefighter. He returns to England for a
boxing match, and falls in love with erudite and wealthy Lydia Carew. Lydia,
drawn by sheer animal magnetism, eventually consents to marry despite the
disparity of their social positions. This breach of propriety is nullified by the
unpresaged discovery that Cashel is of noble lineage and heir to a fortune

comparable to Lydia's. With those barriers to happiness removed, the couple
settles down to prosaic family life with Lydia dominant; Cashel attains a seat in
Parliament. In this novel Shaw first expresses his conviction that productive land
and all other natural resources should belong to everyone in common, rather
than being owned and exploited privately. The book was written in the year
when Shaw first heard the lectures of Henry George who advocated such
reforms.
Written in 1883, An Unsocial Socialist was published in 1887. The tale
begins with a hilarious description of student antics at a girl's school then
changes focus to a seemingly uncouth laborer who, it soon develops, is really a
wealthy gentleman in hiding from his overly affectionate wife. He needs the
freedom gained by matrimonial truancy to promote the socialistic cause, to
which he is an active convert. Once the subject of socialism emerges, it
dominates the story, allowing only space enough in the final chapters to
excoriate the idle upper class and allow the erstwhile schoolgirls, in their earliest
maturity, to marry suitably.
Shaw's first novel, Immaturity, was written in 1879 but was the last one to
be printed in 1931. It relates tepid romances, minor misfortunes and subdued
successes in the developing career of Robert Smith, an energetic young
Londoner and outspoken agnostic. Condemnation of alcoholic behavior is the
prime message in the book, and derives from Shaw's familial memories. This is
made clear in the book's preface, which was written by the mature Shaw at the
time of its belated publication. The preface is a valuable resource because it
provides autobiographical details not otherwise available.
After writing his influential essay “Quintessence of Ibsenism”, Shaw began
to try his own hand at writing plays. The result, Widowers' Houses (1892),
proved to be the first of many plays to come in the years ahead.
Shaw's plays, like those of Oscar Wilde, were fraught with incisive humor,
which was exceptional among playwrights of the Victorian era; both authors are
remembered for their comedy. However, Shaw's wittiness should not obscure

his important role in revolutionizing British drama. In the Victorian Era, the
London stage had been regarded as a place for frothy, sentimental entertainment.
Shaw made it a forum for considering moral, political and economic issues,
possibly his most lasting and important contribution to dramatic art.
As Shaw's experience and popularity increased, his plays and prefaces
became more voluble about reforms he advocated, without diminishing their
success as entertainments. Such works, including Caesar and Cleopatra (1898),
Man and Superman (1903), Major Barbara (1905) and The Doctor's Dilemma
(1906), display Shaw's matured views, for he was approaching 50 when he
wrote them. From 1904 to 1907, several of his plays had their London premieres
in notable productions at the Court Theatre, managed by Harley Granville-
Barker and J. E. Vedrenne. The first of his new plays to be performed at the
Court Theatre, John Bull's Other Island (1904), while not especially popular
today, made his reputation in London when King Edward VII laughed so hard
during a command performance that he broke his chair.
For the most part, Shaw's plays are comedies of ideas, works that present
complex and often controversial themes within the framework of entertaining
plots, appealing and unpredictable characters, and witty dialogue. Shaw's works
are insistently rational, coolly ridiculing the conventions and prejudices of his
time.
Portico of Saint Paul's Church (not Wren's Cathedral but Inigo Jones
Church in Covent Garden vegetable market) - 11.15p.m. A group of people are
sheltering from the rain. Amongst them are the Eynsford-Hills, superficial social
climbers eking out a living in "genteel poverty", consisting initially of Mrs.
Eynsford-Hill and her daughter Clara. Clara's brother Freddy enters having
earlier been dispatched to secure them a cab (which they can ill afford), but
being rather timid and faint-hearted he has failed to do so. As he goes off once
again to find a cab, he bumps into a flower girl, Eliza. Her flowers drop into the
mud of Covent Garden, the flowers she needs to survive in her poverty-stricken
world. Shortly they are joined by a gentleman, Colonel Pickering. While Eliza

tries to sell flowers to the Colonel, a bystander informs her that a man is writing
down everything she says. The man is Henry Higgins, a professor of phonetics.
Eliza worries that Higgins is a police officer and will not calm down until
Higgins introduces himself. It soon becomes apparent that he and Colonel
Pickering have a shared interest in phonetics; indeed, Pickering has come from
India to meet Higgins, and Higgins was planning to go to India to meet
Pickering. Higgins tells Pickering that he could pass off the flower girl as a
duchess merely by teaching her to speak properly. These words of bravado spark
an interest in Eliza, who would love to make changes in her life and become
more mannerly, even though, to her, it only means working in a flower shop. At
the end of the act, Freddy returns after finding a taxi, only to find that his mother
and sister have gone and left him with the cab. The streetwise Eliza takes the cab
from him, using the money that Higgins tossed to her, leaving him on his own.
When she reaches home she does not pay the taxi fare because she thinks that a
shilling for two minutes is very much.
Higgins' - Next Day. As Higgins demonstrates his phonetics to Pickering,
the housekeeper, Mrs. Pearce, tells him that a young girl wants to see him. Eliza
has shown up, and she tells Higgins that she will pay for lessons. He shows no
interest in her, but she reminds him of his boast the previous day, so she can talk
like a lady in a flower shop. Higgins claimed that he could pass her for a
duchess. Pickering makes a bet with him on his claim, and says that he will pay
for her lessons if Higgins succeeds. She is sent off to have a bath. Mrs. Pearce
tells Higgins that he must behave himself in the young girl's presence. He must
stop swearing, and improve his table manners. He is at a loss to understand why
she should find fault with him. Then Alfred Doolittle, Eliza's father, appears
with the sole purpose of getting money out of Higgins. He has no interest in his
daughter in a paternal way. He sees himself as member of the undeserving poor,
and means to go on being undeserving. He has an eccentric view of life, brought
about by a lack of education and an intelligent brain. He is also aggressive, and
when Eliza, on her return, sticks her tongue out at him, he goes to hit her, but is

prevented by Pickering. The scene ends with Higgins telling Pickering that they
really have got a difficult job on their hands.
Mrs. Higgins' drawing room. Higgins bursts in and tells his mother he has
picked up a "common flower girl" whom he has been teaching. Mrs. Higgins is
not very impressed with her son's attempts to win her approval because it is her
'at home' day and she is entertaining visitors. The visitors are the Eynsford-Hills.
Higgins is rude to them on their arrival. Eliza enters and soon falls into talking
about the weather and her family. Whilst she is now able to speak in beautifully
modulated tones, the substance of what she says remains unchanged from the
gutter. She confides her suspicions that aunt was killed by relatives, and
mentions that gin had been "mother's milk" to this aunt, and that Eliza's own
father was always more cheerful after a good amount of gin. Higgins passes off
her remarks as "the new small talk", and Freddy is enraptured. When she is
leaving, he asks her if she is going to walk across the park, to which she replies,
"Walk? Not bloody likely!" (This is the most famous line from the play, and, for
many years after the play's debut, use of the word 'bloody' was known, as a
Pygmalion; Mrs. Campbell was considered to have risked her career by speaking
the line on stage.) After she and the Eynsford-Hills leave, Henry asks for his
mother's opinion. She says the girl is not presentable and is very concerned
about what will happen to her, but neither Higgins nor Pickering understand her
thoughts of Eliza's future, and leave feeling confident and excited about how
Eliza will get on. This leaves Mrs. Higgins feeling exasperated, and exclaiming,
"Men! Men!! Men!!!"
However, the six months are not yet up, and just in time for the Embassy
Ball Eliza learns to behave properly as well as to speak properly. The challenge
she faces is increased, however, by the presence at the Ball of Nepommuck, a
former pupil of Higgins' who speaks 32 languages and is acting as an interpreter
for a "Greek diplomatist" who was in fact born the son of a Clerkenwell
watchmaker and "speaks English so villainously that he dare not utter a word of
it lest he betray his origin." Nepommuck charges him handsomely for helping

keep up the pretence. Pickering worries that Nepommuck will see through
Eliza's disguise; nonetheless, Eliza is presented to the Ball's hosts, who,
impressed by this vision of whom they know nothing, despatch Nepommuck to
find out about her. Meanwhile Higgins, the interesting work done, rapidly loses
interest in proceedings as he sees that no-one will see through Eliza. Indeed,
Nepommuck returns to his hosts to report that he has detected that Eliza is not
English, as she speaks it too perfectly ("only those who have been taught to
speak it speak it well"), and that she is, in fact, Hungarian, and of Royal blood.
When asked, Higgins responds with the truth - and no-one believes him.
Higgins' home - The time is midnight, and Higgins, Pickering, and Eliza
have returned from the ball. A tired Eliza sits unnoticed, brooding and silent,
while Pickering congratulates Higgins on winning the bet. Higgins scoffs and
declares the evening a "silly tomfoolery", thanking God it's over and saying that
he had been sick of the whole thing for the last two months. Still barely
acknowledging Eliza beyond asking her to leave a note for Mrs. Pearce
regarding coffee, the two retire to bed. Higgins returns to the room, looking for
his slippers, and Eliza throws them at him. Higgins is taken aback, and is at first
completely unable to understand Eliza's preoccupation, which aside from being
ignored after her triumph is the question of what she is to do now. When
Higgins does understand he makes light of it, saying she could get married, but
Eliza interprets this as selling herself like a prostitute. "We were above that at
the corner of Tottenham Court Road." Finally she returns her jewelry to
Higgins, including the ring he had given her, which he throws into the fireplace
with a violence that scares Eliza. Furious with himself for losing his temper, he
damns Mrs. Pearce, the coffee and then Eliza, and finally himself, for
"lavishing" his knowledge and his "regard and intimacy" on a "heartless
guttersnipe", and retires in great dudgeon.
Mrs. Higgins' drawing room, the next morning. Higgins and Pickering,
perturbed by the discovery that Eliza has walked out on them, call on Mrs.
Higgins to phone the police. Higgins is particularly distracted, since Eliza had

assumed the responsibility of maintaining his diary and keeping track of his
possessions, which causes Mrs. Higgins to decry their calling the police as
though Eliza were "a lost umbrella". Doolittle is announced; he emerges dressed
in splendid wedding attire and is furious with Higgins, who after their previous
encounter had been so taken with Doolittle's unorthodox ethics that he had
recommended him as the "most original moralist in England" to a rich American
founding Moral Reform Societies; the American had subsequently left Doolittle
a pension worth three thousand pounds a year, as a consequence of which
Doolittle feels intimidated into joining the middle class and marrying his missus.
Mrs. Higgins observes that this at least settles the problem of who shall provide
for Eliza, to which Higgins objects -- after all, he paid Doolittle five pounds for
her. Mrs. Higgins informs her son that Eliza is upstairs, and explains the
circumstances of her arrival, alluding to how marginalized and overlooked Eliza
felt the previous night. Higgins is unable to appreciate this, and sulks when told
that he must behave if Eliza is to join them. Doolittle is asked to wait outside.
Eliza enters, at ease and self-possessed. Higgins blusters but Eliza isn't
shaken and speaks exclusively to Pickering. Throwing Higgins' previous insults
back at him ("Oh, I'm only a squashed cabbage leaf"), Eliza remarks that it was
only by Pickering's example that she learned to be a lady, which renders Higgins
speechless. Eliza goes on to say that she has completely left behind the flower
girl she was, and that she couldn't utter any of her old sounds if she tried -- at
which point Doolittle emerges from the balcony, causing Eliza to relapse totally
into her gutter speech. Higgins is jubilant, jumping up and crowing over her.
Doolittle explains his predicament and asks if Eliza will come to his wedding.
Pickering and Mrs. Higgins also agree to go, and leave with Doolittle with Eliza
to follow.
The scene ends with another confrontation between Higgins and Eliza.
Higgins asks if Eliza is satisfied with the revenge she has wrought thus far and if
she will now come back, but she refuses. Higgins defends himself from Eliza's
earlier accusation by arguing that he treats everyone the same, so she shouldn't

feel singled out. Eliza replies that she just wants a little kindness, and that since
he will never stoop to show her this, she will not come back, but will marry
Freddy. Higgins scolds her for such low ambitions: he has made her "a consort
for a king." When she threatens to teach phonetics and offer herself as an
assistant to Nepommuck,
Higgins again loses his temper and promises to wring her neck if she does
so. Eliza realizes that this last threat strikes Higgins at the very core and that it
gives her power over him; Higgins, for his part, is delighted to see a spark of
fight in Eliza rather than her erstwhile fretting and worrying. He remarks "I like
you like this", and calls her a "pillar of strength". Mrs. Higgins returns and she
and Eliza depart for the wedding. As they leave Higgins incorrigibly gives Eliza
a number of errands to run, as though their recent conversation had not taken
place. Eliza disdainfully explains why they are unnecessary, and wonders what
Higgins is going do without her. Higgins laughs to himself at the idea of Eliza
marrying Freddy as the play ends.
Pygmalion was the most broadly appealing of all Shaw's plays. But popular
audiences, looking for pleasant entertainment with big stars in a West End
venue, wanted a "happy ending" for the characters they liked so well, as did
some critics. During the 1914 run, to Shaw's exasperation but not to his surprise,
Tree sought to sweeten Shaw's ending to please himself and his record houses.
Shaw returned for the 100th performance and watched Higgins, standing at the
window, toss a bouquet down to Eliza. "My ending makes money, you ought to
be grateful," protested Tree. "Your ending is damnable; you ought to be shot."
Shaw remained sufficiently irritated to add a postscript essay, "'What Happened
Afterwards," to the 1916 print edition for inclusion with subsequent editions, in
which he explained precisely why it was impossible for the story to end with
Higgins and Eliza getting married.
He continued to protect the play's and Eliza's integrity by protecting the last
scene. For at least some performances during the 1920 revival, Shaw adjusted
the ending in a way that underscored the Shavian message.

When Eliza emancipates herself -- when Galatea comes to life -- she must
not relapse. She must retain her pride and triumph to the end. When Higgins
takes your arm on 'consort battleship' you must instantly throw him off with
implacable pride; and this is the note until the final 'Buy them yourself.' He will
go out on the balcony to watch your departure; come back triumphantly into the
room; exclaim 'Galatea!' (meaning that the statue has come to life at last); and --
curtain. This ending is not included in any print version of the play.
Shaw fought uphill against such a reversal of fortune for Eliza all the way
to 1938. He sent the film's harried producer, Gabriel Pascal, a concluding
sequence which he felt offered a fair compromise: a romantically-set farewell
scene between Higgins and Eliza, then Freddy and Eliza happy in their
greengrocery/flower shop. Only at the sneak preview did he learn that Pascal
had shot the "I washed my face and hands" conclusion, to reassure audiences
that Shaw's Galatea wouldn't really come to life, after all.
Shaw wrote Pygmalion in 1912, but he took its name from something way,
way older: an Ancient Greek myth. The most famous of its many versions can
be found in the Roman poet Ovid's Metamorphoses.
In the myth, Pygmalion, a sculptor from Cyprus, hates women, and
especially hates the idea of getting married. With wondrous art, he creates a
beautiful statue more perfect than any living woman. The more he looks upon
her, the more deeply he falls in love with her, until he wishes that she were more
than a statue. This statue is Galatea. Lovesick, Pygmalion goes to the temple of
the goddess Venus and prays that she give him a lover like his statue; Venus is
touched by his love and brings Galatea to life. When Pygmalion returns from
Venus' temple and kisses his statue, he is delighted to find that she is warm and
soft to the touch. Pygmalion marries the ivory sculpture changed to a woman
under Venus' blessing. They had a son, Paphos, which he took from his home.
Myths such as this are fine enough when studied through the lens of
centuries and the buffer of translations and editions, but what happens when one
tries to translate such an allegory into Victorian England? That is just what

George Bernard Shaw does in his version of the Pygmalion myth. In doing so,
he exposes the inadequacy of myth and of romance in several ways. For one, he
deliberately twists the myth so that the play does not conclude as euphorically or
conveniently, hanging instead in unconventional ambiguity. Next, he mires the
story in the sordid and mundane whenever he gets a chance. Wherever he can,
the characters are seen to be belabored by the trivial details of life like napkins
and neckties, and of how one is going to find a taxi on a rainy night.
These noisome details keep the story grounded and decidedly less
romantic. Finally, and most significantly, Shaw challenges the possibly insidious
assumptions that come with the Pygmalion myth, forcing us to ask the
following: Is the male artist the absolute and perfect being who has the power to
create woman in the image of his desires? Is the woman necessarily the inferior
subject who sees her lover as her sky? Can there only ever be sexual/romantic
relations between a man and a woman? Does beauty reflect virtue? Does the
artist love his creation, or merely the art that brought that creation into being?
Famous for writing "talky" plays in which barely anything other than
witty repartee takes center stage (plays that the most prominent critics of his day
called non-plays), Shaw finds in Pygmalion a way to turn the talk into action, by
hinging the fairy tale outcome of the flower girl on precisely how she talks. In
this way, he draws our attention to his own art, and to his ability to create,
through the medium of speech, not only Pygmalion's Galatea, but Pygmalion
himself. More powerful than Pygmalion, on top of building up his creations,
Shaw can take them down as well by showing their faults and foibles. In this
way, it is the playwright alone, and not some divine will, who breathes life into
his characters. While Ovid's Pygmalion may be said to have idolized his
Galatea, Shaw's relentless and humorous honesty humanizes these archetypes,
and in the process brings drama and art itself to a more contemporarily relevant
and human level.
George Bernard Shaw was a Fabian Socialist who editorialized and
lectured on the need for uprooting obsolete notions of a rigid English class-

structure in order for individuals to realize their full potential. He wrote the play
Pygmalion in 1912 and 1913 as part-social protest, part-satire, part-comic farce.
Of all of Shaw's plays, Pygmalion is without the doubt the most beloved and
popularly received, if not the most significant in literary terms. Several film
versions have been made of the play, and it has even been adapted into a
musical. In fact, writing the screenplay for the film version of 1938 helped Shaw
to become the first and only man ever to win the much coveted Double: the
Nobel Prize for literature and an Academy Award. Shaw wrote the part of Eliza
in Pygmalion for the famous actress Mrs. Patrick Campbell, with whom Shaw
was having a prominent affair at the time that had set all of London abuzz. The
aborted romance between Professor Higgins and Eliza Doolittle reflects Shaw's
own love life, which was always peppered with enamored and beautiful women,
with whom he flirted outrageously but with whom he almost never had any
further relations.
The characters of Pygmalion are unique and fascinating including the
common favorite, Eliza Doolittle. Her background and mannerisms not only
provide comedy, but a major aspect of the overall conflict. She is the primary
protagonist that arrests the audience's attention and sympathy. Her character is
portrayed as diligent, hard-working, and inherently intelligent. She is a young
woman thrust out into the working world by her equally unwealthy father.
Although Eliza's appearance and actions are quite rough at the beginning she
does improve and allow her own natural beauty to shine through. This is
evidenced when her father says after Higgins has taken her in, “I never thought
she would clean up as good looking as that (Act II). Apparently, Eliza impressed
the other characters with her transformations.
Eliza's spirit is as much a part of her as her outward appearance. Instead of
cowering under Higgins biting comments and fiery temper she matches his with
one equally as caustic. Her intelligence also helps her survive in the world, both
the aristocracy and the slums. She shows a true perseverance and loyalty to both

her lessons and her teacher. Eliza most likely gains most of her emotional appeal
by her unfailing innocence and thirst for knowledge.
The other remarkable character presented in the drama is the infamous
Henry Higgins. This character is the direct protagonist of Eliza and yet the
observer oftentimes can identify with him as well. He is brilliant in the study of
phonetics, but awkward and rude in the area of social graces. Even his own
mother comments undesirably when she says “You offend all my friends: they
stop coming whenever they meet you.” (Act III) His eccentricities and brusque
attitude are almost presented as comical. He is very unconcerned about other's
feelings and desires but that does not necessarily mean he is centered on himself.
Rather he feels he is serving the human race at large and that anyone in the way
of that is not worth his time.
The conflict of Pygmalion is basically the undertaking of teaching Eliza to
rise in society. The motives held by each of the characters differ but the desired
outcome is the same. This conflict is probably the most obvious humor in the
play for two reasons. One, the audience can relate to the use of slang and
improper English in their own speech causing Eliza's mistakes to be funny.
Secondly, is the use Eliza makes of her new found knowledge at Mrs. Higgins
house. While there, Eliza is trained to stick to two topics, that of health and the
weather. Although Eliza has mastered perfect enunciation by this point her
subject matter and word choice isn't exactly refined.
Shaw uses the conflict between Eliza and Higgins to express his own
thoughts on the diversity of people. He likes to set these characters on two
different sides of a spectrum and develop how they relate. Although the play has
a resolution, it is not exactly a story book happy ending. Higgins and Eliza
continue on their respective paths of complete opposites but not in the same way
as before. Whereas previously, the thing separating them was social class, at the
end of the drama, the largest gulf is primarily between their goals in life.
Higgins' intent is to better the world through himself, and Eliza's purpose is to
better herself through the world.

In analyzing the play Pygmalion, one cannot fully evaluate the characters
and conflict without understanding the themes. The themes are based on the
legend behind the play's title and Shaw's commentary on social status. The title
is derived from an ancient Greek legend which has many parallels with Shaw's
play. Professor Higgins is an expert in his field, just as the sculptor Pygmalion
was in his. Higgins also holds the same view of women demonstrating this when
he says “ I find that the moment I let a woman make friends with me, she
becomes jealous, exacting, suspicious, and a nuisance.” (Act II) The final
analogy is that both men turned uncarved stone into something beautiful using
their talents. Unfortunately, Shaw does not allow the happy ending of the legend
to occur in his play as sentimental people would hope. Rather after Higgins has
molded her into his special creation, she develops her own defiant self that is
totally independent from her creator. This illustrates Shaw's dislike of overdone
romantic plays with unrealistic endings.
Another effective literary technique Shaw uses is by writing colloquially,
whereby he encapsulates the cockney accent in his writing. This is a common
technique used in literature to create a vivid setting and atmosphere and helps to
draw the reader into the writing. In this case, the colloquial technique not only
serves these purposes but also highlights the stark difference between Eliza's
cockney accent and the 'upper class' accent that she eventually develops.
Overall Shaw uses simple literary techniques in Pygmalion to create
atmosphere, reflect the setting and captivate his audience. These are his tools but
there is much more than literary techniques at work in Pygmalion which makes
it one of the classic literary works in history.
The other prominent theme is that of social class and its affect on the novel.
Examples of this are presented in the poverty stricken characters of Eliza
Doolittle, Mr. Doolittle, and the Eynsford Hills. They all have their own reaction
to the circumstances of life. Eliza fiercely strives to better herself, while her
father floats contentedly along in his lower class position. The Eynsford Hills
represent the “in name only” upper class that have experienced poverty but still

continue their snobbish attitudes. However, Shaw gently pokes fun at this
hypocritical fa с ade and inconspicuously praises the family's son Freddy who
refuses to carry on so needlessly when he can be happy without money.
The spiritual philosophy of Mr. Alfred Doolittle is one of the most
remarkable yet comic beliefs presented in Shaw's drama. Due to Shaw's
emphasis on social class as a prominent theme it seems appropriate that the most
profound statements come from the most surprising source. Shaw enjoys
weaving his own personal convictions throughout all of his work vicariously and
wittily, Pygmalion being no exception. Through Mr. Doolittle, a lower class
dustman, the observer can get a real glimpse into the thought behind the play.
According to Mr. Doolittle, arriving shortly after Eliza's appearance on
Wimpole Street, he is only a member of the undeserving poor, who is concerned
about his daughter. Doolittle maintains that he is looking out for his daughter
when in actuality, he is attempting to blackmail Professor Higgins. Naturally,
Higgins sees through this ruse and listens as Doolittle continues, quite
entertained. Doolittle then insinuates that unless he is compensated, he will
make it known that his young unwed daughter is staying with Higgins. The
professor is so amused with this tactic and Doolittle's simulated interest in his
daughter when it is apparent that his real motive is only money. He offers
Doolittle more than the five pounds that he has requested. Eliza's father,
however, refuses this because as he states, it will give him the responsibility of
“middle class morality.” (Act II) In answer to Higgins question “Have you no
morals, man?” Doolittle replies “Can't afford them. Neither could you if you
were as poor as me” (Act II). Evidently, Doolittle feels that if he has only a
small sum of money he is not required to be responsible for its investment,
therefore making it possible for him to squander it on alcohol. Because he is not
treated as the “deserving poor” who receive charity, he believes that he has no
obligation to be wise with the small amount of money he does have. While some
drunks or slothful impoverished people become bitter over this, Doolittle
actually prefers this lifestyle as an excuse to be irresponsible and lazy.

The irony of this spiritual philosophy is seen in the actual outcome of Mr.
Doolittle. At the conclusion of Pygmalion, Doolittle inherits a great amount of
money. Although this upsets Doolittle's lifestyle, he still holds to his interesting
philosophy. As he asserts to his daughter and Higgins, “Middle class morality
claims its victim” (Act V). Doolittle has denounced something most people
crave when he resents wealth.
This drama comprises so many of George Bernard Shaw's personal
opinions, beliefs, personal background, and humor. It overflows with his
sarcasm and bluntness, while appealing to the human quality in us all. Just as
Eliza has a rough exterior and a beautiful interior this play contains critical facts
coupled with endearing humor. The characters, conflict, theme, and spiritual
philosophies presented in Pygmalion have been wrapped admirably into a
package that is truthful but acceptable.
In the preface of Pygmalion Shaw already gives some ideas about the
necessity of reforming the English education in language. He points out the
connection between way of speaking and class membership in those days. Social
rise assumed taking over the way of speaking of the higher social class. His aim
was a society without different social classes. All these critics on society Shaw
weaves in with loads of humor. Shaw always tried to make his work educational
and amusing at the same time. He once said, “It is so intensely and deliberately
didactic, and its subject is esteemed so dry, that I delight in throwing it at the
heads of the wiseacres who repeat the parrot cry that art should never be
didactic. It goes to prove my contention, that great art can never be anything
else. “This means, in easier words, great art has to be educational.
Pygmalion gave Shaw a platform for many of his concerns. He was
passionately interested in the English language and the varieties of ways in
which people spoke (and misspoke) it. Shaw longed to simplify and reform
English; he once pointed out that the rules of spelling in English are so
inconsistent and confusing that the word fish could conceivably be spelled

“ghoti” if the speller used the sound of gh in enough, the sound of o in women,
and the sound of ti in the suffix -tion. The text of Pygmalion reflects some of his
efforts at simplifying English usage - principally his omission of apostrophes in
contractions such as Ive and dont. Pygmalion also allowed Shaw to present ideas
about other topics that concerned him -- such matters as social equality, male
and female roles, and the relationship between what people seem to be and what
they really are. Like his other successful plays, Pygmalion wins us over with its
charm and then startles us out of our preconceptions with its keen intelligence.
In this work I tried to make a scientific analysis of Bernard Shaw's life,
literary activity and his contribution to the treasure of world literature and one of
his famous works Pygmalion. Shaw was a prolific writer. He was a playwright, a
novelist, a critic and a publicist. He made success in the field of realistic drama.
He criticized bourgeois moral, robbery, appropriation of the fruits of other
common people's labour, showed injustice of the society.
In Pygmalion Shaw masterfully connected two themes equally exciting for
him: the problem of social inequality and the problem of the classical English
language. Act by act, word by word we understand that the set of behaviour, that
is the form and the speech maintenance, manner of judgment and thoughts,
habitual acts and typical reactions of people are adapted for the conditions of
their environment. The subjective being and the objective world correspond
each other and mutually penetrate into each other.
Pygmalion is one of Shaw's chef-d'oeuvre and reveals the mastership of the
playwright. It was written when the author reached the peak of his creative
activity. In this work Shaw touched upon social and economic problems of the
British people in the beginning of the industrial 20th century. Shaw wants to say
in this work that education and proper upbringing of people may lead the world
to harmony in spiritual and material lives of human beings. That is why one of
the main heroes of the work Higgins, the professor of phonetics, says, “The
great secret is not having bad manners or good manners or any other particular
sort of manners, but having the same manner for all human souls: in short,

behaving as if you were in Heaven, where there are no third-class carriages, and
one soul is as good as another.”
2.2. The difference between lexemes in Uzbek and English versions
of work
Morphology is the study of words and their parts. Morphemes, like
prefixes, suffixes and base words, are defined as the smallest meaningful units
of meaning. Morphemes are important for phonics in both reading and spelling,
as well as in vocabulary and comprehension.
Words are potentially complex units, composed of even more basic units,
called morphemes. A morpheme is the smallest part of a word that has
grammatical function or meaning (NB not the smallest unit of meaning); we will
designate them in braces—{ }. For example, sawed, sawn, sawing, and saws can
all be analyzed into the morphemes {saw} + {-ed}, {-n}, {-ing}, and {-s},
respectively. None of these last four can be further divided into meaningful units
and each occurs in many other words, such as looked, mown, coughing, bakes.
Besides being bound or free, morphemes can also be classified as root,
derivational, or inflectional. A root morpheme is the basic form to which other
morphemes are attached. It provides the basic meaning of the word. The
morpheme {saw} is the root of sawers. Derivational morphemes are added to
forms to create separate words: {-er} is a derivational suffix whose addition
turns a verb into a noun, usually meaning the person or thing that performs the
action denoted by the verb. For example, {paint}+{-er} creates painter, one of
whose meanings is “someone who paints.”
Inflectional morphemes do not create separate words. They merely modify
the word in which they occur in order to indicate grammatical prop- erties such
as plurality, as the {-s} of magazines does, or past tense, as the {ed} of
barbecued does. English has eight inflectional morphemes, which we will
describe below.
We can regard the root of a word as the morpheme left over when all the
derivational and inflectional morphemes have been removed. For example, in

immovability, {im-}, {-abil}, and {-ity} are all derivational morphemes, and
when we remove them we are left with {move}, which cannot be further di-
vided into meaningful pieces, and so must be the word’s root.
We must distinguish between a word’s root and the forms to which affixes
are attached. In moveable, {-able} is attached to {move}, which we’ve
determined is the word’s root. However, {im-} is attached to moveable, not to
{move} (there is no word immove), but moveable is not a root. Expressions to
which affixes are attached are called bases. While roots may be bases, bases are
not always roots.
For instance, the word "dogs" is composed of two morphemes: the stem
word "dog" and the Inflectional suffix "-s" to indicate the plural form of "dog".
The word "jumped" is composed of two morphemes: the stem word "jump" and
the inflectional suffix "-ed" to indicate the past tense of "jump".
Affixation is a morphological process whereby a group of letters (the affix)
is attached to a base or root word to form a new word. An example of affixation
is when you add the suffix 'ing' to the verb 'walk' to create 'walking'.
Dis-: Dis agree- no rozi bo’lmoq, Dis like-yoqtir ma slik, Dis connect-ajratmoq.
Re-: Re start -qayta boshlamoq , Re build- qayta qurmoq, Re write- qayta
yozish.
Un-: Un tie-yechmoq , Un well-betob , Un happy-xafa.
Over-: Over eat-ko’p ovqatlanmoq, Over joyed-juda baxtli , Over look-
ko’rmay qolmoq.
In-: In active-harakatsiz, In complete-tugallan ma gan, In side-ichkariga.
The two main types of affixation are suffixes and prefixes. We have
compiled some examples of affixation and their types for you to check out
below!
A prefix is an affix which is placed before the stem of a word. Particularly
in the study of languages, a prefix is also called a preformative, because it alters
the form of the word to which it is affixed.

Prefixes, like other affixes, can be either inflectional, creating a new form
of a word with the same basic meaning and same lexical category, or
derivational, creating a new word with a new semantic meaning and sometimes
also a different lexical category. Prefixes, like all affixes, are usually bound
morphemes.
English has no inflectional prefixes, using only suffixes for that purpose.
Adding a prefix to the beginning of an English word changes it to a different
word. For example, when the prefix un- is added to the word happy, it creates
the word. E.g.
A- (a biotic -no biologik , a typical-noodatiy)
Un- (un do-yechmoq , un fold-ochmoq)
Im- ( im polite-odobsiz, im mature-voyaga yetmagan)
In- (in tolerant-sabirsiz, in disciplined-intizomsizlik)
Il- ( il logical-mantiqsiz, il legible-o’qilishi qiyin)
Ir- ( ir regular-noto’g’ri, ir responsible-mas’uliyatsiz
Prefixes- Class maintaining
Nouns
mal-nutrition
micro-dot
mini-dress
step-father
Adjectives
a-typical
extra-sensory
Noun or Verb
fore-ground
back-ground
mis-fortune
mis-lead
re-arrangement

Noun or Adjective
in-definite
mid-morning
mid-Victorian
Verb or Adjective
circum-navigate
circum-polar
Noun, Verb, or Adjective
co-author
counter-culture
counter-demonstrate
counter-intuitive
dis-ambiguate
dis-bound
dis-information
inter-mix
sub-conscious
sub-let
Prefixes compare in the play ’’Pygmalion’’ by G.B.Shaw in English and
Uzbek languages.
English Uzbek
De+sprate Umidsiz
Mis+trust Ishonmaslik
Ir+reducible Kamaytirib bo’lmaydigan
Ir+ resistible Qaytarib bo’lmaydigan
Un+grateful Noshukr
Dis+inherit Meros qoldirmaslik
In+capable Qobilyatsiz
Im+possible Mumkin emas

Dis+contentent Norozilik
Non+sense Ma’nosiz
Im+proper Nomunosib
Dis+qualify Chetlashtirmoq
Un+conscious Bexabar
In+tolerant Sabirsiz
Un+ graciously Iltifot siz
Un+happy Baxtsiz
Un+able Qobilyatsiz
Un+common Kamyob,nodir
It is an example from the story Pygmalion, there is a sentence which
includes the following affixes ;
Original: I am interpreter. I am 32 languages.I am indispensable at these
international parties.
Translation: Men tarjimonman.Men 32 ta tilda gaplasholaman.Men
xalqaro bazimlarda kerakliman.
In+dispensable Kerakli
This sentence is translated into word-for- word from English to Uzbek and
is used affixation method that indispensable word. The word “indispensable”
consists of the negative prefix “in-,” which means “not,” and the word
“dispensable,” so we can infer that it means “not dispensable.” That inference
would be correct, as “indispensable” is an adjective that means “absolutely
necessary”.
In Uzbek,adding the suffix li-to the word kerak forms the word kerakli and
its meaning remains unchanged.
Suffixation
Suffixation is a morphological process whereby a bound morpheme is
attached to the end of a stem. The kind of affix involved in this process is called

a suffix. The past tense suffix -ed attaches to the end of the stem walk to form
the past tense verb walked.
In linguistics, a suffix is an affix which is placed after the stem of a word.
Common examples are case endings, which indicate the grammatical case of
nouns and adjectives, and verb endings, which form the conjugation of verbs.
Suffixes can carry grammatical information (inflectional endings) or lexical
information (derivational/lexical suffixes). Inflection changes the grammatical
properties of a word within its syntactic category. Derivational suffixes fall into
two categories: class-changing derivation and class-maintaining derivation.
Particularly in the study of Semitic languages, suffixes are called
affirmatives, as they can alter the form of the words. In Indo-European studies, a
distinction is made between suffixes and endings (see Proto-Indo-European
root).
A word-final segment that is somewhere between a free morpheme and a
bound morpheme is known as a suffixoid or a semi-suffix (e.g., English -like or
German -freundlich "friendly").
Suffix example Word Class
-ise/ize realise, visualise noun-verb
-tion situation, justification verb-noun
-ment judgement, punishment verb-noun
-ly stunningly, terrifyingly adjective-adverb

Suffixes
Creating Nouns
from Nouns from Verbs from Adjectives
-dom king-dom
-ess lion-ess
-ette kitchen-
ette
-iana Victor-iana
-hood man-
hood
-ism absentee-
ism
-let stream-let
-ling duck-ling
-scape sea-
scape
-ship kin-ship -al arriv-al
-ary dispens-ary
-ee blackmail-ee
-er kill-er
-ment manage-ment
-ure clos-ure -ce dependen-ce
-cy excellen-cy
-dom free-dom
-er six-er
-hood false-hood
-ist social-ist
-ity divin-ity
-ness good-ness
-th warm-th
Derived
Adjectives
from Nouns from Verbs from
Adjectives
-al education-al
(allomorphs/allographs -able unbeliev-
able -ly slow-ly
-ward(s)in

-ial,-ual: presidential,
habitual)
-ate passion-ate
-en wood-en
-ese Peking-ese
-esque pictur-esque
-ful doubt-ful
-ic algebra-ic
-less clue-less
-ly friend-ly
-ous venom-ous
-y catt-y -less count-less
-ant/-ent absorb-
ent
-atory affirm-
atory
-ful resent-ful
-ive generat-ive ward(s)
-wise length-wise
Suffixes compare in the play ’’Pygmalion’’ by G.B.Shaw in English and
Uzbek languages
English Uzbek
Respect+able Tartibli
Sufficient+ly Yetarlicha
Comfort+able Qulay
Loud+ly Baland
Ungracious+ly Iltifotsiz
Lone+ly Yolg’iz
Care+less Bee’tibor
Like+able Yoqimli
Reason+able Asosli
Dread+ful Dahshatli
Agree+able Yoqimli,rozi bo’ladigan
Delight+ful Ajoyib
Present+able Qoniqarli

Arrange+ment Tartib
Quick+ness Tezkorlik
Classic+al Qadimiy
Continent+al Qit’aviy
Worth+less Arzimas
Internation+al Xalqaro
Fashion+able Zamonaviy
Artifici+al Sun’iy
Profession+al Mutaxassis
Heart+less Berahm
Happi+ness Baxt
Origin+al Asl nusxasi
Express+ion Ifodalash
Fool+ish Ahmaqona
For example, in the story Pygmalion, there is a sentence which includes the
following affixes:
Original: Oh! Something dreadful , sir, really. I don ʼ t know how you can
take an interest in it.
Translation: Oh! Qo’rqinchli narsa,janob,rostan ham.Men buni qanday
qiziqtirishingiz mumkinligini bilmayman.
This sentence is translated into Uzbek word for word and is used affixation
method which dreadful word .This word dread can be a noun meaning "fear" or
a verb meaning "to fear". The suffix-ful is added to the end of the word dread
and makes into an adjective the mean of word.
Dread+ful Qo rqinch+liʻ
The suffix-li is added to the end of the word qo rqinch in Uzbek language.
ʻ
This sentence compares suffix additions English and Uzbek languages.

The italicized words in are created by combining saw with some other
word, rather than with a bound morpheme.
a. A sawmill is a noisy place.
Every workshop should have a chain saw, a table saw, a jig-saw,
a jig-saw, a hack saw, and a bucksaw.
Sawdust is always a problem in a woodworker’s workshop.
Sawing horses are useful and easily made.
Such words are called compounds. They contain two or more words (or
more accurately, two or more roots, all, one, or none of which may be bound; cf.
blueberry with two free morphemes, and astronaut with two bound morphemes).
Generally, one of the words is the head of the com- pound and the other(s) its
modifier(s). In bucksaw, saw is the head, which is modified by buck. The order
is significant: compare pack rat with rat pack. Generally, the modifier comes
before the head.
In ordinary English spelling, compounds are sometimes spelled as single
words, as in sawmill, sawdust; sometimes the parts are connected by a hy- phen,
as in jig-saw; and sometimes they are spelled as two words, as in chain saw, oil
well. (Dictionaries may differ in their spellings.) Nonetheless, we are justified in
classifying all such cases as compound words regardless of their conventional
spelling for a variety of reasons.
First, the stress pattern of the compound word is usually different from the
stress pattern in the phrase composed of the same words in the same order.
Compare:
Compound Phrase
'White House white 'house
'funny farm funny 'farm
'blackbird black 'bird
'flatcar flat 'car

In the compounds the main stress is on the first word; in the phrases the
main stress is on the last word. While this pattern does not apply to all com-
pounds, it is so generally true that it provides a very useful test.
Second, the meaning of the compound may differ to a greater or lesser
degree from that of the corresponding phrase. A blackbird is a species of bird,
regardless of its color; a black bird is a bird which is black, regardless of its
species. A trotting-horse is a kind of horse, regardless of its current activity; a
trotting horse must be a horse that is currently trotting. So, because the meanings
of compounds are not always predictable from the meanings of their
constituents, dictionaries often provide individual entries for them. They do
not do this for phrases, unless the meaning of the phrase is idiomatic and
therefore not derivable from the meanings of its parts and how they are put
together, e.g., raining cats and dogs. Generally the meaning of a phrase is
predictable from the meanings of its constituents, and so phrases need not be
listed individually. (Indeed, because the number of possible phrases in a
language is infinite, it is in principle impossible to list them all.) Third, in many
compounds, the order of the constituent words is different from that in the
corresponding phrase:
Compound Phrase
sawmill mill for sawing
sawing horse horse for sawing
sawdust dust from sawing
Fourth, compound nouns allow no modification to the first element. This
contrasts with noun phrases, which do allow modification to the modifier:
compare a really-blackbird and a really black bird.
There are a number of ways of approaching the study and classification
of compound words, the most accessible of which is to classify them according
to the part of speech of the compound and then sub-classify them according to
the parts of speech of its constituents. Table 2 is based on discussion in Bauer
(1983).

1. Compound nouns
a. Noun + noun: bath towel; boy-friend; death blow
b. Verb + noun: pickpocket; breakfast
c. Noun +verb: nosebleed; sunshine
d. Verb +verb: make-believe
e. Adjective + noun: deep structure; fast-food
f. Particle + noun: in-crowd; down-town
g. Adverb + noun: now generation
h. Verb + particle: cop-out; drop-out
i. Phrase compounds: son-in-law
2. Compound verbs
a. Noun + verb: sky-dive
b. Adjective + verb: fine-tune
c. Particle + verb: overbook
d. Adjective + noun: brown-bag
3. Compound adjectives
a. Noun + adjective: card-carrying; childproof
b. Verb + adjective: fail safe
c. Adjective + adjective: open-ended
d. Adverb + adjective: cross-modal
e. Particle + adjective: over-qualified
f. Noun + noun: coffee-table
g. Verb + noun: roll-neck
h. Adjective + noun: red-brick; blue-collar
i. Particle + noun: in-depth
j. Verb + verb: go-go; make-believe
k. Adjective/Adverb + verb: high-rise;
l. Verb + particle: see-through; tow-away
4. Compound adverbs
uptightly

cross-modally
5. Neo-classical compounds
astro-naut
hydro-electric
In analyzing the story we have noticed the following compounds as
1.Compound nonuns
a.Noun+noun; keyboard-klavatura
b.Noun+noun; birdcage-qush qafasi
c.Noun+verb; coal-scuttle-ko’mir idish
d.Noun+noun; housekeeper-uy xizmatchisi
2.Compund adjectives
a.Adjective+noun; easychair-qulay stul
b.Noun+noun; frock coat-uzun kiyim
c.Adjective+noun; plain clothes-oddiy kiyingan
3.Compound adverbs
a.Particle+verb; upstairs-yuqori qavat
b.Particle+noun; outside-tashqarida
c.Particle+noun; downstairs-pastki qavat
There are some examples from the story Pygmalion, there are sentences
which include the following compounding
1.The corner beyond,and most of the side wall,is occupied by a grand
piano,with the keyboard at the futhers from the door,and a brench for the player
extending the full length of the keyboard.
Burchak tomon va ko’p tarmoqli devorining ko’p qismi katta piyano bilan
egallangan.Piyano klaviaturasining oldida eshikdan uzoqda va piyonist
klaviatura to’la uzunlikda kengaygan qopqoq mavjud.
2.A birdcage hangs in the window; but its tenant died long ago; it remains
as a memorial only.
Bir qush qafasi derazada osilgan,ammo uning egasi ancha oldin vafot
etgan,faqat u xotirada qolagan.

3.This gentlemen and my housekeeper have been here all the time.
Bu kishi va mening xizmatchim ancha vaqt bu yerda bo’lishganlar.
In conclusion, we can say if we want to avoid curious moments in
translation, we need to pay our attention to phraseological expressions,
especially to Uzbek ones, because the majority of them cannot be translated into
English and other languages. We, interpreters and translators, need to know a lot
of things, which belong to our profession or do not. But we can have problems
in translation, which cannot be avoided. Concerning the translation of
phraseological expressions, as we mentioned before, there are a lot of
expressions which cannot be translated. There is no doubt we have one main
thing, we can explain the sense of phraseological expressions if we do not
remember or do not know the exact translation.
In this science work we also express which problems could appear in
translation of phraseological units in cultural aspect. Culture offers a big
problem for interpreters and translators. Of course, it is impossible to know all
detailed things in culture and traditions of any country, but we need to have
some general idea about every country.
Doubtless, only a great knowledge of language and dictionaries could help
us to translate phraseological units correctly.

Conclusion
The content of Chapter 1 reflects the results of a study of current
linguistic issues related to the concept of “linguistic personality”. An analysis of
linguistic (including translation studies) and psychological (including
psycholinguistic) scientific works that formed the theoretical and
methodological basis of the research is presented. Concepts such as translation,
transformation and their types are considered.
The content of Chapter 2 is devoted to the analysis of linguistic material
represented by the original English text and its translations into Uzbek. To
conduct a study of the process of personality development, the work of B. Shaw
“Pygmalion” was chosen, in which this process is described most vividly in
artistic expression, using emotionally expressive artistic techniques and with a
careful selection of linguistic material. The techniques used by the translators of
this work to convey English lexical (including affixation) units conveyed in the
original literary text are analyzed.
In conclusion, we can say if we want to avoid curious moments in
translation, we need to pay our attention to phraseological expressions,
especially to Uzbek ones, because the majority of them cannot be translated into
English and other languages. We, interpreters and translators, need to know a lot
of things, which belong to our profession or do not. But we can have problems
in translation, which cannot be avoided. Concerning the translation of
phraseological expressions, as we mentioned before, there are a lot of

expressions which cannot be translated. There is no doubt we have one main
thing, we can explain the sense of phraseological expressions if we do not
remember or do not know the exact translation.
Also we want to suggest some rules for correct translation of
phraseological expressions:
1.The optimum solution of translation of phraseological units is to search
identical phraseological units in target language. However, we need to
remember that the number of such identical units is very limited.
2.If there are no identical phraseological units, which are used in original
language, we can translate it using analogous phraseological unit. But the
stylistic and emotional color would be changed.
3.The method of calking or literal translation is not effective. But
sometimes interpreters could implant the phraseological units with cultural
aspect in target language. The most known cases are connected with translation
of phraseological units from the Bible, ancient or mythological sources.
4.Also calking can be used with descriptive translation, such type of
translation of phraseological units is called combined translation, which is more
preferable, because it makes the translation more clear and understandable.
5.If we do not remember the translation of phraseological unit or are not
sure if it is correctly translated, we can explain the sense and the idea of
phraseological unit. But it is in case of an emergency, such type of translation is
called descriptive translation.
In addition we could give an advice is to use dictionaries which were
published in Uzbek and check the translation of every phraseological unit. And
do not afraid to translate or feel shy of your translation, we must be sure that our
translation is accurate and well-formed.
Learning from mistakes and constantly improving knowledge is a key to all
successful interpreters and translators.
Conclusion

Thousand years ago a special layer of the language appeared, it is
phraseology – the whole set of stable expressions, which have their independent
meaning. The world of Modern English phraseological expressions is so grand
and various that every aspect of its study is worth of due regard.
The learning of the English language is widely-spread among our country.
Good knowledge of language is impossible without knowing English
phraseology. If we know phraseological expressions of English and our native
language it will make us easier translate and understand.
In this course work we have examined the source of phraseological
expressions and peculiarities in its translation in the English and Italian
languages. We think that every person must know general information about
phraseological units. The «father» of phraseology, Charles Bally, gave the
definition of phraseological unit: «combinations, which firmly came into
language, are called set phrases». The linguist N.M. Shanskiy made out some
difference between set phrases and free word combinations. Set phrases differ
with readableness, integrity of the meaning, steadiness of composition and
structure and also with structure tightness.
The source of idiom origin in Modern English language is very various.
We could divide all phraseological units into two groups: primordial
English phraseological units and adoptions. Many of English phraseological
expressions were adopted from Latin language through French. But there are
some expressions, which were adopted from the Latin language escapes French,
even there were adoptions from American English and other languages. A lot of
phraseological units appeared in connection with traditions, customs and English
popular belief, actual, legendry and historical facts, but also we must not forget
that the majority of phraseological expressions appeared from poems of famous
writers, we have learnt Shakespearean phraseological units.
Phraseological expressions improve our speech. Sometimes it is easier to
say a phraseological expression to tell our thoughts and sense than try to find
necessary words and sentences. However, they offer big problems to interpreters

and translators. It is not great surprise that there are such phraseological
expressions which can be translated variously into different languages.
An important point is that different linguists offer different classifications
of phraseological units and their translation. But we decided to use the
classification in interpreter’s point of view; we could divide phraseological units
into two groups: phraseological units, which have the equivalence in
transferable language, and phraseological units with no direct equivalents in
other languages.
We should note here that phraseological expressions are translated in
phraseological translation, if there are the equivalences or the analogues for
phraseological expressions, or in non-phraseological translation, if there is a lack
of equivalences and analogues.
We decided to use the modern classification of phraseological units, which
consists of six ways of idiom translation: phraseological equivalents; analogue;
calking; antonymous translation; combined translation; explication or
descriptive translation.
It is an example from the story Pygmalion, there is a sentence which
includes the following phraseological unit.
1.Orginal; A blinding flash of lightning ,followed instantly by a rattling
peal of thunder,orchestrates the incident .
Tanslation; Bir zumda momaqaldiroq gumburlagandan keyin ko’zni
qamashtiruvchi yorqin chaqmoq chaqnashi voqeani tartibga soladi.
This sentence translated into Uzbek from English language and is used
phraseological unit. So,it is made comparative analysis in English and Uzbek
languages such as noun phrase.
English;”A blinding flash of lightining ,”a rattling peal of thunder’’.
Uzbek;”Yorqin chaqmoq chaqnashi ”,”guvillagan momaqaldiroq tovushi’’.
Comparison;Both languages use descriptive adjectives before the noun,but
the word order in Uzbek is subject-verb-object ,similar to English.

2.Original; Oh do buy a flower off me,Captain.I can change half-a-
crown.Take this for tuppence.
Translation; Ah, Kapitan,mendan gul sotib oling.Men yarim tangaga
o’zgartira olaman.Buni ikki tiyinga oling .
In this sentence is used stylistic device and compared analyzing in English
and Uzbek languages phraseological unit such as metonomy,
English;’’Half-a-crown’’ and ’’tuppence’’refer to specific historical
British coins,evoking cultural and economical context.
Uzbek; Specific monetary terms would change ’’yarim tanga’’for ’’half-a-
crown’’ and ’’ikki tiyinga’’for ’’tuppence’’reflecting local currency and
cultural nuances.
This sentence maintains the original’s stylistic element while adapting
cultural and linguistic context of Uzbek.
In conclusion, we can say if we want to avoid curious moments in
translation, we need to pay our attention to phraseological expressions,
especially to Uzbek ones, because the majority of them cannot be translated into
English and other languages. We, interpreters and translators, need to know a lot
of things, which belong to our profession or do not. But we can have problems
in translation, which cannot be avoided. Concerning the translation of
phraseological expressions, as we mentioned before, there are a lot of
expressions which cannot be translated. There is no doubt we have one main
thing, we can explain the sense of phraseological expressions if we do not
remember or do not know the exact translation.
In this science work we also express which problems could appear in
translation of phraseological units in cultural aspect. Culture offers a big
problem for interpreters and translators. Of course, it is impossible to know all
detailed things in culture and traditions of any country, but we need to have
some general idea about every country.
Doubtless, only a great knowledge of language and dictionaries could help
us to translate phraseological units correctly.

List of used literature
I. Regulatory and legal documents
1. Mirziyoyev Sh. M. Together we will build a free and prosperous,
democratic country of Uzbekistan. -Tashkent: Uzbekistan, 2016. -13 p.
2. Mirziyoyev Sh. M. Resolution No. PQ-3775 on additional measures to
improve the quality of education in higher education institutions and ensure their
active participation in comprehensive reforms implemented in the country. -
Tashkent: 2018.
3. Mirziyoyev Sh. M. Decision No. PQ-5117 on measures to bring the
activities of popularization of learning foreign languages to a qualitatively new
level in the Republic of Uzbekistan. -Tashkent: 2021.
II. Main litearture
1. English and Western Literature. Oxford University Press , 1993
2. Энциклопедия истории всемирной литературы. М., 1972
3. Abduvaliyev M. A. Pages from the History of English and American
Literature. Andijan, 1997
4. Lambert T. England in the 20th Century (электронная версия)
5. Кун Н. А. Легенды и мифы Древней Греции. М., 1955
6. Шоу Б. Полное rбрание пьес в 6 томах. М.,1980
7. Андреев Л.Г., Карельский А.В., Павлова Н.С. и др. Зарубежная
литература ХХ века. М., 1996
8. Ивашева В.В. Английская литература ХХ века. М., 1967
9. Гражданская З.Т. Бернард Шоу: Очерк жизни и творчества. М., 1989
10. Бачкало И.Б. Бернард Шоу. М.,1999
11. Образцова А.Г. Бернард Шоу и европейская театральная культура.
М., 1980
12. World Book Encyclopedia. Chicago, 1993
13. Alfred Bates. The Drama: Its History, Literature and Influence on
Civilization. London, 1996

14. http://en.wikipedia.org/
15. http://www.fashion-era.com/
16. http://www.localhistories.org/
17.Show B. Pygmalion. Plays. Moscow: AST: Astrel; Vladimir: VKT,
2011.284 p.
18.Shaw B. Pygmalion. Plays. M.: Pravda, 1981. 352 p.
19.Shtreimel V.Sh. German proverbs and their Uzbek analogues. M.:
Editorial URSS. 2004. 192 p.
20.Shcherba L.V. Selected works on the Uzbek language. M.: State.
educational pedagogical publishing house min. pros. RSFSR, 1957. 188 p.
21. Shcherba L.V. Language system and speech activity. L.: Science, 1974.
428 p.
22.Yuzdova L.P. Semantic field as a form of systematization of meanings
in phraseological units of the Uzbek and English languages // Philological
Sciences. Questions of theory and practice. Tambov: Certificate, 2008. No. 2
(2). pp. 156 - 158.
23.Linguistic personality: text, dictionary, image of the world. To the 70th
anniversary of Corresponding Member of the RAS Yuri Nikolaevich Karaulov:
collection of articles, RUDN Publishing House, Moscow, 2006, 544 p.

Comparative analysis of the play Pygmalion by G.B. Shaw in the English and Uzbek languages

Купить

Похожие документы
2001-yil sentabr voqealri va uning xalqaro munosabatlarga
1945-1990-yillarda Buyuk Britaniya
1918-1923 yillarda xalqaro munosabatlar, Versal Vashington siyetemasining tuzilishi
Ahmad al-farg‘oniy
Almashlab ekishni loyihalashtirish va joriy etish