CC BY
1
UDK 82.02
Naimova A.M.
Teacher
Bukhara state university Uzbekistan, Bukhara city THE DESCRIPTION OF A.O.TIRKEL'S "AUGUST FOLLY" OBRASES
Annotation: In this article highlights the means description of A.O.Tirkel's "August Folly" obrases and importans in literature.
Key words: artistic creative, image, description August Folly", literature, obrases.
Artistic- is an artistic image, one of the main means of creating it, as it is both soul and spirit of art. "August Folly" is a novel based on the strongest, humorous, stylistic tools belonging to Anjela Tirkel. The episodes of the episode evolved from the Little Worsted Village in the sixty-million Wests in London. The discoveries of the New Age reveal that the events took place in the early twentieth century. Village people use the newest means of transport, such as the use of automobiles, despite the fact that they are a very remote village, the movement of trains, and the service of the auto stations. When the author creates a work, he decorates it in both dark and dark colors, that is, he is not only an ideal country with the developed and powerful in England, but also its defects, and if these shortcomings are not lost, to the world. The writer provides a rural image on the edge of the country. It also indicates that there is a very old station, which is a large station, the management of three families, and the problem of working with other villagers there. A.Tirkel criticizes the same thing as the slaughter and localism in England. In a small village, it was reported how such defects could grow. This station was ruled by local dictatorships, Margets, Pettens, and Poles for many years. If the head of the Margels headed the whole station to a large office, Petten would be stationed in the station yard and loaded with platforms. If Pettrens are drivers of the train, Poletz was his pastors. If Polethe was at the local post, the Margot had to open big gates and tell the locals that there was a train. Thus, these three families were close relatives, and in this case, we can see the slaughter relationships.
The line is staffed and controlled by three local dynasties; Margetts, Pattens and Polletts. If a Margett is a station-master, you may be sure that there is a Patten in the goods yard, or on the platform. If a Patten is engine-driver, his fireman can hardly avoid being a Pollett. If there is a Pollett in the signal-box, there will be a Margett to open the gates of the level crossing and warn the signalman that the train is coming[1].
According to V. Belinskiy, the highest object in art is human being, which means that the term "image" refers to a man (a person in artistic style)[2]. "The writer's material is a person who has the features, intentions, desires, desires and attitudes that he has as his own." In literature, all other things and phenomena,
based on it and on it, are humanized, service. For the same reason, the writer was able to present events, events, or criticisms of the second half of the twentieth century, such as Madame Tebben, Mrs. Palmer, Mr Palmer, Rachel Din, Mr. Fenshawi, Laurens uses characters such as religion, such as Frank Deen, Helen, Beti, Suzana, Mr. Petten, Marget, Polet, the main character, the protagonist Richard Tebben and the antagonist who opposed him. With the help of this, the writer creates his work, gives it a color and sends his feelings in his heart to the reader. In this work, he is also acting as an interpreter. "In August Folly, A.Tirkel enjoys extensive use of artistic imagery. He was able to show the life of England, the problems and shortcomings of that era in the early 20th century through the nature of each hero's hero. In the center of the work there is a family of Tebbens, middlemen of the Palmer family of high class and the life of their relatives, in terms of their financial status.
In literary science, "image" refers to not only the events that are perceived in the human mind, but also by the artist, understood by the artist, recycled, and described in life".[3]... There is no coincidence and nothing extra. Everything is whole, all in one unity creates a noble, fullness, individuality. "Each of them is" more accurate than any other phenomenon. [4]" Despite the fact that August Folly, created by A.Tirkel, has been created in artistic tastes, it has been successful with emphasis on the character's character, the correctness of the events, the accuracy of the images. The life, interior feelings, her feelings, her character, her character, the true nature of her relationship. For example: disobedience and hatred inherent in Richard Todd; Madame Tebben's character and savings; Mr. Tebben's avoidance of problems and his unwillingness to be a member of the family; In the embodiment of the image of the lady, Palmer, she has seen beautiful characters like Anjela Tirkel, heroes of her work. In the novel, the true image of these images is the same as those in human life. Each of them is showing the emotions that were preserved in the heart of the people of England in the early 20th century. Artistic tricks (fraud, loneliness) take an active part in creating the image. "All literary art is literary, because the moments of marriage are split in time and space. For example, let's look at a man who says a word that tells him his essence and his nature today, the second one after a week, the third one after a year, or perhaps leaving no one. The person is talking in succession. It tells all the words that are characteristic of nature and nature. This can be seen through artistic tricks. However, life in artistic life is more realistic and fuller than normal life. "That is why the life of artistry is, of course, thorny, sharp, brighter, more and more meaningful [5]. Although all the beauty is in the realities of reality, the writer chooses such moments of heroes' life that they come from the work of the creator. Anything that has nothing to do with this claim will be abandoned by the writer. For example, when describing Palmer, she is not talking to a wealthy English woman, but talking to wealthy women like herself, engaging in various patterns, and relaxing in a pleasant surroundings. Outgrowing, giving advice to Mrs. Palmer (hobbies, hunting), and the delicacies of every woman's delicacies. In the same
place, this character is also a rural population, that is, they want to enjoy the theater, to become a part of it and contribute to their knowledge of art. The writer is essentially abandoned by the role of Palmer in showing the love of the theater, as well as the difficulties and disadvantages during the play organization, the preparation of the whole team, and the organizational scenarios are mantigable, describes the events and phenomena discovered by artistic tune-ups. As Belinsky writes, "the heart of man's life is turned into blood and soul, its light and sun" because of its vivid action, attractiveness and luminosity, the essence and depth of its phenomena embodied in the laws of its own[6].
Mrs Palmer, who looks up to art with her passion for character, is a very intelligent, cheerful, humble, modest, and simple woman. It can use intelligence and cinema as it should:
I had to come round and tell you, Winifred, and as I met your Mrs.Phipps at the shop, I knew there would be no one here to answer the bell, so I came creeping round by the drawing-room. I shall just tell you about it and run away, for the great man must not be disturbed [7].
From the above examples, it is possible to understand that this image works in the way of its work and ends its work. On the way, Mrs. Fipes, who worked at the Tebbenne's home, saw that in the meantime she did not have to play a home, so she did not like her family and even did not even answer the house booth. But Palmer did not want to lose her actor, which was very similar to the image of Tesus (Theseus) on his play, but did not knock on the door and went straight to the house. He was very clever and logical to know that the Tebben family knew about him and that Mr. Thaben had just been on the weekend, and his critical remarks that he had been overwhelmed by, attracted his attention. But Mr Tabben could not overcome his stubbornness, and Mrs. Palmer embraced humbleness, modesty, retreat, and retaliation. That is, his love for the theater was superior to his pride. Mr. Thabbendin could not help but repudiated his anger: "What a splendid Theseus he would do," said Mrs. Palmer, as every host went out.[8]
In the novel, the novel also compares the role of women in the society, and compares them with images. Tebben was not the main heroine of the work, but she was a very diligent, hardworking, savvy English woman. She does not pay attention to her outward appearance, but has studied at London's University, has a university degree, has worked in a state-owned educational institution, has published many books on the economy, even her own health he bought a house in the village. The house was tiny and did not like Mr. Tebben, but the clean air and peaceful haven of the village lead him to this place. Mrs. Tebben always tried to save money because she understood economics and her children's future.
Mrs. Tebben, always conscious that she must economise, for they were not well off and there were the children to be provided for, had decided that a car would be an extravagance and a donkey and cart would do very well to take them on little excursions [9].
Instead of having a hot, delicious tea in the afternoon lunch, he had a cold
tea, or a carriage with a donkey instead of a son when Richard returned to pick up a carriage, with new beautiful dresses Instead of wearing the old coat, the son of Richard Tebein hates:
Richard recognized with disgust that she was wearing the raincoat which reminded him forcibly of the appearance of the wives of Heads of colleges at garden parties, and that her untidy bobbed hair was escaping in every direction from beneath a hat suitable for Guy Fawkeys.[10]
From the examples above, we know that Mrs. Thaben is a woman who does not care about herself, who is ready to do everything for her family, for her children's happiness, and always chooses economics. The writer emphasizes the qualities he possesses in a very realistic and vital way, thereby emphasizing that many such women are in society.
In the game, she was described by Rachel Din as an opposite character. She is a very wealthy and housewife with many children. Deen is the 9th child of a lady who is kind, caring for her family, a woman who is proud of her children's fate and who is far from gossip-free science:
"My eldest daughter. She is quite uneducated, like me She does a good deal of motor racing. Betty and Susan rather despise her, because they want to go to college. Betty has got a scholarship and Susan means to get one, but I think it is a good thing not to be too clever. "[11]
For her, there is nothing less than the fate, joy and enthusiasm of her children:
If Richard had been able to hear what they were saying, he would have wondered even more, for the subjects that brought light to Mrs. Dean's dark eyes and a faded color to her face are those of riding and tennis for Laurence, Helen, Betty and Susan, criket for Robin, and the best milk for Jessica, subjects dear to Mr. Palmer's own heart[12].
Rachel Faith was unwilling to see anybody who looked down on them and looked down on them,
The Palmers, childless, adored their nephews and nieces, while Rachel valued and admired her sister-in-law's generous affection. Had he been childless herself, she would never, she thought, was able to love another woman's children without envy[13].
Describing the expression of Mr. Tebben, in the image of qualities and defects characterized by him, the author shows the use of various stylistic tools: Tebben was a civil servant during the week, from ten or eleven to six, or such later hours as his country could require, and carried an umbrella wet or fine; but in the evenings, and from Saturday to Sunday, he is the only one who has spent the whole year in the countryside, with excursions into the English Epic. During the war, the knowledge of the Scandinavian languages was in the knowledge of the infamous order of the empire that he had served.[14]
The writer describes Mr. Tebben as an example of a civil servant, who struggles hard at the height of life, is very ill and cannot enjoy life. The two-year
annoying work in one corner of the hotel is that she cannot concentrate on her husband's opinion of the village business, and the days she spent during her school vacation, her days at the university, compelled:
After two miserable years of trying to work in a room, distracted by his wife's village activities, after his son's rudeness during school holidays. Tebben was insisted on a separate work-room[15].
Mr. Tebben's greatest dream was to make a separate room for him, and he united all his books, which he considered to be his wealth, under one roof:
The house at Worseted was entirely mr. Tebben's doing. Her husband would have preferred to live permanently in London, where his books would have been under one roof, but Mrs. Tebben, feeling that every child, who was both in the country and liked London more than anything in the world, had to have pure air for their holidays, had plotted and saved toward a perpendicular field hill near the village of Worsted[16].
It was his only book in the life of Mr. Tebben. They were so numerous that even the door to the room where they were located was not opened, and the books were placed in two rows. The treasure-bearer knew that every one of them was exactly where he was, and he could find a book he wanted in one attempt.
In the one the family took their meals, seated at a narrow table, the backs of their chairs grating against the walls, in the other Mr. Tebben had made a little whole for himself among his books, where he sat with an oil-stove in winter, and fried in the sun in summer. An ancestral bookcase,with which he refused to part, almost blocked the entrance. Owing to the great depth of the shelves the books were double banked. Mr. Tebben always knew where a given book should be found, but could not always summon the energy to dig it out from the back row[17].
The character depicted by the writer has reached its long-awaited dream, and in this part of the work difficulties and confusion have been solved. Now she has got into her room, her wife, son, the country's troubles and suffering. Through this image, the author presents images of people who are trying to find their place in life and try to avoid the problem, rather than contributing to the problem's solving. It is better to sit in front of his books for hours, but only if there is a small hole in his mouth. Another episode hero in the city is Mr. Palmer. He is the wife of Luis Palmer, the brother of Reichil Din, a young woman with a lot of space and warmth, and now a friend of the village of Voustid was one of the representatives. Its land was from Skynes to the south, from the north to the Vulper River, to the east and from the west to the Pinhosle and Skaines Eggs, the most beautiful eighty chapel. He was a fair and excellent manager, despite the fact that he was a wealthy and wealthy owner. At the same time, large herds, dairy farmers and her dairy farmers were selling high prices for local dairy products because they were of high quality.
Most of the land is owned by Mr. Palmer, whose property is bounded by the Woolram, runs south as far as Skeynes, the next station down the line. East
andwest are Penfold and Skeynes Agnes, where there is a fine Saxson church. Mr.Palmer is a J.P. an excellent landlord, and owner of a very fine herd of cows, which is a grade of milk, at prices fixed by the Milk Marketing Board.[18]
The next generation of heroes is Laurens and Helen, one of the youngest members of the Dynasty. They were bigger than their mothers, with black hair, blue eyes, car racing enthusiasts, and children left in age. Helen did not have a long hug, but she did not even want to read:
Laurence and Helen alone were the children of their mother's dark hair and blue eyes. Helen, not so tall as her mother, had the anxious expressive face of an animal that does not feel safe among people. Margaret did not know why nor she did sulking like a thundercloud at her innocent neighbor Richard[18].
Helen's face could be compared to a cloud-like, cloud-like feeling that many cannot feel free and safe.
References:
1. Thirkell Angela. August Folly. New York. Carroll &Graf Publishers, 1988. - P.4-5.
2. Belinskiy V. G. Adabiy orzular. Toshkent G'afur G'ulom nomidagi adabiyot va san'at nashriyoti.1977. - B.110.
3. Boboyev T. Adabiyotshunoslikka kirish kursi bo'yicha o'quv metodik qo'llanma. T. O'qituvchi.1999. - B.53.
4. Belinskiy V.G. Adabiy orzular.Toshkent.G'afur G'ulomnomidagi adabiyot va san'at nashriyoti.1977. - B.106.
5. Umurov H. Adabiyotshunoslik nazariyasi. Toshkent. A.Qodiriy nomidagi xalq merosi nashriyoti, 2004. - B.97.
6. Belinskiy V.G. Adabiy orzular.Toshkent.G'afur G'ulomnomidagi adabiyot va san'at nashriyoti.1977. - B.101.
7. Thirkell Angela. August Folly. New York. Carroll &Graf Publishers, 1988. - P.11.
8. Thirkell Angela. August Folly. New York. Carroll &Graf Publishers, 1988. - P.14.
9. Thirkell Angela. August Folly. New York. Carroll &Graf Publishers, 1988. - P.21.
10. Thirkell Angela. August Folly. New York. Carroll &Graf Publishers, 1988. - P.24-25.
11. Thirkell Angela. August Folly. New York. Carroll &Graf Publishers, 1988. - P.39.
12. Thirkell Angela. August Folly. New York. Carroll &Graf Publishers, 1988. - P.41.
13. Thirkell Angela. August Folly. New York. Carroll &Graf Publishers, 1988. - P.41.
14. Thirkell Angela. August Folly. New York. Carroll &Graf Publishers, 1988. - P.41.
15. Thirkell Angela. August Folly. New York. Carroll &Graf Publishers, 1988. - P.7
16. Thirkell Angela. August Folly. New York. Carroll &Graf Publishers, 1988. - P.7
17. Thirkell Angela. August Folly. New York. Carroll &Graf Publishers, 1988. - P.9.
18. Thirkell Angela. August Folly. New York. Carroll &Graf Publishers, 1988. - P.5.
19. Thirkell Angela. August Folly. New York. Carroll &Graf Publishers, 1988. - P.72.
