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18ARTISTIC FEATURES OF THE PROVERB GENRE IN ENGLISH LITERATURE OF THE XX CENTURY
M.U. Ibragimova1
This article describes in detail the artistic features of the parable-genre in twentieth-century English literature. The stages of development of the parable-novel genre in English literature around the world have also been studied. In addition, the experience of other foreign countries has been studied and analyzed.
Key words: European linguistic theories, the parable-genre in twentieth-century English literature, English literature, parable-novel genre.
Introduction
It was the period of the greatest progressive uprising that humanity has experienced, the need for titans and the birth of titans in thinking, passion and character power, versatility and learning. The people who founded the modern rule of the bourgeoisie were limited to the bourgeoisie. On the contrary, they were more or less surrounded by the adventurous nature of their time. At that time, there was almost no great person who did not travel long distances, did not speak four or five languages, and did not shine in many areas of art. This feature of the Renaissance belonged entirely to England and, like other European countries, was achieved by this stormy uprising that created new socio-political conditions and a new culture that differed from the Middle Ages.The 20th century European linguistic theories proved very effective in the design of structural and functional models of proverb use. Virtually every important school of linguistic thought passed on its scientific legacy in the field of paremiology. Saussurean semiology made a successful career in folklore and anthropology. The conceptual heritage of the Russian Formalism and the theoretical rigour of the Prague School of linguistics left undeniable traces in Permyakov's logico-semiotic classification of paremias. Buhler's Organon model and Jakobson's functional model of language were also applied to proverb use (Krikmann 1985, Gavriilidou 2003, Dominguez Barajas 2010). Halliday's systemic-functional linguistics provides the frame12 of Norrick's seminal pragmatic approach on the use of proverbs. Dell Hymes' ethnography of speaking was particularly influential upon the works of scholars such as Dundes (Arewa, Dundes 1964), Seitel (1981) and others (Abrahams, Babcock 1977, Siran 1993), whereas some core elements of the generative framework - namely the competence/ performance and surface structure/deep structure distinctions - became quite common in proverb research (cf. Mieder 1997, 2004: 131-133). The development of cognitive linguistics was paralleled by cognitively-oriented paremiological studies mostly interested in capturing the figurativeness of proverbs (Gibbs jr. 1994: passim, Gibbs jr. 2001, Honeck 1997, Lewandowska, Antos, Glafter 2014: 162-182, Malmgren 2007). Corpus linguistics brought its contribution and proved very useful in dealing with the issues related to the automatic recognition and processing of proverbs (Steyer 2014: 206-226).
N. Eshanqul writes: Although the controversy over Borges in the world art criticism began in the 60s, it is still unresolved. In these debates, the question of who Borges was, whether he was a writer, a poet, a philosopher, a thinker, or a man who simply summarized his impressions of books in a very personal way, or a scientist who synthesized literature, came to the fore. stands. However, as these debates intensified, Borges analyzed his work, and critics became more and more convinced that he was a great talent who could answer all of the above topics.
Materials and methods
And where there is talent, geography loses its essence, it becomes national and universal. In any case, reading Borges once again proves that literature is the property of human beings. Borges is a writer who sees the West and the East as a whole in his
1 Ibragimova Mohinur Urok kizi - 1st year master's degree, Karshi State University.
work and in his reading articles. He tried and succeeded in uniting these two poles in his works and in his literary beliefs.
The incompetent seeks refuge in himself, hides in this shelter, fears that he will be exposed, puts on various marks and puts ayyuhannos. And talent doesn't care what they call themselves; it will move forward, breaking the boundaries of understanding, imagination, opportunity, national coverage, like a museum breaking through icebergs.
In Latin American literature, Borges proved this. Because of this, the fame of this literature is undoubtedly closely connected with Borges. Without Borges, no one can imagine Latin American literature as complete and advanced as it is today, nor is there any modern famous writer in Latin American literature who does not consider himself a disciple of Borges in one way or another. Borges' influence in the works of Cortasar, Marquez, Fuentes, Bioy Casares, Saboto, and other writers who entered the literature in the 1950s is enormous. A mixture of Italian, English, and Indian blood, Borges, who never stopped reading and thinking even when he was blind at the end of his life, synthesized and brought together Eastern and Western literature, and these literary traditions coexisted. He is one of the greatest writers of the twentieth century, who defined the advanced directions of Latin American literature in his tenure and created a huge literary encyclopedia with his work.
When Latin American writers call themselves "the heirs of world literature," they are referring primarily to the services of Borges. Borges's works include works by Chinese, Indian, Islamic, and European philosophers and poets, as well as artistic conclusions about individuals and their place in human thought and social history. , essays, poems. Borges did not study the history of world thought just to be ambitious or merely informed; he always enjoyed the fruits of this thought, evaluated them from the point of view of a twentieth-century thinker, and was able to bring them into literature in a single, holistic way. Although Borges was recognized in Latin American literature as the father of ultraistism, he introduced this trend into Latin American literature, but did not truly call himself an ultraist. influenced Latin America under the influence of a literary group led by Rafael Cansinos. Borges spent two years with the group. He did not like the name ultraist, the ultraist did not read world literature at all, but set himself the goal of updating literature.
Borges received the ultra-extremist view that literature needed to be updated, and only in this sense could he be branded an ultraist when he returned to his homeland. However, Kansinos, a scholar of ancient and Eastern and European literature, made a great impression on him. This is exactly what he learned from Consinosus - to be a tireless reader of the literature of all nations. Luckily, he inherited from his ancestors not only a large library and writing skills, but also blindness. Although of military descent, almost all Borges were writers or literary figures. Borges's father was an anarchist, gentle man, and had a large library. He wrote essays, sonnets, articles. Omar Khayyam translated the collection and published a novel called Caudilo before his eyes became dim. His father's cousin Lafinur was the first poet of Argentina, and Lafinur II was a lesser-known poet. His paternal grandfather was the founder of the first newspaper in Argentina. His destiny was not only to become a literary martyr, but also to be imprisoned in Argentina during the Peron dictatorship, and to remain steadfast in his word and faith, in all his character and behavior, and in his attitude to literature. and his mother, who was an aristocrat, was a well-known translator.
He later translated William Saroyan's Armenian Comedy Award for Humanity. Hawthorne translated his stories, Reed's works of art, Melville, Virginia Woolf, and Faulkner into Spanish. Borges inherited the intellectual wealth of his family, which, even when his eyes could not read, he continued to read through a magnifying glass and study humanity through books. Complete blindness did not separate him from the book, he was read the books of the world, and he created works from the impressions he heard. It is difficult to find another writer who has written and read a lot about Borges, about the different currents of world literature, different types, history, today, representatives of different peoples and regions, and their works. He combined a whole body of literature, from the classics to modernism, in his essays, poems, stories, and lectures, and gave them a new, vigilant personality, a vigilant writer - the rightful heir to all of this. can evaluate from the point of view of the awake man of the twentieth century. Whether it's a classic or an avant-garde, you don't notice that he reads it with
contempt. No matter what denomination he belonged to, he sought meaning, thought, symbol, word, and beauty in every work. He was one of the recipients of an extraordinary book, a servant of literature. There are so many things we can learn from Borges as we move away from books today. The first is, of course, the love of words. And love requires responsibility, suffering, burning. Borges's proverbs, essays, and stories are so compelling that each of them can be made into a novel. But it's huge genres did not like demons. He was born a storyteller and died a storyteller. She was a beauty pageant. And beauty, like her stories, is short, momentary, momentary. Long-lasting beauty grows old, ugly, thin. Borges's stories are so short and beautiful, he doesn't like the eloquence, the eloquence. Borges's stories are similar to those of medieval mysticism. Anyone who reads Borges's works is confronted with a mixture of philosophy and literature, poetry and prose; his works cannot be studied in isolation from Chinese, Indian, Islamic, ancient, Roman, or European schools of philosophy. Sometimes in Borges's works, philosophy becomes an artistic medium; to fully comprehend the work, it is also necessary to be aware of the philosophy that not everyone who has studied Borges's works, the reader of realism, will suddenly understand. These stories require a certain intellectual preparation. Fifteen or fifteen years ago, an Uzbek novelist wrote in an interview, "Borges was highly praised, and when I read it, I came across some abstract concepts from books."
Of course, Borges is not popular. He was an almost neglected writer in his homeland until 1961; Within a few months of his translation into French in 1961, he had become one of the most famous writers, first in Europe and then in his homeland. His books were published in thousands of copies in all countries. There is, of course, a wisdom in the fact that most of the most neglected intellectuals in their homeland became famous when they were published in France.
Results
French literature is one of the most interesting, diverse currents in world literature, rich in experimentation, and a very diverse literature that has embarked on an avant-garde direction that has set itself the great goal of renewing literature. Baudelaire's Rembo works were a major impetus for the birth of modernism. It is true that avant-garde literature, along with French literature, saw the light of day. As a result, Borges' literary prowess, which he viewed with great interest, suddenly rose to prominence. Borges has three distinctive symbols or tools: a mirror, a mask, and a dream. These are the keys to the essence. Man's mirror is himself; if a person puts himself in the mirror inside, the mask on his face disappears and slips away. One is always proud of one's face, one's mask. These three things are capable of pushing the human mind beyond boundaries; if a person indulges in these three things, he will expose the boundaries of space and time - his delusions. In the story "Mirror and Mask", the king commissioned the poet to write a story about the palace. In three years, the poet begins to write the epic three times. But it all ends without result.
Eventually, he came to the king without any papers, and instead of a saga, he said a line, which means the word "palace." As soon as the poet recites this line, the palace disappears, and that one word lifts the palace mask. No sense in telling you now - I don't wanna ruin the suprise. The poet who discovers commits suicide, and the king becomes a beggar. The metaphor here conveys the power of the word, but it is also reminiscent of the ancient philosophical saying that anything that is understood is doomed to death. If there is another metaphor that reveals the essence of not only the palace, but also poetry, then there will be no poetry, poetry will lie, that is, when the "magic" of poetry is revealed, there will be a naked image, a naked reality. Poetry, literature, is famous for its "magic", mystery, and charm - this was what Borges called a "metaphor". Where there is nudity, there is no literature, there is no beauty, there is, in the words of A. Qahhor, there is craftsmanship. Metaphor, symbol, emblem is a living possibility of literature.
The development of literature is the development of symbols, so the language of the writer is an aesthetic phenomenon rather than a linguistic phenomenon. Fascinating realism is based on symbolism and language fuss. While a mirror teaches a person to think beyond his imagination, a mask reflects a person's true image and a dream reflects his inner world. The dream reveals our deceptive image in the mirror,
our mind accustomed to enlightenment; dreams are intuitions and emotions that overwhelm the mind. The mind deceives, but the dream does not deceive. We just may not understand it. If we look in the mirror at these subconscious experiences, we come across all sorts of creatures, beasts, villains, and minotaurs like in the story of the House of Astyria. Borges-style metaphor, symbol, and fuss are subject to these three stylistic conventions. The metaphor is the "B" or "G" that symbolizes "A". Mankind spoke this language in the process of early thought; he accepted lightning with that primitive mind as the spear of God, and with that primitive metaphor he reached the pinnacle of human poetic thought. Myths are created in this language. Civilization has impoverished the language. The writers of the twentieth century, who are backward and still have not lost their primitive poetic observation, described the life of the twentieth century in this language. Undoubtedly, this was achieved through a re-examination of its own literary heritage.
"The twentieth century was an important period for the rapid development of Latin American literature. The development of this literature is associated with the name of Gabriel Garcia Marquez Marquez.
Marquez was born in 1928 in the town of Aracatuca in northwestern Colombia. The one who left an indelible mark on Gabriel's life is his grandfather, retired Colonel Nicolas. He used most of his life in his novels. "My grandparents," Marquez recalls, "lived in an old house full of demons. They both deal with their confidence as they choose to embark on their play activities. "Gabriel's father was a pharmacist, and he wanted his son to be a pharmacist. Gabriel, on the other hand, dreamed of becoming a lawyer. Marquez wrote his first story at the age of 17, and by the 1960s his main profession was journalism. His career began in Bogotá with the newspaper El Espectador (Commentator). As a writer, he enjoyed the work of Hemingway, Kafka, and especially Faulkner.
Works; "The Hour of Chaos" (1961), "The Burial of the Grandmother," "Nobody Writes to the Colonel," "A Hundred Years of Solitude" (1965-1966), "The Autumn of the Elder" (1975, in which the ruler who terrified Latin America) The legend of Otkora is reflected and exposed), "The Story of Otkora Murder" (1981) and others.
In The Story of a Public Murder, the author epigraphs the words of the medieval Portuguese writer Jill Vicente, "Even arrogance can win love." In the story, the story from the bed is too simple. Pablo and Pedro Vicario, twin brothers, decide to kill Santiago Nasar and keep their promise. The reason for their bad decision is their sister Angela. The day before the tragedy, Angela and Bayardo San Roman's wedding took place, and both the twins and Santiago Nasar live at the wedding. But the groom took Angela home in the early hours of the morning, and Angela, unable to bear the pressure of her brothers, mentioned the name Santiago Nasar. Santiago Nasar gets up in the morning on the occasion of the bishop's visit to their city and goes out into the street where the ghost is walking. Marquez looks at the case through the eyes of an investigator, not through the eyes of a writer. "Convince me - be a fanatic, I will change the world." This phrase, unfortunately, refers to the actions of malicious people in this story.
The protagonists: Ponsio Vicario (Angela Vicario's father), the killers - brothers Pablo and Pedro Vicario, their sister Angela Vicario, a cheerful, slightly pale, Arab young man Santiago Nasar, his fiancée Flora, who escaped with a border guard after his death Miguel et al.
M.Kholbekov: When the name of Gabriel Garcia Marquez, a great representative of Latin American literature, one of the founders of the "magical realism" literary movement, the famous Colombian writer, is mentioned, first of all, his image and creativity are embodied in the imagination of the modern reader.
Gabriel Garcia Marquez (1927) was born in the town of Aracataca on the Caribbean coast. His parents, who had moved to the big city to find work, left the newborn Gabriel in the care of his grandparents, a retired colonel and a loving grandmother. Growing up as a child, Gabriel, who "opened his eyes wide" to the world around him, immersed his grandfather in magical fantasies about the past and the present. He was completely immersed in the world of fairy tales and fairy tales, legends and interesting stories that he heard in his old house. Naturally, this environment did not go unnoticed by the writer's work. Gabriel was very close, especially with his
grandmother. Her grandmother, who loved her granddaughter dearly, would tell little Gabriel many ancient myths and legends. They, in turn, were imprinted in the child's memory and formed the basis of many works of the future writer. His father, who worked for the Telegraph, and his troubled mother, who could not cope with household worries, were busy raising sixteen children at the same time. In 1947, the young Gabriel entered the law school of the National University.
Garcia Marquez's first story, The Third Obedience (1947). Franz Kafka's influence is evident in this story, as Garcia Marquez is known to have done serious research on Western European modernist literature in those years, particularly its influence on Latin American literature.
During the years of struggle for independence in the Central and South American colonies, a civil war broke out in Colombia. Garcia Marquez, who escaped the 1948 genocide, settled in Cartagena de las Indias and continued his studies at the institute. At the same time, he works for the newspaper "Universal". In Colombia, which is under the influence of powerful states and has become a battleground for political, financial and economic interests, Garcia Marquez is not only creative, but also socio-political. Forced to finish his studies early, he decided to devote himself to literature and journalism. On his way to Barranquilla in 1950, he was caught in the crossfire as a reporter for the El Heraldo newspaper. At the same time, he runs a political and social section of Cronica Weekly. Several times his life was on the line. Nevertheless, he did not give up on his chosen path, living in harmony with the suffering common people. It was at this time that the author began to write a great work called "Home". Perhaps these sketches, chaotic notes, and writings formed the basis of the famous (we'll think about it below) novel. Garcia Marquez reads a lot of books, trying to complete his education while the parties to the struggle are making a truce and peace is restored in the country. He studied the works of Ernest Hemingway and William Faulkner, James Joyce and Virginia Woolf, Franz Kafka and Marcel Proust, without deviating from the direction of his scientific work. It can be said that the work of these famous writers has a great influence on his worldview, perception of the world, as well as on the formation of his artistic thinking and style.
In the 1950s, he traveled to Italy and France as a special correspondent, where he lived and worked for some time. In 1957, he participated in the International Festival of Youth and Students in Moscow. In a series of essays, Marquez describes his impressions of this important event, which was seen as a major step towards peace in the world, the unification of different peoples and nations on the continents, and cultural ties. During his time in Rome, he studied directing at the Center for Experimental Cinematography, where he acquired certain skills and made several documentaries. While on a business trip to Paris, he learned of another coup in Colombia, the closure of the newspaper El Espectador, the political persecution of friends and colleagues who worked with him, or the departure of his country. After that, he stayed in Paris and worked for a number of newspapers. Over the years, the writer has been working tirelessly on his creative pursuits, refining his style. In order to achieve a perfect artistic expression, the writer rewrote the story "Nobody writes to the Colonel", which began at that time, a little less than eleven times. As a result of this research, in 1957 the manuscript was transferred to white.
Admittedly, the novel A Hundred Years of Loneliness (1966), first published in Buenos Aires, brought the author worldwide fame as well as commercial success. The novel A Hundred Years of Loneliness has become more popular in the world literary process than the author expected.
The novel has a unique history. His last plan was completed in 1965, after much deliberation. After that, the writer sells his car, entrusts the family to his wife, and is "locked up" in his office for almost eighteen months. He may have compared himself to Walter Scott, Victor Hugo or Ernest Hemingway. Who knows. This is exactly what the great writers did when they created their famous works.
In an interview with Esquire magazine, the author says: "I had a wife and two young sons. I worked as a PR manager and occasionally edited screenplays. In order to write the book, he had to give up work. I mortgaged my car and transferred the money to a Mercedes. Each day, she provided me with paper, cigarettes, and other necessities. By the time the book was written, it was clear that we owed our brothers and sisters
5,000 pesos. It was big money. At the same time, there were rumors that I was writing a very important book, and the shopkeepers around me said that they wanted to contribute to this work with valuable power. Chuchvara was considered raw! When we needed 160 pesos to send the manuscript to the publisher, we had only 80 pesos left. At that time, I pledged a Mercedes dough mixer and a hair dryer. When my wife found out about it, she comforted me by saying, "I wish the novel hadn't gone bad." At that time, no one knew that the novel would be one of the best works of world literature. " Describing the extraordinary, immoral, supernatural, unbelievable, illegal events and happenings in the lives of six generations of the Aureliano Buendia family, Garcia Marquez masterfully delivered this or that to the Buendia family. Aureliano Buendia was the first to discover Macondoni as a paradise in a peaceful paradise. shows that they are becoming insane. The novel traces the rise, development and decline of individualism, which is at the heart of modern culture in the history of the Aureliano Buendia dynasty. Finding the answer to this question is a waste of time. Each student who reads the work draws their own conclusions. By the way, the loneliness that rises in most of Garcia Marquez's works is the end of the last, treasure-like phase of life that inevitably awaits man on the difficult path called LIFE. When the last member of the Aureliano Buendia dynasty passed away, a violent wind blew Macondo, which had been bitten by insects and ants, to dust.
Commenting on the first edition of the novel, published in 1967, Chilean poet Pablo Neruda said: "Perhaps this novel is a great victory for the Spanish language after the Don Quixote era, an unexpected novelty." The author was of a completely different opinion. When asked in an interview, "What would you do if you were a kind, generous magician?" I would have published and burned the novel. I'm not ashamed to write this book because for some reason I didn't have time to write it well. " The author goes on to say, "From an intellectual point of view, the artistic level of Buzruk's Autumn is much higher." In any case, I am convinced that Buzruk's Autumn is a work that will keep me from being forgotten forever. Buzruk's Autumn saves me when Colonel Aureliano Buendia is not asked who he is - a historical figure or the name of a street. Innocent Beautiful Remedios is a novel about the birth of a lizard - a sign of the rising of the sky on a white, lust-free sheet of lust, or the sign of the curse that fell on the heads of close relatives for a whole generation. It is absolutely wrong to call it a "literary earthquake".
In any case, we do not know whether the author is speaking out loud or openly. It doesn't matter. While critics have debated the art of creating myths, the creation of legends, and the art of "magic realism," Garcia Marquez never tires of claiming that everything he writes in his books is "copied" from life.
In fact, the first 8,000 copies of A Hundred Years of Solitude were released within a week. According to Mario Vargas Losa, a Peruvian writer who used the term "literary earthquake" to describe him, Macondo, first a village and then a city, became a symbol of Latin America, and Aureliano Buendia, its founder, became a symbol of the world. turned. "A Hundred Years of Loneliness is a fantastic creature of real literature, of magic, metaphor, and myth," wrote American critic William McPherson. It has been hailed as a masterpiece of Latin American literature, "a brilliant continuation of the art of magical realism." In fact, the peculiarities of the so-called "magical realism" are the unusual character and the supernatural, so to speak, the "miraculous" events, the "realistic" ones. , to the smallest detail, is to depict hyech in a way that does not allow for any scratches or bumps. Garcia Marquez admits, "I decided to break down the clear line between what seemed real and fantastic, because there is no such obstacle in the world I want to embody. q was". For his heroes, concepts such as "Christian morality", "republican traditions", "lack of foreign exchange", "social development" are the product of modern intellect, consciousness and "creative ability". They are closer to the concepts of gender, belief in "evil and good" ghosts, sorcery and "eye contact" of bad people, because they live in a world of such "magic".
The novel tells the story of the Buendia dynasty, which was sentenced to a hundred years in solitude. The author is always different - referring to different historical periods, from the time of the famous pirate Francis Drake. The plot of the novel is so saturated with interesting events that in practice it is impossible to divide the fable (a series of described events) into parts, every page of the novel contains important events. "Is much easier and more interesting than the intellectual novels of
other modernist writers. Garcia Marquez's screenwriting for TV series was not only a hobby, but also a master class for her work. With a full understanding, he writes in a way that is acceptable to ordinary readers, not to members of the "elite community." This is why the novel has become a popular book. In fact, from a screenwriting point of view, Garcia Marquez is a true postmodernist writer. In 1969, American critic Leslie Fidler's postmodernist manifesto, "Cross the Borders, Bury the Abyss," called for the demarcation of "mass" and "elite" art was removed.
In this sense, Garcia Marquez's "magical realism" is an artistic method based on mythology and religious superstition, which is based on the mind and thinking of the masses. According to the author, this is how the reader could understand the world. For example, Jose Arcadio spends his nights waking up and talking to the already dead gypsy Melchizedek (Maliksidq). However, "magical realism" differs from ordinary realism not only in the fact that some strange, impossible events took place in real life, but also in the fact that they became ordinary, everyday events. - the magnetic force that attracts iron objects, a magnifying glass that magnifies small things, the pain of insomnia that is washed away by ice, water and food, presented as a "great invention of our time", so that this and other things are understood as something magical.
Meanwhile, Garcia Marquez's memories of her aunt are striking: "She was a wonderful woman. One day, as she was embroidering on the open porch, a mad-looking woman came carrying a large egg. The egg has a tumor. This shocked her first, and then frightened her: "May the Blessed Virgin Mary take refuge, what if the devil's hand is in this tumor ?! It's an egg, "he said. I don't know why, but my aunt's house was a kind of magic workshop in the village. Every time we had an emergency or a strange event, people would come to us and ask, without finding an answer. I would be amazed if my aunt could solve these complicated problems so easily and without using too much force. I was so scared of the magic in front of me that I didn't know where to hide. For some reason, these mysterious and miraculous ceremonies attracted me. Let's go back to the woman who brought the eggs. She asked my aunt, "Look, why is there such a big tumor in the egg? My aunt looked at her mysteriously, closed her eyes and said in a muffled voice, "This is the egg of a butcher dragon. Light a fire in the dark. " My aunt whispered to the allanimas, threw the egg into the fire, and the egg burned to the ground and disappeared in an instant". Not surprisingly, this naturalness, purity and simplicity gave the key to the novel A Hundred Years of Loneliness. The novel also depicts horrific events and horrific scenes, while at the same time telling mythical and amazing, bizarre fictions.
CONCLUSION
In 1982, Garcia Marquez was awarded the Nobel Prize in Literature. An official statement from the Nobel Committee said: "For his novels and stories, which are a mixture of fantasy and reality and reflect the life and problems of the entire continent." Speaking at the awards ceremony, Lars Jullensten of the Swedish Academy of Sciences said: "Over the years, Latin American literature has shown such a power that it is hard to find in any other literature. In Garcia Marquez's work, the influence of Spanish Baroque, European Surrealism and other modernist movements is mixed. Is Garcia Marquez does not hide her political views. "Opposes oppression and their economic exploitation".
In response, Garcia Marquez focused on the conditions of life in Central and South America, as well as the exploitation of indigenous peoples. "I think that not only the literary expression of Latin American life, but also its objective reality deserves the attention of the Swedish Academy of Sciences." Continuing, Garcia Marquez said: "No one decides to die or live for anyone, love is real, happiness is real, and those who are sentenced to a hundred years of loneliness will eventually have the right to live happily. The writer takes responsibility for creating the utopia he has taken for granted".
References:
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© M.U. Ibragimova, 2022.
