The investigation of oxymoron in the English and Uzbek languages - Ingliz tili - Kurs ishlari

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The investigation of oxymoron in the English and Uzbek languages

Sotib olish

The investigation of oxymoron in the English and
Uzbek languages

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CONTENTS
INTRODUCTION ……….................................................................................3
CHAPTER I . LEXICAL MEANING AND FORMATION OF STYLISTIC
DEVICES ON ITS BASE………………………………………………….....…...7
I.1 . Language units as means of stylistics…………………………………..…....7
I.2. Types of lexical meaning………………………………………………..…....11
I.3 . Theoretical opinions about Oxymoron…………………………………….....19
CHAPTER II THE INVESTIGATION OF OXYMORON IN THE ENGLISH
AND UZBEK LANGUAGES …………………………………………………...23
II.1 Structural models of Oxymoron ..........................................................….....23
II.2 Oxymoron and its usage in English literature……………………………......30
II.3 The usage of oxymoron in Uzbek literature……………………………….....34
CONCLUSION ………………………………………………………………...40
BIBLIOGRAPHY ……………………………………………………………...42
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INTRODUCTION
One of the important issues in educational sphere in Uzbekistan is to raise
the quality of teaching education, especially teaching foreign languages in primary
and secondary special education. To reach the required standards the Republic of
Uzbekistan has accepted presidential decree N 1875 in December, 2012. Here the
president of the Republic of Uzbekistan, Islom Karimov said that “When our
people have acquired independence after a very long period of time, when Uzbek
people began determining their own way of development there existed lots of inner
and outer threat aimed at overturning the newly born state, to disturb the peaceful
life established in Uzbekistan. The Uzbek people understood that they must
strengthen the independence gained and what hard obstacles were waiting us in
further steps of the development”. 1

Thus this qualification paper is devoted to the study of teaching meaningful
(communicative) lessons to the students of EFL and ESL lessons. The qualification
paper presents an interest for both theoretical and practical significance. We must
admit that considerable number of researches have been devoted to on the problem
of Oxymoron of the English language as a foreign language (further EFL). The
researches we have been based on and reviewed were carried out by English,
American, Russian, Uzbek and other scholars as Galperin, Kukharenko, Musayev,
Qilichev and others. They have developed necessary theoretical backgrounds for
describing English and Uzbek Stylistics.
This qualification paper is devoted The investigation of oxymoron in the
English and Uzbek languages
The actuality of the work is that oxymoron is less studied unit among other
stylistic devices and also its specific features is not much revealed problem.
The object of the work is that the study of stylistic devices as oxymoron and
others in English and Uzbek.
The subject matter is stylistic device oxymoron and its use in English and
Uzbek literature.
1 I.A.Karimov Presidential decree№18/75 december12 2012
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The hypothesis of the work is that the study of stylistic devices more deeply
gives the opportunity to understand the literary works and their effectiveness and
emotionality in high level.
The purpose of the work is to open the main peculiarities of oxymoron and
show its role in speech.
The purpose directs us to discuss the following problems to reveal the theme
and achieve desired goal. So the tasks are :
- to outline theoretical view about Stylistics as a linguistic discipline;
- to speak about stylistic devices and their role in speech;
- to discuss about the types of meanings ;
- to survey the main peculiarities of these types of meanings;
- to speak about stylistic devices based on logical and emotional
meanings;
- to study the functions of these stylistic devices; - to discuss about
oxymoron and show its difference from other stylistic devices based on
emotional meaning; - to point out the main functions of oxymoron
in speech;
- to study the morphological and syntactical characteristics of oxymoron;
- to analyse the examples with oxymoron in Uzbek and English literature.
There we have used different methods as: comparative, analytical,
componential and synchronic ones.
The novelty of the work is that we have studied oxymoron in English
language in comparison with Uzbek language.
The main source is English and Uzbek literature about Stylistics and
Oxymoron.
Also we have seen the theme in two or three levels of linguistics as from
stylistic lexical and morphological points of view. More over we have stopped at
the problems of translation of oxymoron and some other stylistic devices.
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The theoretical value of this work is that the presented theories can be used
in seminars and lectures and of course it can be used as a material for further
researches on the theme as a research on the theme as a research of masters degree
or soon.
The practical value is that the analysed examples can be used in seminars,
on stylistics, lexicology and the theoretical and practical translation. More over the
gathered examples can be useful for compiling manuals on stylistics.
The structure of the work is as following:
Introduction, main part, conclusion, summary, bibliography.
Introduction states the actuality, the aim, the reason, the methods of the
qualification paper. It also gives brief information about the plot of the work.
Main part includes the theoretical ideas and practical examples. The
examples have been gathered from English, American and Uzbek writers work of
art.
Chapter I deals with revealing the problems of theoretical position of
Stylistics among other linguistic sciences.
Thus,Chapter I deals with the functions of stylistic devices and their
classifications and types.
At the present moment we shall stop at each of them shortly.
Stylistic devices are formed on the base of different lexical meanings.
Expressive means as stylistic means, stylistic devices and other terms are all used
indiscriminately. For our purposes it is necessary to make a distinction between
expressive means and stylistic devices. All stylistic means of a language can be
divided into expressive means, which are used in some specific way and special
devices called stylistic devices. The expressive means of a language are those
phonetic means, morphological forms, means of word-building and lexical, phrase
logical and syntactical forms all of which function in the language for emotional or
logical intensification of the utterance. These intensifying forms of the language,
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wrought by social usage and recognized by their semantic function have been fixed
in grammars and dictionaries.
Chapter II deals with the types of Lexical meaning and stylistic devices
formed on the base of each type of Lexical meaning. Lexical meaning of words
can be divided: logical, nominal, emotional and as a subdivision contextual ones.
Chapter II also deals with the problem of oxymoron as a stylistic device:
revealing its own features: the function of oxymoron in speech and some other
problems.
Oxymoron is based on the interaction of logical and emotive meanings. It
presents a combination of two contrasting ideas:
e.g. a pleasantly ugly face, a faithful traitor, low skyscraper or in Uzbek:
ochiq sir, sozlayotgan sukunat, shirin azob, saratondagi momoqaldiroq or so on.
Morphologically oxymoron may be expressed by adjective +noun, adverb +
adjective + adjective or so on.
The function of it in language is to give expressiveness and emotionality to
the utterance. The ways of translation of oxymoron into Uzbek is rather
complicated as the word ugly pretty can be considered neutral or emotional
combination in Uzbek it can be used only in colloquial and in literary speech it
turns into not oxymoron but hyperbole or logical attribute: ugly pretty- dahshat
go’zal or go’zal malak” in literary speech
“benihoya go’zal”, “go’zal malak” are not oxymoron, they are hyperbole
and epithet. So we must pay great attention to the usage of words and word
combinations according to the context. There we have gathered some examples
that can be used in seminars and lectures.
Chapter III deals with the usage and analysis of Oxymoron in the Uzbek
language.In all languages the function of Oxymoron is to give stylistic effect and
show the skill of poets or writers.

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CHAPTER I. LEXICAL MEANING AND FORMATION OF
STYLISTIC DEVICES ON ITS BASE
I.1.Language units as means of stylistics
In linguistics there are different terms to denote those particular means by
which a writer obtains his effect. Expressive means are stylistic means. Stylistic
devices and other terms are all used indiscriminately. For our purposes it is
necessary to make a distinction between expressive means and stylistic devices.
All stylistic means of a language can be divided into expressive means, which are
used in some specific way and special devices called stylistic devices. The
expressive means of a language are those phonetic means, morphological forms,
means of word-building and lexical, phrase logical and syntactical forms all of
which function in the language for emotional or logical intensification of the
utterance. These intensifying forms of the language, wrought by social usage and
recognized by their semantic function have been fixed in grammars and
dictionaries. Some of them are normalized and good dictionaries label them as
intensifiers. In most cases they have corresponding neutral synonymous forms. The
most powerful expressive means of any language are phonetic. The human voice
can indicate subtle nuances of meaning that no other means can attain. Pitch,
melody, stress, pause, drawling out certain syllables, whispering, a sing-song
manner of speech and other ways of using the voice are more effective than any
other means in intensifying the utterance emotionally or logically.
Among the morphological expressive means the use of the Present Indefinite
instead of the Past Indefinite must be mentioned first. This has already been
acknowledged as a special means and is named the Historical Present. In
describing some past event the author uses the Present Tense, thus achieving a
more vivid picture of what was going on.
Among word-building means we find a great many forms which serve to
make the utterance more expressive and fresh or to intensify it. The diminutive
suffixes as –y [ie], - let, e.g. dear, dearie, stream, streamlet, add some emotional
coloring to the words. We may also refer to what are called neologisms and
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noncewords formed with non-productive suffixes or with Greek roots, as; mistress
man ship, clean drama.
At the lexical level there are a great many words which due to their inner
expressiveness, constitute a special layer. There are words with emotive meaning
only, like interjections, words which have both referential and emotive meaning,
like some of the qualitative adjectives; words which still retain a twofold meaning;
denotative and connotative; or words belonging to special groups of literary
English or of non-standard English and some other groups. The expressive power
of these words cannot be doubted, especially when they are compared with the
neutral vocabulary.
The same can be said of the set expressions of the language. Proverbs and
sayings as well as catch-words form a considerable number of language units
which serve to make speech more emphatic, mainly from the emotional point of
view. Their use in every day speech can hardly be overestimated. Some of these
proverbs and sayings are so well-known that their use in the process of
communication passes almost unobserved; others are rare and therefore catch the
attention of the reader or the listener.
Finally at the syntactical level there are many constructions which, being set
against synonymous ones, will reveal a certain degree of logical or emotional
emphasis.
Let us compare the following pairs of structures;
«I have never seen such a film.»
«Never have I seen such a film.»
«Mr.Smith came in first.»
«It was Mr.Smith who came in first.»
The expressive means of the language are studied respectively in manuals of
phonetics, grammar, lexicology and stylistics. Stylistics, however, observes not
only the nature of an expressive means, but also its potential capacity of becoming
a stylistic device.
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What then is a stylistic device?
It is a conscious and intentional literary use of some of the facts of the
language in which the most essential features of the language forms are raised to a
generalized level and thereby present a generative model. Most stylistic devices
may be regarded as aiming at the further intensification of the emotional or logical
emphasis contained in the corresponding expressive means.
This conscious transformation of a language fact into a stylistic device has
been observed by certain linguists whose interests in scientific research have gone
beyond the boundaries of grammar.
Thus A. A. Potebnja writes:
«As far back as in ancient Rome and Greece and with few exceptions up to
the present time, the definition of a figurative use of a word has been based on the
contrast between ordinary speech, used in its own, natural primary meaning and
transferred speech.”
A.A.Potebnja thus shows how the expressive means of the Russian language
are transformed into stylistic devices. He describes how Gogol uses literal
repetition characteristic of folklore instead of allusions and references. 2

The birth of an stylistic device is not accidental. Language means which are
used with more or less definite aims of communication and in one and the same
function in various passages of writing, begin gradually to develop new features, a
wider range of functions and become a relative means of expressiveness alongside
the already recognized expressive means of the language, like proverbs or sayings,
diminutive suffixes and the like. These stylistic devices form a special group of
language means which are more abstract in nature than the expressive means of the
language. It would perhaps be more correct to say that unlike expressive means,
stylistic devices are patterns of the language where as the expressive means do not
form patterns. They are just like words themselves, they are facts of the language
2 Galperin I.R “Stylistic” Higher school Publishing House Moscow – 1971

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and as such are, or should be registered in dictionaries. This can be illustrated in
the following manner:
Proverbs and sayings are facts of language. They are collected in
dictionaries. There are special dictionaries of proverbs and sayings. It is impossible
to arrange proverbs and sayings in a form that would present a pattern even though
they have some typical features by which it is possible to determine whether or not
we are dealing with one. These typical features are: rhythm, sometimes rhyme and
alliteration.
The interrelation between expressive means and stylistic devices can be
worded in terms of the theory of information. Expressive means have a greater
degree of predictability than stylistic devices. Expressive means are commonly
used in language and are therefore easily predictable. 3

Stylistic devices carry a greater amount of information because if they are at
all predictable they are less predictable than expressive means. It follows that
stylistic devices must be regarded as a special code which has still to be
deciphered. Stylistic devices are generally used sparingly, lest should overburden
the utterance with information.
In this short survey it is impossible to give a complete analysis of all
expressive means of the language. The boundaries of stylistics are not limited with
the study of expressive means. In most cases we deal with stylistic devices.
According to Prof.I.R.Galperin’s definition:”It is a conscious and intentional
intensification of some typical structural or semantic property of a language
unit{neutral or expressive} promoted to a generalized status and thus becoming a
generative model.”
Stylistic devices must always have some function in the text, besides they
bring some additional information. The conception that words possess several
3 Galperin I.R “Stylistic” Higher school Publishing House Moscow – 1971
Middeton J.M. “The Problem of Style” London. Oxford University Press – 1961.

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meanings gives rise to such stylistic devices as metaphor, metonymy, irony, epithet
and others.
Thus, we may draw the conclusion that expressive means are the facts of the
language. While stylistic devices are the property of the speech. They are the
creation of individuals{writers and poets} and are based on the peculiarities of
existing expressive means of the language. This is in short the difference between
expressive means and stylistic devices.
While speaking about stylistic devices we must always remember: the force
of one and the same stylistic devices may be different. In some cases the emotive
charge may be very strong, in others it may be weak. It depends on the use of a
stylistic device in one and the same function.
I.2. TYPES OF LEXICAL MEANING
A number of stylistic devices are based on the peculiar use of lexical
meanings. Therefore it seems to be necessary to define with precision the types of
meanings words may have which we meet in stylistic devices.
Words can be approached from multi – various aspects, some of which go
beyond the boundaries of pure linguistics, though they are deeply rooted in the
texture of the language. The most common and acceptable definition of a word is
the following. A word is a language sign that expresses a concept by its forms and
meanings. 4
By concept is meant an abstract or general idea of some phenomenon
of reality including the subjective feelings and emotions of human beings. The
forms of a word are also said to have meanings. Therefore we distinguish between
lexical meaning and grammatical meaning, the former referring to the phenomena
of objective reality and the latter to the correlation between the words in a
sentence.
Both lexical and grammatical meaning may be polysemantic. This means
that a word may have a number of meanings. So here we meet the first
contradiction in terms. On the one hand a word expresses a concept by its
4 Galperin I.R “Stylistic” Higher school Publishing House Moscow – 1971
Middeton J.M. “The Problem of Style” London. Oxford University Press – 1961.
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meanings. On the other hand each meaning may denote a separate concept. The
contradiction is to some extent removed by introducing the nation of progress in
language. The meanings are liable to change. When there is an obvious connection
between different meanings, we call them shades of meaning, nuances of meaning,
even separate meaning, the latter being on the verge of becoming separate words.
When the process of breaking away from the basic meaning has gone so far that
we scarcely feel any connection between the meanings, we say that the word has
split into two different words which in this case become homonyms
The meanings of a word are the only means of materializing a concept in
language, though some concepts may be materialized not by means of the sign of
language but by other signs-by gestures, mimicry, music, painting, sculpture and
the other fine arts.
It is of paramount importance in stylistics to bear in mind that concepts of
objective reality have different degrees of abstractness. This is adequately
manifested in language. Adjectives are more abstract in meaning than nouns.
Adverbs may be considered more abstract than adjectives in as much as they
usually characterize an abstract nation, action or state. Conjunctions and
prepositions have a still higher degree of abstractness because it is not objects as
such that they indicate, but the correlation of the concepts involved. Therefore we
may consider conjunctions and prepositions and some auxiliary words as well to be
on the border line between lexical and grammatical meaning which suppresses the
lexical meaning.
The problem of abstractness and especially the degree of abstractness is of
vital importance in stylistic in more than one respect. Stylistics deals not only with
the aesthetic and emotional impact of the language. It also studies the means of
producing impressions in our mind. Impression is the first and rudimentary stage
of concept. 5
But the concept through a reverse process may build another kind of
impression. Impressions that are secondary to concepts, in other words which have
5 Jacobson R. “The Metaphoric and Metonymic Poles” Gavenhoge – 1956.
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been born by concepts, are called imagery. Imagery is mainly produced by the
interplay of different meanings. Concrete objects are easily perceived by the mind.
When an abstract nation is by the force of the mind represented through a concrete
object, an image is the result. Imagery may be built on the interrelation of two
abstract nations or two concrete objects or an abstract an a concrete one. Three
types of meaning can be distinguished, which we shall call logical, emotive and
nominal respectively.
Logical meaning is precise naming of a feature of the idea, phenomenon or
object, the name by which we recognize the whole of the concept. This meaning is
also synonymously called referential meaning or direct meaning. We shall use the
terms logical and referential as being most adequate for our purpose.
Referential meanings are liable to change. As a result the referential
meanings of one word may denote different concepts. It is therefore necessary to
distinguish between primary and secondary referential or logical meaning.
All the meanings fixed by authoritative English and American dictionaries
comprise what is called the semantic structure of the word. The meanings that are
to be found in speech or writing and which are accidental should not be regarded
as components of the semantic structure of the word. They may be transitory,
inasmuch as they depend on the context. They are generally called contextual
meanings.
Every word possesses an enormous potentiality for generating new
meanings. This power is often underestimated by scholars who regard a word as a
unit complete in itself and acknowledge a new –born meaning only when it has
firmly asserted itself in language and become accepted by the majority of the
language community. But not to see the latent possibilities of a word is not to
understand the true nature of this unit of language. The potentiality of words can
also be noted in regard to emotive meaning.
Emotive meaning also materializes a concept in the word, but unlike logical
meaning, emotive meaning has reference not directly to things or phenomena of
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objective reality, but to the feelings and emotions of the speaker towards these
things or to his emotions as such. Therefore the emotive meaning bears reference
to things, phenomena or ideas through a kind of evaluation of them. For example:
I feel so darned lonely. (Graham Green, “The Quite American”)
He classified him as a man of monstrous selfishness; he did not want to see
that knife descend, but he felt it for one great fleeting instant. The italicized words
have no logical meaning, only emotive meaning. Their function is to reveal the
subjective, evaluating attitude of the writer to the things or events spoken of. Men
– of – letters themselves are well aware that words may reveal a subjective
evaluation and sometimes use it for definite stylistic effects, thus calling the
attention of the reader to the meaning of such words. Thus, for example, in the
following passage from “The Man of Property” by Galsworthy:
“She was not a flirt, not even a coquette – words dear to the heart of his
generation, which loved to define things by a good, broad inadequate word but she
was dangerous.”
Here the words “flirt” and “coquette” retain some of their logical meaning.
They mean a person who endeavours to attract the opposite sex, who toys with her
admirers. But both words have acquired an additional significance, wiz a
derogatory shade of meaning. This shade may grow into an independent meaning
and in this case will be fixed in dictionaries as having a special emotive meaning,
as for example, have the words fabulous, terrifying, stunning, spectacular, smart,
top and the like.
Emotive meaning of words plays an important role in stylistics. Therefore it
should never be underrated. A very keen eye or ear will always distinguish
elements of emotive meaning. Emotional colouring may be regarded as a
rudimentary stage of emotive meaning, which is generally fixed as an independent
meaning in good dictionaries. Anything recognizable as having a strong impact on
our senses may be considered as having emotive meaning, either dictionary or
contextual.
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And finally we come to nominal meaning. There are words which, while
expressing concepts, indicate a particular object out of a class. In other words these
units of the language serve the purpose of singling out one definite and singular
object out of a whole class of similar objects. These words are classified in
grammars as proper nouns. The nature of these words can be understood if we
have a clear idea of the difference between the two main aspects of a word:
“nomination” and “signification”. These aspects are also called “reference” and
“signification” or “denotation” and “connotation”. The difference can roughly be
illustrated by the following example.
Let us take the word table. The first thing that appears in our mind is the
general notion deprived of any concrete features or properties. This is the
signification. But by the word table we may also denote a definite table. In this
case we use a definite article and the meaning becomes nominating. But we may
also fix a definite name to the object which wants to be recognized as a unique
object because of its peculiar properties. In this way proper names appear. Their
function is not to single out one of the objects of the class for one particular
occasion, as in the case with the use of the definite article, but to make it the bearer
of the properties which our mind has attached to it. Thus nominal meaning is a
derivative logical meaning. To distinguish nominal meaning from logical meaning
the former is designated by a capital letter. Such words as Smith, Longfellow,
Everest, Black Sea, Thames, Byron are said to have nominal meaning. The logical
meaning from which they originate may in the course of time be forgotten and not
easily traced back. Most proper names have nominal meanings which may be
regarded as homonyms of common nouns with their logical or emotional
meanings, as Hope, Browning, Taylor, Scotland, Black, Chester, Chandler. Hence
logical meanings which nominate an object, at the same time signify the whole
class of the latter function because they do not represent a class. It must be
remembered however that the nominal meaning will always be secondary to the
logical meaning. The process of development of meaning may go still further. A
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nominal meaning assume a logical meaning due to certain external circumstances.
The result is that a logical meaning takes its origin in a nominal meaning. Some
feature of a person which has made him or her noticeable and which is recognized
by the community is made the basis for the new logical meaning. The nominal
meanings of these words have now faded away and we perceive only one, the
logical meaning. But sometimes the process of attaching nominal meaning to a
word with a logical meaning takes place, as it were, before our eyes. This is done
for purely stylistic purposes and is regarded as a special stylistic device.
Out of this classification we are going to study Interaction of Logical and
Emotive meanings.
The emotive meaning or emotional colouring (contextual emotive meaning)
of a word, as has already been pointed out elsewhere, plays a considerable role in
stylistics. This is mainly due to the fact that no utterance can be understood clearly
without its being evaluated from the point of view of the author’s attitude towards
the things described. In fact the term neutral came to be used in order to distinguish
the unemotional communication from the emotional or otherwise distinguishable
non – neutral forms of communication. Both words and constructions of an
emotional character have a stylistic significance only when they are set against the
non – emotional. Thus, for instance, interjections, which are erroneously referred
to as parts of speech are, in fact, signals of emotional tension. They must be
regarded as expressive means of the language and as such may be effectively used
as stylistic devices in the proper context.
From the strongest means of displaying the writer’s or speaker’s emotional
attitude to his communication, we now pass to a weaker but still forceful means –
the epithet.
The epithet is subtle and delicate in character. It is not so direct as the
interjection. Some people even consider that it can create an atmosphere of
objective evaluation, whereas it actually conveys the subjective attitude of the
writer, showing that he is partial in one way or another.
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The epithet is a stylistic device based on the interplay of emotive and logical
meaning in an attributive word, phrase or even sentence, used to characterize an
object and pointing out to the reader and frequently imposing on him, some of the
properties or features of the object with the aim of giving an individual perception
and evaluation of these features.
The epithet is markedly subjective and evaluative. The logical attribute is
purely objective, non-evaluating. It is descriptive and indicates an inherent or
prominent feature of the thing or phenomenon in question.
Thus in” green meadows, white show, round table, blue skies, pale
complexion, lofty mountains” and the like, the adjectives are more logical
attributes than epithets. They indicate those qualities of the objects which may be
regarded as generally recognized. But in wild wind, loud ocean, remorseless dash
of billows, formidable waves, heartburning smile, the adjectives do not point to
inherent qualities of the objects described. They are subjectively evaluative. The
epithet makes a strong impact on the reader, so much so, that the reader
unwittingly begins to see and evaluate things as the writer wants him to. Indeed, in
such word combinations as destructive charms, glorious sight, encouraging smile,
the interrelation between logical and emotive meanings may be said to manifest
itself in different degrees. The word destructive has retained its logical meaning to
a considerable extent, but it the same time an experienced reader cannot help
perceiving the emotive meaning of the word which in this combination will signify
conquering, irresistible, dangerous. The logical meaning of the word glorious in
combination with the word sight has almost entirely faded out. Glorious is already
fixed in dictionaries as a word having an emotive meaning alongside its primary,
logical meaning. As to the word encouraging{in the combination encouraging
smile}it is half epithet and half logical attribute. In fact, it is sometimes difficult to
draw a clear line of demarcation between epithet and logical attribute. In some
passages the logical attribute becomes so strongly enveloped in the emotional
aspect of the utterance that it begins to radiate emotiveness, though by nature it is
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logically descriptive. Take for example, the adjectives green, white, blue, lofty{but
somehow not round} in the combinations given above. In a suitable context they
may all have a definite emotional impact on the reader. This is probably explained
by the fact that the quality most characteristic of the given object is attached to it,
thus strengthening the quality.
Epithets may be classified from different standpoints: semantic and
structural. Semantically, epithets may be divided into two groups: those associated
with the noun following and those unassociated with it.
Associated epithets are those which point to a feature which is essential to
the objects they describe: the idea expressed in the epithet is to a certain extent
inherent in the concept of the object. The associated epithet immediately refers the
mind to the concept in question due to some actual quality of the object it is
attached to, for instance «dark forest», «careful attention», «indefatigable
assiduity», «dreary midnight», etc. Unassociated epithets are attributes used to
characterize the object by adding a feature not inherent in it, i. e. a. feature which
may be so unexpected as to strike the reader by its novelty, as for instance, «heart –
burning smile”, «bootless cries”, «sullen earth”, «voiceless sands”, etc. The
adjectives here do not indicate any property inherent in the objects in question.
They impose, as it were, a property on them which is fitting only in the given
circumstances. It may seem strange, unusual, or even accidental.
The process of strengthening the connection between the epithet and the
noun may sometimes go so far as to build a specific unit which does not lose its
poetic word. Such epithets are called fixed and are mostly used in ballads and folk
songs. Here are some examples of fixed epithets: «true love “, «dark forest”, «good
ship” another lexical stylistic device which belongs to this group is Oxymoron. As
Oxymoron is the main theme under our investigation we are going to search it in
the next paragraph.
I.3. Theoretical opinions about Oxymoron
Oxymoron is a lexical stylistic device which is based on interaction
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of logical and emotive meanings. Oxymoron – trope, two contrasting words
combined in a word combination. In English poetry and prose Oxymoron is
frequently met. As E. Spenser wrote: And painful pleasure turns to pleasing pain,
And our contemporary poet wrote in one of his poems:
With the forming of a verse
Make a vineyard of the curse,
Sing of human un success In
a rapture of distress.
Oxymoron is widely used in character of logical functions. As English poet
and critic Spenser observing E. Hemingay’s work, contrasting the hero’s calls him
«self-consciously itself –conscious»
The violation of lexical combination in Oxymoron is not called semantic
correspondence, but contrast as the pairs: faith-unfaithful, falsely-true,
rapturedistress the words are lexically opposed in word combination. They have
general seems, but the seems are contrasted to each other. Both words «rapture and
distress express strong sensation but in the first example – high emotion of
pleasure and in the second-sorrow.
The combination of «a plateful of mortal sins” semantically not
corresponding, where as the first component relates to food and the second – to
abstract religious sphere.
In colloquial style Oxymoron’s «terrible smart, awfully beautiful, etc.
semantic correspondence may be omitted, because the first component loses its
denotative meaning. The violation of lexical combination can be met in the
following examples: worst friend, best enemy, logically if a person has a best
friend why doesn’t he have a worst one? Only the combination worst friend is
accepted half marked as Oxymoron.
Kuznets points out that 6
:
«Oxymoron is a stylistic device with which the sign is described as (quality,
6 М.Д.Кузнец. “Стилистика английского языка”.Ленинград, 1960. стр. 34-35
.
19

action or state) only they are opposed to a natural form. They can have structurally,
grammatically correct form, but semantically components in combinations are
opposed to each other. E. g.
His honor rooted in dishonor
Stood
And faith unfaithful kept him Falsely
true.
Oxymoron is frequently use in
Cases when the utterance needs
High emotion. When Shakespeare wanted
To express his opinions about love philosophically he used paradoxical
Oxymorons:
O brawling love! O loving hate!
O any thing! Of nothing first
Create
O heavy lightness! Serious vanity!
Miss – sh o pe n chaos of well- Seeming
forms!
The difference of Oxymoron from antithesis is that Oxymoron is opposed
words in word combination, but antithesis is the opposition of two ideas in one
context.
In that sweet mood when
Pleasant thoughts
Bring sad thoughts to the mind.
If the poet has said: my thought was both pleasant and sad – it would be
Oxymoron, as in Julietta’s words by Shakespeare:
A damned saint, an honorable villain, beautiful tyrant, fiend angelical.
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20

Also examples: Are there many women really like this, or is it that their
desperate efforts to look their horrid best make many gentle and charming elderly
women falsely accuse themselves?
An oxymoron (from Greek, "Sharply dull") is a figure of speech consisting
in the use of an epithet or attributive phrase in contradiction to the noun it defines.
For example:
his humble ambition, proud humility his jarring concord his discord dulcet.
Oxymoron joins two antonymous words into one syntagm, most frequently
attributive ("adoring hatred") or adverbial ("shouted silently"), less frequently of
other patterns ("doomed to liberty"), etc. 7
trite oxymorons ("pretty lousily",
"awfully nice" and others) have lost their semantic discrepancy and are used in oral
speech and fiction dialogue as indicators of roused emotions.The stylistic effect is
based on the fact that the denotational meaning of the attribute is not entirely lost.
If it had been lost the word combination would resemble those attributes with only
emotional meaning such as: It's awfully nice of you, I'm terribly glad.
Oxymoron is a combination of two words in which the meanings of the two
clash, being opposite in sense, for example:
"low skyscraper", "sweet sorrow", "nice beautiful", "a deafening silence".
If the primary meaning of the qualifying word changes or weakens, the
stylistic effect of oxymoron is lost. This is the case with what were once
oxymoronic combinations, as for example: "awfully nice", "awfully glad", "terribly
sorry" and the like, where the words awfully and terribly have lost their primary
logical meaning and are now used with emotive meaning, only as intensifiers. The
essence of oxymoron consists in the capacity of the primary meaning of the
adjective or adverb to resist for some time the overwhelming power of semantic
change which words undergo in combination. The forcible combination of
noncombinative words seems to develop what may be called a kind of centrifugal
7 Kuharenko V.A “Lectures Мосткова С. “Английская литеротуроведческая терминология.” Ленинград , 1967
on stylistics” M.1987
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21

force which keeps them apart, in contrast to ordinary word combinations where
centripetal force is in action.
We have already pointed out that there are different ratios of emotive-logical
relations in epithets. In some of them the logical meaning is hardly perceived, in
others the two meanings co-exist. In oxymoron the logical meaning holds fast
because there is no true word combination, only the juxtaposition of two
noncombinative words.
But still we may notice a peculiar change in the meaning of the qualifying
word. It assumes a new life in oxymoron, definitely indicative of the assessing
tendency in the writer's mind.
Let us take the following example from O.Henry's story "The Duel" in
which one of the heroes thus describes his attitude towards New York.
"I despise its very vastness and power. It has the poorest millionaires, the
littlest great men, the haughtiest beggars, the plainest beauties, the lowest
skyscrapers, the dull fulest pleasures of any town I ever saw."
Even the superlative degree of the adjectives fails to extinguish the primary
meaning of the adjectives: poor, little, haughty, etc. But by some inner low of word
combinations they also show the attitude of the speaker, reinforced, of course, by
the preceding sentence: "I despise its very vastness and power." It will not come
amiss to express this language phenomen in terms of the theory of information,
which states that though the general tendency of entropy (the measure of the
nonorganized, also the measure of probability) is to enlarge, the encoding tendency
in the language, which strives for an organized system of language symbols
reduces entropy. Perhaps this is due to the organizing spirit of the language, etc.
The striving after a system (which in its very essence is an organized whole) that
oxymoronic groups, if repeated frequently, lose their stylistic quality.

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22

CHAPTER III . The investigation of Oxymoron in the English and
Uzbek languages
II.1Structural models of Oxymoron
Oxymoron as a rule has one structural model: adjective + noun. It is in this
structural model that the resistance of the two component parts to fusion into one
unit manifests itself most strongly. In the adverb + adjective model the change of
meaning in the first element, the adverb, is more rapid, resistance to the unifying
process not being so strong. Sometimes the tendency to use Oxymoron is the mark
of certain literary trends and tastes. There are poets in search of new shades of
meaning in existing words, who make a point of joining together words of
contradictory meaning. "Two ordinary words may become almost new," writes
V.V.Vinogradov, "if they are joined for the first time or used in an unexpected
context." 8
thus "peopled desert"; "populous solitude"; "proud humility" (Byron)
are Oxymoronic.
Sometimes, however, the tendency to combine the uncombinative is
revealed in structurally different forms, not in adjective - noun models.
Implications criticizes his own sentence: "I suffered then from the fanaticism of
knowledge," out that the acquiring of knowledge is not blind as fanaticism is.
Not every combination of words which we have called non-combinative
should be regarded as oxymoron, because new meanings developed in new
combinations do not necessarily give rise to opposition. They are not infrequently
just obscure. Let us take for example the following lines from T. S. Eliot’s «The
Love – song of Alfred Prufrock.”
«And time for all the works and
Days of hands
That lift and drop a question on
Your plate;
Time for you and time for me.
8 http: /www.free-dictionary.com/oxymoron

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And time yet for a hundred
Indecisions,
And for a hundred visions and
Revisions,
Before the taking of a toast and tea.
Perhaps some readers will find new meanings infused into these common
words «hands that lift and drop a question on your plate,” but to express them in
linguistic terms is so far impossible and probably unnecessary.
In internet source we have found some new information about oxymoron.
Oxymorons are sometimes in advertently created by errors or sloppiness in
conversation; common examples include extremely average, virtual reality,
constant variable and living dead.
A great many oxymorons have been popularized in vernacular speech.
Unlike literary oxymorons, many of these are not intended to construct a paradox;
they are simply puns. Examples include controlled chaos, open secret, organized
mess, alone in a crowd and accidentally on purpose.
There are also many examples where terms that are superficially
contradictory are juxtaposed in such a way that there is no contradiction. Examples
include same difference, pretty ugly (in which context pretty means rather, not
attractive) and hot ice (hot and ice mean «stolen» and «diamonds” respectively, in
criminal argot). Whether or not these may legitimately be called oxymorons is
debatable.
Often a writer will use an oxymoron in order to deliberately call attention to
a contradiction. For example, Wilfred Owen, in his poem «The send-off” refers to
soldiers leaving for the front line, who «lined the train with faces grimly guy.” In
this case the oxymoron grimly guy highlights the contradiction between how the
soldiers feel and how they act: though putting on a brave face and acting cheerful,
they actually feel grim.
Some paradoxical oxymorons that become clichés:
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Jumbo Shrimp, Deafening Silence, Sweet Sorrow, Forward Retreat, Silent
Scream, Quiet Riot, Civil War, Serious Joke, Clean Coal, Corporate Policy,
Friendly Fire, Resistance movement, Peaceful war.
Although a true oxymoron is «something that is surprisingly true, a paradox
“, modern usage has brought a common misunderstanding as being near
synonymous with a contradiction. The introduction of this usage, the opposite of
its true meaning, has been credited to William F. Buckley.
Sometimes a pair of terms is claimed to be an oxymoron by those who hold
the opinion that the two are mutually exclusive. That is, although there is no
inherent contradiction between the terms, the speaker expresses the opinion that
the two terms imply properties or characteristics that cannot occur together.
Such claims may be made purely for humorous effect; many examples, such
as military intelligence, were popularized by comedian George Carlin. Another
example is the term civil war, which is not an oxymoron, but can be claimed to be
so for humorous effect, if civil is construed as meaning «polite” rather than
«between citizens of the same state.
Alternatively, such claims may reflect a genuinely held opinion or
ideological position. Well – known examples include claims made against
“government worker”, “honest broker”, “educational television” and “gay
marriage”.
Richard Lederer assembled a taxonomy of oxymorons in an article in Word
Ways in 1990, running from single – word oxymorons such as “pianoforte”
(literally, “soft – loud”) through “doublespeak oxymora” (deliberately intended to
confuce) and “opinion oxymora” (editorial opinions designed to provoke a laugh).
In general, oxymorons can be divided into expression that were deliberately
crafted to be contradictory, such as the Tennyson quote above, and those phrases
that inadvertently or incidentally contain a contradiction (often as a result of a
punning use of one or both words).
Honest lawyer, Act naturally,
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25

Found missing, Good grief,
Almost exactly, legally drunk,
Living dead, Small crowd, Passive
aggression, taped live,
Peace force, religious tolerance.
“It’s not easy to be both deliberate and hasty at the same time unless you are
consciously embracing an oxymoron – from the Greek word meaning “pointedly
foolish” and it is a jarring juxtaposition of contradictory words like “cruel
kindness” and “thunderous silence”. From William Safire. 9

“A log palace is an architectural as well as a verbal oxymoron; so is a short
skyscraper, or an urban villa”.
So, oxymoron can be in most cases in attributive word combination which
can be confused with epithet, but the words in epithet are logically opposed to each
other in combination, whether they are antonym or not. In some words figurative
meaning can also be opposed. 10
Oxymoron has one main structural model: adjective
+ noun. It is in this structural model that the resistance of the two component parts
to fusion into one unit manifests itself most strongly. Below we are going to give
some examples:
Adjective + noun
1. A fine mess
2. A just war
3. A little pregnant
4. Academic sorority
5. Accurate horoscope
6. Active retirement
7. Extinct Life
8. Plastic glasses

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26

9. Political science
10. Authentic replica
11. American culture
12. Amateur expert
13. Alltogether separate
14. Advanced beginner
15. Adult children
16. Advanced Basic
17. Acute apathy
18. Accurate stereotype
In the adverb – adjective model change of meaning in the first element, the
adverb is more rapid, resistance to the unifying process not
being so strong.
1. Absolutely unsure
2. Legally drunk
3. Awfully good
4. Awfully pretty
5. Almost pregnant
6. Almost Ready
7. Almost safe
8. Almost surprised
9. All alone
10. Astronomically small
Another model of oxymoron in the English is verb+adverb:
1. To cry silently
2. To live deadly
3. Agree to disagree
From analysis we see that verb + adverb construction is used
less than other construction.
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In the next lines we shall see them in the examples from English
and American literature.
There are some examples of oxymoron.
1. “Come to me in the silence of the night, Come in the speaking silence
of a dream” (C.G.Rosetti)
Adjective + noun
2. “Winterbournes father, whom I knew slightly, was an inadequate
sentimentalist. Mild, with an affectation of gentility, in competent, selfishly
unselfish…
Adverb + adjective (Aldington)
3,4. It was with almost cruel joy; suddenly she felt the need to speak. The
wordy silence troubled her, it was a relief to be on board and no longer alone
together.
Adjective + noun (D.Garnet)
5. It was an unanswerable reply and silence prevailed again.
(Defoe)
6. Her lips…were…lived scarlet. (S.Maugham)
Adjective + adjective
7. A very likeable young man, Bill Eversleigh. Age at a guess,
twenty – five, big and rather ungainly in his movements, a pleasantly ugly
face, a splendid set of white teeth and a pair of honest blue eyes. (A.Christie)
8. “Huck Finn and Holden Caulfield are Good Bad boys of
American
literature. (H.Vallins)
Adjective + adjective _ noun
9. …a neon sign which reads “Welcome to Reno, the biggest little
town in the world. (A.Miller)
Adjective + adjective + noun
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10. “Tastes like rotten apples,” said Adam. “Yes, but remember,
Jam
Hamilton said like good ratten apples”. (J.Stenbeck)
Adjective + adjective + noun
11. The silence as the two men stared at one another was louder
than thunder.
(J.Updike)
Contextual oxymoron
12. I got down off that stool and walked to the door in a silence that
was as loud as a ton of coal going down a chute. (R.Ch)
13. They looked courteous curses at me
Adjective + noun
14. “It was you who made me a liar,” she cried silently.”
Verb + adverb
15. He … caught a ride home to the crowded loneliness of the
barracks. Adjective + noun
16. …he was certain the whites could easily detect his adoring
hatred of them. (R.Wright)
Adjective + noun
17. From the bedroom beside the sleeping-porch, his wife’s
detestably cheerful “Time to get up, Georgie boy,” (S.L)
18. The little girl who had done this was eleven – beautifully ugly
as little girls are apt to be who are destined after a few to be inexpressibly
lovely… (Sc.Fitzgerald)
Adverb + adjective
19. The boy was short and squat with the broad ugly pleasant face
of a Temne. (Gr.Greeme)
20. Soapy walked eastward through a street damaged by
improvements …
He seemed doomed to liberty! (O.Henry)
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29

Adjective + prepositional noun
21. I’ve made up my mind. If you are wrong, you are wrong in the
right way. 9

Oxymoron in phrase
II.2. Oxymoron and its usage in English literature
Oxymoron is a logical stylistic device is widely used in literature. Below we
are going to analyse the usage of Oxymoron in English literature. The function of
Oxymoron in context is to express the emotionality and expressiveness towards the
utterance.
1. “So foul and fair a day I have not seen!” William Shakespeare,
Macbeth, Act I, Scene III.
2. “O miserable abundance,
O beggarly riches!” John Donne,
“Devotions on Emergent Occasions”
3. “I do here make humbly bold to present them with a short
account of themselves…” (J.Swift)
4. “The bookful blockhead, ignorantly read,
With loads of learned lumber in his head…” (Alexander Pope)
5. A blind man looks back
Into the future with the
Ear –splitting whispers of
Unconcealed ghosts
Thundering silently
4. Tempteth my better angel from my side,
And would corrupt my saint to be a devil, Wooing
his purity with her foul pride.
5. “A fine tragedy of low life all this was”.
“Jennie Gerhardt” by T.Dreiser
9 The examples were collected from our practical coursebook “ Seminars on Style” by Kuharenko
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30

6. A wealthy peasant marches
Weakly across a blazing glacier
As the stars in the cloudy sky Glisten
grimly.
A hateful saint drowns afloat
Into the dismal heaven of peaceful war. (Christopher)
7. “He was now sufficiently composed to order a funeral of
modest magnificence…” Samuel Johnson
8. “O anything of nothing first create O heavy lightness,
serious vanity!
Misshapen chaos if well – seeming forms,
Feather of lead, bright smoke, cold fire, sick health!”
W.Shakespeare
11. One fine day in the middle of the night,
Two dead boys got up to fight,
Back to back they faced each other,
Drew their swords and shot each other,
One was blind and the other couldn’t see, So
they chose a dummy for a referee.
A blind man went to see fair play,
A dumb man went to shout “hooray!”
A paralysed donkey passing by,
Kicked the blind man in the eye.
Nathan Alterman’s
“Summer Night”.
12. It’s very tender, it’s sweet as hell, the way the women wear their prettiest
everything. (T.Capote)
In popular usage, the term oxymoron is sometimes used more loosely, in the
sense of a simple contradiction in terms. Often, it is then applied to expressions
.
31

which, unlike real oxymora are used in full earnest and without any sense of
paradox by many speakers in everyday language. Calling such an expression an
oxymoron is sometimes done in order to disparage its use, by drawing attention to
a perceived inherent contradiction and thus claiming it to be nonsensical. Often
this kind of argument is used in domains of political or ideological dispute, or in
order to criticize a perceived nonsensical use of technical terms by lay people who
fail to understand their true meanings. Examples of expressions that are used
without a sense of paradox by some but have been claimed to be “oxymorons” in
this sense by critics.
“With all deliberate speed”
“Military intelligence” anecdotal
evidence
Sometimes, the labeling of an otherwise non – paradox expression as a
perceived oxymoron is made on the basis of substituting an alternative, non –
intended meaning for the meaning normally intended in the context of the
expression in question. For instance, in the expression Civil war, the term civil is
normally intended to mean “Between citizens of the same state”. In this sense, the
expression is neither paradox nor self – contradictory. However, if one forcibly
construes civil in the sense of “non – military” or “reasonable and polite”, the
expression may a perceived contradiction in terms (as per satirist with Columbus,
who said the American Civil war was fought politely). Such designation of alleged
oxymora are often made with a humorous purpose.
A more subtle rhetorical manoeuvre in designating an expression XY as an
“oxymoron”, often used for either humorous or polemical purposes, is to pick out a
perceived or alleged property of objects of type Y and reconstrue that property as if
it were a defining criterition of Y and then demonstrate that it is contradicted by X.
For instance, if one were to claim that “honest Politician” was an oxymoron, this
would imply the claim that Politicians, by definition, are dishonest. Other
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expressions which have been designated oxymora in such a fashion include:
Microsoft Works, corporate ethics and military intelligence.
Both the above strategies can, unfortunately, be seen combined in an
example like “military intelligence”. First, the term “intellectual power”; then it is
implied that militaristic people are, by definition, not intelligent.
Cruel examples of Oxymorons
Pretty ugly
Punk music
Civil servant
Gourmet pizza, served by a fast waiter.
Airline food.
The dictionary definition of oxymoron is: A rhetorical figure of speech in
which contradictory terms are paired, for example, alone together, current history
or boneless ribs. However, with an oxymoron the incongruous word pairing
conveys a truth or a dramatic result.
It is possible to subdivide English oxymorons into three main categories: a)
Pure puns such as gourmet pizza.
b) Accidents, like an original copy.
c) Paradoxes, my favourite example is “serious joke”.
d) An alternative zany definition for an oxymoron: One who forgets to
breathe!
The word oxymoron is derived from the Greek oxumoros, which means
“obviously foolish”, a latin equivalent would be: contradictio in terminis.
Incidentally, the related word sideroxylon specifically refers to a mismatch
between the noun and its adjective, e.g. cold fire.
Look at the giant midget settle on the jumbo shrimp. 10
Even the superlative
degree of the adjectives fails to extinguish the primary meaning of the adjectives:
poor, little, haughty etc. But by some inner law of word combinations they also
10 http: ien.wikipedia.org/wiki/oxymoron
.
33

show the attitude of the speaker, rainforced, of course by the preceding sentence: I
despise its very vastness and power”.It will not come amiss to express this
language phenomenon in terms of the theory of information, which states that
though the general tendency in the language, which starves for an organized
system of language symbols, reduces entropy. Perhaps, this is due to the
organizing spirit of the language, i.e. the striving after a system that oxymoronic
groups, if repeated frequently, lose their stylistic quality and gradually fall into the
group of acknowledged word – combinations which consist of an intensifier and
the concept intensified.
II.3. The usage of Oxymoron in Uzbek Literature
Oxymoron is widely used in the Uzbek language too. In most cases
oxymoron is used in poetry more than in prose. Below we are going to analyse the
use of Oxymoron in some examples. Contemporary Uzbek poetess Farida Afruz
writes philosophical poems and the effectiveness of her creation is defined by the
use of stylistic devices and expressive means:
1. Сендан гўзал гул йўқ дунёда
Сендан хушбўй, сендайин майин Отам
қабрин яшнатган янтоқ.
Here oxymoron is used for the word “ янтоқ ”. We know “ янтоқ ” in Uzbek,
it is translated into English “weed”, it is a thorny plant which grows in deserts.
In the dictionary “ Ўзбек тилининг изохли луғати ” it is described this way:
Чўлларда ўсадиган , дуккаклиларга мансуб тиканли ўт .” 11

From definition we see that a thorny plant can’t be tender. That’s why we
called it oxymoron:
Гўзал янтоқ , хушбўй янтоқ , майин янтоқ
This is kept in English translation which has done by Valentina Lee:
11 Ўзбек тилининг изохли луғати ”. Москва , “ Русский язык ”, 1981. таи II.
14
Farida Afruz. “ Тасбеҳ , Rosary”. Tashkent, 2007, p.24.
.
34

There is noting more beautiful in the world
More fragrant, more tender than you
Plant grown on my father’s gravewud 14
.
In this example the expressiveness and emotionality of the author is
described with the help of Oxymoron.
The plant “weed” which was grown on father’s grave was respectful and
dear for the daughter.
Another example is from our poet Erkin Vokhidov’s work which is the
beloved person’s complimentary words to his beloved woman:
2.
2. Сенсиз менга ком йўқдир, Асал ичсам, захар
бўлгай,
Сенинг бирлан, ширин сўзим
Захар ютсам, шакар бўлгай. 12

Here situational Oxymoron is used:
Асал – Захар Sweet – Bitter Захар – Шакар Sweet –
Bitter
3. In the following example oxymoron gives ironical
effect to the utterance.
– Гапингиз ўроқдай тўғри , – деб кулиб қўйди Жўра .
(“ Муштум ”)
1.
We know “ ўроқ ” is not a straight tool and the propriety and truthfulness of a
sentence is hesitated and used in ironical effect.
In Uzbek Oxymoron is given such definition “ ғайриодатий , эмоционал
таьсирчанлик хусусиятига эга услубий бўёқ ” 13

2.
12
. E.Vokhidov. Samar Bo’lgay.//O’zbek tilining amaliy stilistikasi. Toshkent, “O’qituvchi” 1992, p.105
13 Э . Қиличев “ Ўзбек тилининг амалий стилистикаси .” Тошкент , “ Ўқитувчи ” 1992, p.105
. The same book
p.105 17
Салим Ашур . “ Дарз ” ю Ташкент , “ Зарқалам ” 2006
2. The same book. p.7
.
35

4. Бу ўқиш жуда яхши ўқиш – бепул овқат беради , бепул ётоқхона
беради , бепул стипендия беради , – деб тушунтирдим . (Н.Аминов.
р.105)
In this example Oxymoron is “ бепул стипендия ”, the words in the
combination are opposed to each other.
5. Новдадан узилган япроқдек йўлсиз, На белги, на чизиқ, на из, на
асар.
У тутган манзилга қаламсиз, қўлсиз,
Ўзининг сувратин чизибди хатар 17
p.8
In this example “ қўлсиз суврат чизмоқ ” is oxymoron, – to draw a portrait
or a picture without a hand
6The whole lines in the following examples express oxymoron:
Секин шошиш, шошган асталик,
Нозик келиш, нафис кетиш, ор,
Хаста соғлиқ, соғлом хасталик,
Мен ва сендан бошқа кимда бор?
6. In this example the poet Salim Ashur speaks about dead poet Shavkat
Rakhmon and describes his death emotionally.
2
Гўзал тобут – унинг тобути, Чайқалади
ғам оҳангида.
Хаста суяк сабрдек собит,
Суяклари шеьрнинг рангида. 14

Having analysed all the tasks put to qualification paper we can say that
oxymoron is a stylistic device, formed on the base of logical and emotional
meanings. The difference of oxymoron from other stylistic devices which are
14 Салим Ашур . “ Дарз ” ю Ташкент , “ Зарқалам ” 2006
. The same book. p.7
.
36

based on logical and emotional meanings, i.e. from epithet and hyperbole is that
words in the word combination are logically opposed to each other, but the definer
or attribute of the word combination loses its logical meaning and plays a role of
intensifier to the defining word. E.g:
Speaking silence – сўзлаётган сукунат .
Here the word “speaking” is to pronounce something by voice but “silence”
is a situation of muteness. Maybe this silence was caused by some influence on
force and means something. To give effectiveness and emotionality to speech
logically opposed words are used and oxymoron appeared in speech as a stylistic
device.
In epithet the words in word combination are logically connected with each
other: A young child.
.
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Here “child” is a young boy in definition, but to give emotiveness we used
cludes both extra linguistic style forming factors and truly linguistic analysis of
stylistic devices as Epithet, Hyperbole, Oxymoron. Out of linguistic methods of
research in the work there were used: traditional method of description of linguistic
means, the method of grouping, the elements of contextual, componential and
transformational analyses.
The theoretical value of the work is that the qualification paper clarifies the
linguistic nature of oxymoron and it defines the role of stylistic devices in the
formation of functional style, in realization of these pragmatic means, which gives
specifies of language in different texts.
Irish Airman Foresees His Death
I know that I shall meet my fate
Somewhere among the clouds above;
Those that I fight I do not hate
Those that I guard I do not love;
My country is Kiltartan Cross,
My countrymen Kiltartan's poor, No
likely end could bring them loss Or
leave them happier than before.
Nor law, nor duty bade me fight,
Nor public men, nor cheering crowds,
A lonely impulse of delight
Drove to this tumult in the clouds;
I balanced all, brought all to mind,
The years to come seemed waste of breath,
A waste of breath the years behind
In balance with this life, this death.
Do not go gentle into that good night

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Do not go gentle into that good night, Old
age should burn and rage at close of day;
Rage, rage against the dying of the light.
Though wise men at their end know dark is right,
Because their words had forked no lightning they Do
not go gentle into that good night.
Good men, the last wave by, crying how bright Their
frail deeds might have danced in a green bay, Rage,
rage against the dying of the light.
Wild men who caught and sang the sun in flight,
And learn, too late, they grieved it on its way, Do
not go gentle into that good night.
Grave men, near death, who see with blinding sight
Blind eyes could blaze like meteors and be gay, Rage,
rage against the dying of the light.
And you, my father, there on the sad height, Curse,
bless me now with your fierce tears, I pray.
Do not go gentle into that good night.
Rage, rage against the dying of the light.

The poem based on rhyme and rhythm, its lines are of eight syllables. The
poet wrote this poem for Major Robert Gregory, the son of his friend Lady
Augusta Gregory. Major Gregory, an artist and aviator, was killed in action over
Italy during World war while flying for England’s Royal flying Crops. The poem
has deep imeaning where the poet expresses his thoughts about Major Robert
Gregory. 15
There are several stylistic devices:
1) meet fate – metaphor, because fate is abstract noun and the verb “to
meet “ is used with concrete nouns. Here the word “fate” is personificated.
15 www.wikipedia.com
39

2) Also the fate is among the clouds above – metaphor by which the
author stresses that his fate is not clear or close to him and he is looking for or
expecting someone, some event.
3) Here, the third and fourth lines express oxymoron to fight against
which he didn’t hate and to guard somebody whom he didn’t love
4) Some authenticity details appear in the next lines which give us
clearness of places and people: Kiltarten cross, Kiltarten.
5) In the next lines we come across repetition and gradation
No likely end could bring them loss Or
leave them happier than before.
Nor law, nor duty bade me fight,
Nor public men, nor cheering crowds,
In this passage we are going to analyse the use and functions of expressive
means and stylistic devices in the poem Mukhammad Yusuf. The poem is titled
“Muhabbat” and it is about
Muhabbat
Muhabbat, ey go’zal iztirob,
Ey ko’hna dard, ey ko’hna tuyg’u
Ko’kragimga qo’lingni tirab,
Yuragimni to’kib qo’yding-ku.
Go’zal iztirob–– it is contextually oxymoron , because the meanings of two
clash, being opposite in sense. O, ota makonim,
Onajon o’lkam
O’zbekiston, jonim to’shay soyangga
Senday mehribon yo’q,
Seningdek ko’rkam,
Rimni alishmasman bedapoyangga.

40

CONCLUSION
Every functional style of language is marked by a specific use of language
means, thus establishing its own norms which, however, are subordinated to the
norm invariant and which do not violate, the general notion of the literary language
contributes greatly to establishing the system of norms of their period.
The belles-lettres style is generic term for three subtypes in which the main
principles and the most general properties of the style are materialized. These three
subtypes are:
1. The language of poetry, simply verse 2.
Emotive prose, or the language of fiction
3. The language of the drama.
the subject matter, style, or the other broader literary characteristics: epic
poetry, narrative poetry, dramatic poetry, satirical
poetry, lyric poetry.
Specific poetic forms have been developed by many cultures. In more
developed, closed or “received” poetic forms, the rhyming from the relatively
loose rules, that govern construction of an elegy to the highly formalized structure
of the ghazal or villanelle.
We know the category expressionless and emotionality as a stylistic
function. The expressive means of a language are those phonetic, morphological,
words building lexical, phrase logical and syntactical forms which exist language.
A system for the purpose of logical and emotional intensification of the utterance.
The intensifying forms wrought by social usage and resigned out in grammars,
courses in phonetics and dictionaries as having special functions in making the
utterances emphatic.
So, the functions of emotionality find their reflexion in poetry with the help
of Stylistic device.As we told in the main part there following types of stylistic
devices according to I.R.Galperin.They are:phonetic, lexical and syntactical. They
all serve to bring vividness and expressiveness to the poems.
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Having analyzed and the expression of the category of expressiveness and
emotionality in English and Uzbek poetry we were testified that all language
means in poetry have emotional and in testifying functions.
The most frequent used stylistic device in poetry’s epithet and repetition in
the English poetry.
In Uzbek poetry inversion, exclamatory sentences, alliteration, phonetic and
lexical features are frequently used.
The aim of our qualification paper is to reveal the features of expressiveness
and emotiveness in English and Uzbek poems.
The theoretical importance of the qualification paper is that the theoretical
part of the work can be useful for elaborating handbooks and course books on
practical lessons and lectures on Stylistics and Text interpretation
The practical importance is that the qualification paper can be basic material
for writing reports and having seminars on the topic poetry also the analysis poems
can be example in the lessons of the text Interpretation.

42

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The investigation of oxymoron in the English and Uzbek languages

Sotib olish