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Section 1. Linguistics
Alimova M. Kh., Ph D., associate professor at Tashkent State Pedagogical University named after Nizami E-mail: [email protected]
Safoyeva Z. Q Student at Tashkent State Pedagogical University named after Nizami E-mail: [email protected]
SOME PECULIARITIES OF EXPRESSING CONNOTATIVE MEANING IN THE ENGLISH AND UZBEK LANGUAGES
Abstract. The article analyses expression of connotative meanings in the structure of the English and Uzbek languages on the phonetic, phonological, lexical and morphological levels of the language.
The analyzed material in the article demonstrates that in the English and Uzbek languages which genetically and typologically belong to different languages connotative meanings can be expressed by the repetition of the same sound in the words of the poem, by intonation, by homonyms, synonyms, antonyms, borrowed words, by the definite and indefinite articles, the degrees of comparison of adjectives, auxiliary verbs, by tense forms of the verb and by the plurality of nouns.
Keywords: connotation, coordination of sounds, emphatic intonation, emotional meaning, phonological level, lexical level, morphological level, national mind, national color, uncertainty, exaggeration, genetically, typologically, stylistic peculiarities.
The language is not only means of communica- themselves have connotations. They produce some
tion but also it is the mirror of information collected for centuries in the society where this or that language is spoken. As much as the society develops, the language in this society lives, develops, imperfects and proceeding from the demands of time and locality enriches and changes. The development of science, technology, culture and economics enriches the vocabulary of the language. It happens by means of borrowed words and by the addition of connotative meanings to the denotative meaning of the language units. Most words which stand for ideas can have connotations. That is because ideas
sorts of intellectual or emotional reaction inside us. Connotation can be expressed not only by words, it can be expressed on the phonetic, phonological, morphological, syntactical levels of the language, on the level of the text as well. We'll see it later.
There are two types of connotation: personal and general. Personal connotations are the result of the experience of the individual man or woman. The way we react to ideas and objects is determined by the precise nature of our earlier experience. Taken altogether, the connotations that surround most of the words in our vocabulary are a complex and intimate
record of our life. Our present reaction to a word may be the cumulative result of all our experiences with the word and its referent. In the case of other words, our reaction may have been determined once and for all by an early or a particularly memorable experience with them.
A moment's thought will show the relationship between personal and general connotations. As the mass mind is the sum of the individual minds that comprise it, general connotations result when the reaction of the majority of people to a specific word is substantially the same.
The exact shade of meaning a word possesses in our language is often due to the use to which it was put by a writer who had especially great influence over the language. But general connotation is not always a matter of literary development. It can result also from the experience of the people.
All general connotations have their origin in private connotations - in personal, individual, but generally share reactions to words and ideas for which they stand. But later when general connotations have been established, the process works the other way: the individual who may have had no personal experience with the idea represented by a given word, may acquire a personal attitude towards it by observing how society in general reacts to the word. Every writer is obliged to differentiate between general connotation and personal ones and to rely only upon the former. He can transmit his full message to the reader only when the reader finds in his words the same shade of meaning the author intended and that is possible only when the commonly established distinctions among words are fully recognized [9, P. 7-8].
The term 'connotation' was used in the 19th century by J. St. Mill in his work 'Of names. Theory of meanings' [8]. By the term connotation he meant indications given by the word, and he distinguished the proper names which served the signs of the individual and connotation, denotation ofwhich present the numeration of existed judgement within the limits of the given name.
Connotation was dealt with in the works by Teliya V. N. [12, p. 5], Komlev N. G. [6], Kolshan-skiy G. V. [5, P. 93-95], Arnold I. V. [2] and there were given different interpretations to the language phenomenon connotation.
As the language reflects the cultural and national mind of the people the language of whom is spoken of, connotation expresses different emotional
expressive, conceptive, metaphoric and symbolic
meanings added to the sound, word, expression, grammatical form or the statement used in the text. Connotation is the language phenomenon expressed on some level of the language which arouses people to a pleasant or unpleasant judgement, touch emotions of the reader or the listener.
The analysis of the examples taken from literary texts of the English and Uzbek languages show that connotation is expressed on the phonetic, phonological, lexical and morphological levels of the language.
In the examples given below the connotation expressed on the phonetic level of the language is demonstrated:
1. "Whenever the moon and stars are set,
Whenever the wind is high,
All night long in the dark and wet,
A man goes riding by"
(R. S. Stevenson)
The repetition of the sound [w] produces expressiveness, it makes the fact more emotional and touchable.
2. "Deep into that darkness peering, long I stood there, wondering, fearing,
Doubting, dreaming dreams no mortals ever dared to dreams before."
(E. A. Poe)
In this example the repetition of the sound [d] merely suggests that a certain amount of information is contained in the repetition of the sound as the case with the repetition of lexical units do. L. Bloomfield, a well-known American linguist says that "...in human speech different sounds have different meanings. To study the coordination of
certain sounds with certain meanings is to study language" [3, p. 27].
3. What a wonderful day!
As we see in this sentence the rising intonation adds additional color to the expressed thought, makes it emotional, gives the reader or the listener the feeling of pleasure. A. A. Abduazizov says that emphasis is capable of expressing not only ideas of contrast and intensity, but also various shades of meaning are very subtle. Usually emphatic intonation is typical in jokes, anecdotes, comic remarks, irony, teasing etc [1, p. 197]. Emotional means of intonation express a speaker's attitude towards the fact in question, his feeling, emotions and moods .... The emotional meaning is superimposed on the general meaning of the sentence through intonation. In the examples given below connotation is expressed on the phonological level of the Uzbek language:
1. Bitta y-y-yarimtadan uch to'rt t-tanga q-qarzlar-im bor edi, Xomid aka [16]. This example is translated as: I have had th-three or f-four tanga (money) debt from s-some p-people, brother Khamid.
In this example by the interrupted repetition of sounds the author expresses depressed state of the speaker.
2. "Hoy, Rasul, k-ko'zingni och" - dedi dabdu-rustdan direktorni sensirab [19]. This example is translated as: "Oh, Rasul, o-open your eyes" he said to the director treating him with familiarity. Here the interrupted repeated sound expresses anger of the speaker towards the addressee.
3.1. U sizga bu haqda aytgan.- He told you about it. (remember it is important for you);
3.2. U sizga bu haqda aytgan. - He told you about it (he didn't tell me about it, but he told you about it, it doesn't concern me);
3.3. U sizga bu haqda aytgan.- He told you about it. (you can't deny it);
3.4. U sizga bu haqda aytgan.- He told you about it. (You know it and you knew it, you can't justify yourself).
As we see from the examples given above the connotation expressed on the phonological level of the language is strong and colorful.
In the examples given below we see the connotation expressed on the lexical level of the language:
1. Nobody had ever found out who had done this to Sam. Sam isolated himself and wandered round the valley at nights [20, p. 26]
2. It's always been a pain to me that the Kaffirs had a school while we didn't [20, p. 21].
3. Entering the house he went up the short slight of stairs to his room. He sat on the divan and looked round.
In the first example P. Abrahams demonstrates his hero's (Sam's) being unsociable, reserved by the Italian word isolated. In the second example using the word Kaffirs the author shows the attitude of the local people of the village Stilleveld in South Africa towards the dark-skinned people speaking in Bantu. In the third example the author uses the Persian word divan to attract the readers' attention to the locality the hero was.
P. Abrahams using borrowed words in the novel "The Path of Thunder" preserves national color, at the same time making the episode more expressive and emotional.
In the given below examples we see the expression of different shades of connotation by using borrowed words in the Uzbek language:
1. Bu kishi do'ppi olmaydilar - dedi do'kondor do'ppilarni rafchaga qo'yaturib [14, p. 187] - This man will not buy the cap(national Uzbek cap), said the seller putting the cap on the shelf.
2. Qovunlar bilan to'ldirilgan barkashlar qator qo'yiladi [14, p. 231] - Plates filled with melons will be placed one after another.
3. Zarari yo'q, mening uyimda ko'nglingizga sovuq suv o'rnida yaxob urib ketasiz - deb, u hali ham haqimda shubhasi borligini anglatdi [14, p. 216] - It doesn't do any harm, you will leave my house being cool (strewing water with ice into your soul), he said, showing that he was still doubting in my sincerity.
4. ... avval uni umrbod qamoq bilan, Buxoroning zindon, obxona, kanaxonasi bilan, qolaversa janobi oliylarining dor va minoralari bilan qo'rqitish kerak [15, p. 128] - First he must be frightened by Bukhara zindan (dungeon, where the prisoner was thrown), by water-room and claw-room (the room where the prisoner was eaten up by claws), by Amir's gallows (the prisoner was hanged), and Amir's tower (from where the prisoner was thrown onto the ground).
Using the Tadjik words rafcha(shelf) in the first sentence, barkashlar (plates) in the second, yaxob(waterwith ice) in the third, zindan(dungeon), obxona(water-room), kanaxona(claw-room), dor(gallow) in the fourth sentences S. Ayniy (the author) attracts the reader's attention to the history, to the culture of the people and to the place the event is happening. Using the Tadjik words in the text of the Uzbek language the author makes the episode emotional, expressive, demonstrating his heroes' speech in Bukhara dialect, as the event was taking place in the Ancient city of Uzbekistan in Bukhara.
5. And if joy were not on earth,
There were an end of change and birth,
And Earth and Heaven and Hell would die [22, p. 8].
6. A clean Fast is better than a dirty breakfast
Who feasts till he is sick, must Fast till he is well
[23].
7. Yo rab, ul shahdu shakar yo lab durur,
Yo magar shahdu shakar yolabdurur.
Jonima payvasta navak otgali,
G'amza o'qin qoshig'a yolabdurur [17].
8. La'lidin jonimga o'tlar yoqilur,
Qoshi qaddimni jafodin yo qilur.
Men vafosi vadasidin shodmen,
Ul vafo bilmonki qilmas, yo qilur.
In examples 5-8 the usage of the homonyms "and-end", "Fast-fast" in English and "yo lab durur-
yolabdurur", "yoqilur - yo qilur" in Uzbek make the poem or proverb (example 6) more emotional.
The authors' skill of expressing connotation by using homonyms in the given above examples is a high masterpiece of art. The listener or the reader can't help admiring the expressiveness of the given above poems in the English and Uzbek languages.
9. Look, Lanny, inside me there's a free woman, outside there's a slave woman, and both are me [20, p. 58].
10. I thought so he said looking Lanny up and down [20, p. 63].
11. Was that same little boy who shouted and ran about the house; the barefoot boy with the torn shirt and pants and greasy legs and arms and dirty neck that he hated washing [20, p. 30].
12. Ul parivash hajridankim, yig'ladim devonavor
Kimsa bormukin anga ko'rganda kulgu kelmadi.
Ko'zlaringdin necha suv kelgay deb o'lturmang
mani,
Kim bori qon erdi kelgan, bu kecha suv kelmadi.
In this poem A.NAvoi used antonyms yig'ladim (I cried), kulgu (laughter), suv (water), qon (blood) showing his hero's crying while missing his beloved and not even having anyone to laugh at him and instead of tears(water) blood came from his eyes [17].
As wee see from the examples contrast features of the two objects or phenomena are more easily perceived when they stand out in similar structures. The structural design of antonyms is so important that the reader or listener can't help admiring the author's skill of expressing his hero's state.
In examples 9-12 the usage of antonyms in P. Abrahams' novel "The Path of Thunder" and in A. Navoi's poem intensifies the idea of contrast and manifests the state of the image described in the text more emotionally.
13. O my Luve's like a red, red rose, That newly sprang in June,
O my Luve's like the melody That's sweetly played in tune.
(Robert Burns)
14. A gown made of fine wool Which from our pretty lambs we pull Fair lined slippers for the cold Which buckles of the purest cold [20].
15. Men yonarman beqiyos mehrim bilan, Dil kuyadi dardlashay deb kim bilan, Yorni hech parvosi yo'q ko'nglim bilan, Qon yurakni sizga ko'rsatsammikan?
(YusufM.)
16. Ehtirosli, otash dil, Beranji so'rdi nolon. Nahotki farangi til, Yo'qolgusi bir zamon [18].
In examples 15-16 the words dil, ko'ngil and yurak "heart", ehtirosli, otash (dil) "burning" (heart) and in examples 13-14 words melody/tune, pretty/fine are synonyms, the usage ofwhich makes the poems in the English and Uzbek languages emotional. The usage of synonyms in the given above examples makes the fact concrete and to the author it gives the chance of demonstrating the phenomenon comprehensively.
Now we will demonstrate the expression of connotation on the morphological level of the English and Uzbek languages.
As we know morphology deals with the parts of speech, the category of number of nouns, the forms of the degrees of comparison of adjectives, the forms of tense of verbs, articles, etc.
In the English and Uzbek languages these forms may be used in a specific way for the sake of expressiveness and emotiveness. A point of interest here is presented by the plurality of nouns expressing augmentation and diminution in the structures of the English and Uzbek languages. This article dem-
onstrates the following connotative peculiarities of the English plurality form:
1) Expression of redundancy and large scale of some objects with uncountable and material nouns which are usually not used [2, P. 143-144] with the form of plurality:
1. Waters on a starry night are beautiful and fair (W. Wordsworth).
But where are the snows of yesterday? (F. Villon)
2) Expression of uncertainty:
2. It happened years ago.
3) Expression of exaggeration:
3. I haven't seen you for ages.
You have done it loads of time.
4) Expression of diminution:
4. Seconds later he came in.
He will leave within minutes.
It will cost him only pennies [4].
5) Expression of emphasis:
5. I am brains at Singleton Fisher [10, p. 11]
Connotative peculiarities expressed in the Uzbek
plurality form of nouns:
1) Expression of respect:
Dadamlar keldilar - My father came (In this example the word father is used in plural to show her(his) high respect towards his(her) father).
2) Expression of uncertainty:
O'tgan yilning may oylarida Perhaps in May last year.
3) Expression of exaggeration with the abstract nouns which are usually not used in plural (yosh-lik - "youth", muhabbat - "love", orzu - "dream"):
Tushlarimni sizga aytsam...- If I tell you about my dreams
4) Expression of generalization [13, p. 78]
In this case the proper nouns receive the form of plurality and are used as common nouns: ...Farho-dlarning biri haqida hikoya qilamiz [17].- We will tell you a story about one of farhads (Farhod is the name of the hero of Alisher Navai's novel "Farhod and Shirin").
In the following examples expression of connotation by using articles, adjectives and by tense forms of the verb is demonstrated:
1. Have you a Rosetti? [2, P. 144-145] (a picture by Rosetti). In this example the metonymic use of the indefinite article before the proper noun "Rosetti" adds a strong emotional colour to the fact, demonstrating Rosetti's being famous among artists.
2. Know my partner? Old Robinson. Yes, the Robinson. Don't you know? The notorious Robinson [2, P. 144-145]. Here the usage of the definite article with the proper name performs an expressive function by indicating that the person enjoys fame or notoriety.
3. . And I like to marry her because she's got the longest, smoothest, straightest legs in the world [4, p. 240]. Here the usage of the superlative degree of the adjective makes the fact more emotional. This case of expressing emotional colour is observed in the structure of the Uzbek language too:
Bir Vatanning o'g'limankim,
Har taraf gullola bog',
Qalb ko'ziday eng qorong'u
Ko'chada porlar chirog' [13, p. 111].- In English it is translated as: I am the son of the country full of flowers and gardens, even the darkest street shines like the eye of the heart.
In this Uzbek poem the author expresses strong emphasis by using the superlative degree of the adjective "eng qorong'u ko'cha" the darkest (street), showing the strong love of the hero towards his country.
4. You shall apologize to him! [7, p. 78]. By using the Future Indefinite Tense of the verb in this example the author demonstrates the speaker's insistence on the person addressed that he must apologize whether he wants to or not. Some authors call this usage of the Future Indefinite as "The Emphatic Future" [11]. The same expression of the connota-tive meaning is observed in the Uzbek language:
Daryo suvini bahor toshirar,
Odam qadrini mehnat oshirar [13, p. 132]
This Uzbek proverb sounds in English like this: River's water is filled by Spring, Man's merit is increased by his labour In this Uzbek proverb the usage of the Future form of the verbs "toshirar" will fill, "oshirar" will increase expresses certainty, obviousness and even natural lawfulness of the action to be performed and the dream, wish to be implemented or to come true.
5. I am longing for you every moment. You are looking great [7, p. 78]. The example shows that the usage of the Present Continuous of the verb is more emotional and personal than the Present Indefinite (I long for you every moment. You look great). The usage of the Present Continuous adds special force and vividness to the utterance and emphasizes the nature of the action which the speaker feels. This use of the Present Continuous can be compared to the use of the auxiliary verb do(did) to add emotional colour to the action expressed by the notional verb: Oh, how the stars were shining! How the diamond did twinkle and glitter [7]. This way of expressing the connotative meaning by the Continuous Tense form of the verb is often met in the texts of the Uzbek language too:
Bugun 688 reys bilan Moskvaga uchib ketyap-man [13, p. 132] - I am flying to Moscow today by plane 688.
The usage of the Present Continuous form of the verb (by the addition of the affixal morpheme "-yap" to the stem of the verb) in the example given above expresses the future action planned beforehand, the performance of which is considered to be obligatory, compulsory and sure without any fail.
In the examples given below some peculiarities of expressing connotative meaning on the syntactical level of the English and Uzbek languages is demonstrated.
As we know, syntax is a set of rules in the language. It teaches how words from different parts of speech are put together in order to convey a complete thought. Syntax determines how the chosen words are used to form a sentence. In order to
choose words in particular situation diction comes to help. Diction is the choice and use of words and phrases in speech or writing. In combination syntax and diction help writers develop tone, mood and atmosphere in a text, evoking readers' interest.
The unique syntax used in poetry makes it different from prose. The general word order of an English sentence is Subject+Verb+Object. In Uzbek general word order is Subject+Object+Verb or Subject+Adv.modif+Verb. In poetry the word order may be shifted to achieve certain artistic effects, such as producing rhythm or melody in the lines, achieving emphasis and heightening connection between words. The unique syntax used in poetry makes it different from prose. Sometimes syntax effects the nature of a prose text as well. It enhances its meaning and contributes towards its tone. Quickness, decisiveness and speed are added to a text by using short phrases, clauses and sentences: Step in here! -In here! Wait a moment! - Just a moment! Here the usage of the verb or omitting it in imperative sentences makes the speakers speech emotional, adding expressive color and connotation [2, p. 160].
Rhetorical questions are observed in all styles of speech, but in every case, it has several specific functions. W. Shakespeare in his sonnet LVII shows his hero's (lover's) unlimited devotion to his beloved by using rhetorical question:
Being your slave, what should I do but tend Upon the hours and times ofyour desire [2, p. 167]. In the poem given below by the repetition of the constructions with the negative forms M. Arnold (the poet) makes his poem emotional asking his beloved to be faithful to feelings as they are surrounded by spiteful and cruel world. Oh, love, let us be true To one another! For the world. Hath really, neither joy, not love, not light, Not certitude, not peace, not help for pain; And we are here as on a darkling plain. W. Shakespeare in his sonnet XVIII by various kinds of repetitions in two lines shows that the beau-
ty and love become immortal and independent in the cruel and ruthless world:
So long as men can breathe or eyes can see
So long lives this and this gives life to thee.
By the repetition of the phrases so long... so long and by the repetition of parallel constructions men can breathe ... men can see, lives this ... this gives, the connotative meaning is strongly intensified, and the fact becomes expressive and emotional.
The expression of connotative meaning by inver-tion on the syntactical level of the English language is demonstrated in the following examples in prose: Bloody house this is. 2. Not exactly breaking their necks, they were. 3. Fat chance I have got going to France now. 4. Like a young girl you are blushing [23, p. 109].
In the given above examples by inverting the predicative ofthe compound nominal predicate (ex.1), by the part of the compound verbal predicate (ex.2), by the object(ex.3), by adverbial modifier (ex.4), the author expresses the emotive evaluation and intensification of some event or fact, of the agency, the object of some action and of the action itself.
In the given below examples the expression of connotative meaning is demonstrated by the transposition of syntactical structures of communicative types where the speaker makes the fact emotional by creating colloquial emphasis: Open the door, please ^ Will you open the door, please ^ Should you mind opening the door ^ I wonder whether you would mind opening the door [2, p. 169].
In the examples given below the connotative meaning expressed on the syntactical level of the Uzbek language is demonstrated:
1. Menga nima qilibdi?! Otdekman [O'. O'].
What has happened to me? I am as strong as the
horse
2. Menga hech narsa qilgani yo'q.
Nothing has happened to me.
In the two given above examples in the Uzbek language the same meaning is expressed but in the
first sentence the author expresses strong emotion, emphasizing the fact by using rhetorical question.
In the following examples by using inversion the author intensifies the part of the sentence which is inverted:
1. Qanday ajoyib yigit bo'libdi u [O', O'].
What a wonderful fellow he has become.
2. He, zoye ketmadi o'sha kurashlar, uyqusiz tun-lar! - dedi u ilgarigidek jo'shib [Yo'ldosh.Sh].
Oh, those struggles and sleepless nights were not held in vain.
3. Ovozingni chiqarsang... Ha, bilib qo'y! Ko'rdingmi kuchimni [24].
If you make a noise. let me tell you then! Do you see my strength?
In the first example "U" he - the subject, in the second "zoye ketmadi" were not held in vain - the predicate, in the third "kuchimni" my strength the object are inverted by the author in order to make the fact more emotional and expressive. The listener or the reader can't help paying a special attention to the part of the sentence which is inverted in the prose of the Uzbek language.
In the examples given below connotative meaning expressed by repetition, parallel constructions and inversion in the poetry of the Uzbek language is demonstrated:
1. Men quvonar bo'lsam - sen sabab
O'yga tolar bo'lsam - sen sabab [18]
If I'm glad - it is because of you
If I'm sad - it is because of you
2. Yomg'ir bilan yer ko'karar
Mehnat bilan el ko'karar (proverb)
The rain decorates the earth
The labour decorates man
3. Yorni yor dermu kishi
Yorni vafosi bo'lmasa
Gulni gul dermu kishi
Gulning tikoni bo'lmasa (folklore song)
Can I say my darling If she isn't faithful Can I say a rose If it doesn't have a thorn
Analysis of the given above examples show repetition(ex.l), parallel construction followed by repetition(ex.2) and inversion (ex.3) used in the poetry of the Uzbek language make the utterance emphatic, effective and goal-directed. By the repetition in the first example the author demonstrates that the speaker is under the stress of strong emotion. By inverting the subject "kishi" man (in English it is translated as "I") - the strong disappointment of the speaker in his beloved is expressed.
Analysis of some peculiarities of expressing con-notative meanings in the English and Uzbek languages demonstrates that in spite of the genealogical and typological difference connotative meanings in these two compared languages are expressed on the phonetic, phonological, lexical and morphological and syntactical levels of the language adding different connotative meanings to the denotative meaning of the word, expression or thought.
As the language reflects the cultural and national mind of the people the language of whom is spoken of, connotation expresses different emotional, expressive, conceptual metaphorical and symbolic meanings added to the sound, word, expression, grammatical form or the statement used in the text, so connotation is the language phenomenon expressed on some level of the language which arouses people to a pleasant or unpleasant judgement and touches emotions of the reader or the speaker.
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