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Usmanov Farhad Fakhriddinovich, Andijan State University E-mail: ufarhod001@mail.ru
MYTHOLOGICAL AND FOLKLORE CHARACTERS IN THE LINGUISTIC PICTURE OF THE WORLD: THROUGH UZBEK SIMILES
Abstract: The article analyzes the similes, in which mythological and folklore characters in Uzbek are epitomized. The role of Islamic traditions are evaluated in the linguistic picture of the world characteristic of Uzbek nation.
Keywords: anthropocentrism, similes, mythology, religious mythological imagination, worldview, interpretation, epistemological function, axiological function.
The language is a priceless gift to humankind, a requisite of the nation's existence. It has a great potential to describe the human, the nation's mentality, and the world. The 20th century language study was a systematic structured approach [1; 2; 5]. In recent years, attention has been focused on researching the language together with its own subject. Viewing the language as an anthropocentric phenomenon requires the study of the sub-j ect with the national culture. As a result of the growing interest in the study of language in connection with national mentality, national culture, and national spirituality in recent years, especially in Russian linguistics, a linguistic network, known as "lin-guoculturology" has emerged together with the term "linguistic cultureme", linguistic units that carry cultural information [3]. Because they retain fairy tales, legends, traditions, as ifthey were in conservation [2; 3]. Human beings fundamentally study the world by comparisons. In his day, Aristotle noted that human beings differ from animals through the ability to compare things and phenomena in the realm of external reality, whereby they derive their initial knowledge [4, 20].
Linguistic comparisons form a separate type of comparative tropes. They reflect the nation's centuries-old life experiences and reflect the cultural constants of the nation. Linguo-cultural similes need to be understood as a way of reflecting, promoting and propagating spiritual, aesthetic, ethical and social values [5; 4].
The models being compared are of particular importance in fixed similes. They serve as a special criterion or the ideal way to evaluate spontaneous processes that they deal with. The fact that similes, first and foremost, serve to express attitudes, namely evaluations, makes us regard them as linguistic means that reflect the axiological views of the nation. The formation of the linguistic picture of the nation is primarily influenced by the historical-geographical environment in which it resides, its realities and, of course, its religious-mythological perceptions.
The Russian linguist L. Boyko classifies the models in fixed similes in Russian into several groups such as "human", "flora", "fauna", "tales, artistic, mythological characters" and "others". Based on this classification, models in similes in Uzbek can also be divided into groups such as "human", "nature",
"flora", "fauna", "mythological, artistic and folklore characters", "household realia" and "others".
In this article I would like to discuss the essence offixed similes, in which mythological, artistic and folklore characters serve as models, and which have a special role in the Uzbek language. This group of similes includes dev (the giant ogre), ajdarho (the dragon), the Jannah, jahannam (the Jahannam), duzakh (the hell), the Kaabah, the angel, shayton (the devil), Ya-juj and Majuj (the Gog and Magog), Eram Garden, the princess, Rustam, Samandar, yalmoghiz (evil old woman), alp, Alpomish, Alaka's dog, arvoh (ghost), Farhad, As-Sirat, Hatim al-Tai, mirage, alvasti, Anqo eggs.
Mythology is primarily a compilation of epic poems that reflect the ideas of the primitive nations about the nature, the universe, and the human being. Mythology is a primitive form of culture, which displays a particular cultural phenomenon, showing the picture of the world in human minds [6, 195].
It seems that, on one hand, mythology, religion and artistic mind harmonize with each other. On the other hand, the identification and interpretation of mythological images, folklore and artistic characters in the nation's mentality imply a certain amount of linguocultural knowledge. Such knowledge serves as a basis for interpretation of cultural information.
As a result of the research, a large part of the group "Mythological, Artistic and Folklore Personages" was found to be in close connection with Islamic religion and Islamic ideology. Like in the below given example: People were in dire plight losing their clothes, becoming as terrifying as yajuj-majujs in legends. For example, it seems that the basis of the simile "to hit like yajuj-majuj"used to describe a violent attack or destructive actions is in the Quraan. Until when Gog and Magog are let loose and they swarm from every hill. And when the true promise has drawn near, the eyes of those who disbelieve shall gloat over their eyes: "Woe unto us! We were neglectful of this. No! We were wrongdoers" (Al-Anbiya ', 96-97) Gog and Magog are a tribe with great numbers of people, and their emergence is a sign of the doomsday. They fill the earth with corruption and ruin. And when they will emerge is known to no one except Allah [16].
Section 15. Philology
The simile models refer to the cultural information of national character which was formedover the centuries. This information relies on the literal meaning of the subject, character, and etc, turning into a nationally and culturally conditional image as a result of repetitions in typical situations. It is natural to use the "Jannah" (heaven) that appears in Uzbek linguistic culture as a figurative expression ofa beautiful, prosperous place or, its contrast, "Jahannam" (hellfire) for a terrible, darkened place. Naturally, the highest point in the potential hierarchy that can figuratively represent a beautiful or a dark place for Muslim is Jannah or Jahannam (heaven or hell). Thus, the model is, first of all, the ideal sample, measure or type of something. (Uzbek National Encyclopedia-UzNE) [8]. Meanwhile, the views of Sh. Makhmaraimova, who studied the abovesaid as theomorphic metaphors, are remarkable: it is a mechanism that forms the culture of theomorphic metaphor and constitutes the basis of the concept of the universe, determining its constants and having its own "lines" in the world view. The theomorphic metaphor serves the purpose best to distinguish between good and evil and can become an important cognitive mechanism that adds to the experience of the universe[7, 63]. We can say the same thing about similes. Indeed, the only basis for them is the experiment of comparison in the human mind [9, 103]. In this case, the purpose of choosing an appropriate model is to show the standard, the ideal example. In the Holy Qur'an, there are a number of mentions of an immortal world - Jannah - the Heaven for good deeds, and Jahannam - the Hell, a dreadful place is assigned for the wrongdoers:
And give glad tidings to those who believe and do good deeds, for them will be Gardens beneath which rivers flow. Every time they eat fruits, they say: "This is the fruit of which We have been given before." Verily, they will be given to one another similar fruits. And for them there are pure companions, and they will abide therein forever (Al-Baqarah, 25).
When it is said to be afraid of Allah, pride leads him to commit sins. Only Jahannam will come to him. How awful it is! (Al-Baqarah, 2: 206).
... Whoever earns evil and falls into sin, it is they who are the dwellers of the Fire, and they will abide therein forever. (Al-Baqarah 2: 81).
According to the religious creed, God created the hell to punish the disbelievers and wrongdoers. The Jahannam (the hell) is a terrible hole with flaming fire in it. (UzNE) The fact that the hell is a lexeme denoting a fiery place makes it a fixed simile expressing overheating, burning, and torture: During the exercise the tank burns like hell (U. Hashimov); You can hardly forget trying to, you can hardly imagine trying to, you feel tortured, and your world is seen as hell (N. Boqi).
The set model of "Eramvs Gardens" is also used to denote beautiful and cozy places: The sites, flourishing squares,
tidy streets like Eram Gardenare built to protect public health, not to entertain any person. (A. Fitrat).
Piskand nihoyat hushliqo, hob soya-salqin, dilkusho Bog'iEramdek jonfizo, serob, seranhor ekan (Furqat). (Here, the author describes the place called Piskand as a very beautiful, flourishing and cozy site using the simile "like Eram Garden")
However, Eram Gardencomes after the Jannah in the hierarchy of set models to denote beautiful, flourishing places. We can say that the first reason for this is that the paradise is not created by human beings; it is inaccurate and, therefore, ideal; Eram's garden is created by human beings and therefore can not claim perfection Shaykh Abdullaziz Mansur describes the Garden of Eram, which is mentioned in Surat al-Fajr, originated from Iram city, with no analogues in other country (verse 7 to 8): "Iram or Eram is the name of a Noah King of this Dynasty after which a city, a garden, and a tribe was named (tribe of Ad) As the story goes, one of the two sons of'Ad, Shaddad, hearing that Allah created an incomparable and impeccable garden in the world beyond, set up an amazing garden in the desert of Adnah (Yemen) to become equal to Him. The garden was built over 300 years. Ad lived for 9,000 years. But he could not enjoy seeing the garden he had built with pride... "[10]
The Kaabah, angel, devil, which belong to the category of fixed similesare related to the Islamic tradition like the above mentioned lexemes Jannah, Jahannam, or hell. The most holy place is the Ka'bah (Explanatory dictionary of the Uzbek lan-guage-EDUL II. 339) [11], an angel is supernatural being, and a maiden is a symbol of purity (EDUL IV, 329), devil is Satan, which is an evil spirit (EDUL IV, 535). It can be said that the leitmotiv (German "leitmotiv"- the focal point, the main meaning) for them is the same: they show the borders of good and evil and the outcome of a person's attitude to them: And We have made the Kaba as a place of safety for mankind and a place of security. (Al-Baqarah, 125) Poetry was as sacred aplacefor him as theKa'ba (N. Karimov).
The Day when the Spiritand the angels are ranged row on row. None shall speak save he whom the Merciful Lord will permit; and he too will speak what is right. (Naba: 38).That is, on the Doomsday, not only the people, but also Jibreelalaihissalam, the leader of the angels called "the Spirit", stand in the presence of Allah [12, 357] I love as beautiful and neat a girl as an angel (U. Hashimov).
The main tasks of mythology are gnoseological, axiologi-cal and regulatory functions [6, 196]. According to the analysis of sources, in Uzbek discipline of perceptions, these three functions co-operate and we can thus observe the evolution of mythological thought through the examples of similes. As a result of the analysis, it was found out that the concepts related to the Islamic religion occupy a great deal in Uzbek similes. That,
Islamic traditions are of great importance in the mentality and national linguistic picture of Uzbek people.This is the reason why the lexical units of the Arabic language have a great place in the mythology of Turkic and Muslim people (68%) [15, 8].
It should be noted that the identification of the similes, roots of which go to mythology, and their correct interpretation involves the knowledge of the religion, culture, folklore, literature and morals of the nation.
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16. URL: http://savollar.islom.uz/wparxiv/15662
17. URL: https://hadis.uz/term/37
