PHONETIC STYLISTIC DEVICES AND THEIR ANALYSIS

ABSTRACT

Another problem of translation is the interpretation of phonetic stylistic devices and language expressive means, their usage, formation, meaning and translation. It is fact that Uzbek and English stylistic devices completely differ from one another, however, they have some identical features which could be observed in a literary translation. So, this article discusses this matter of language problem: How to use phonetic stylistic devices and how to do their translation from English into Uzbek language or vice versa.

Keywords: phonetics, stylistic devices, alliteration, assonance, onomatopoeia, rhyme, melodic effect, consonant sounds, vowel sounds, repetition.

In this article, we will discuss about phonetic stylistic devices and analyze the suitable examples taken from “Saodat sohili”.

To begin with, phonetic stylistic device is used in order to:

- produce a certain melodic effect;

- arouse effective emotions on the reader;

- emphasize the given statement.

Phonetic expressive means cope with the sound and sound instrumenting. There are several types of phonetic stylistic devices as alliteration, assonance, onomatopoeia, rhyme, rhythm.

• Alliteration – is a repetition of analogous consonant sounds in a close way, especially, at the beginning of consecutive words. It helps to create an emotional atmosphere in a literary work. For example: Rambler Rose, rare ravine, sorrowful soul is sleeping.
• Assonance - this phonetic stylistic device demonstrates us an agreement and settlement of vowel sounds. Sometimes, it might be combined with resemblance in consonant sounds. For example: He is still sitting.
• Onomatopoeia - if we give a short definition, it means the imitation of different sounds. Those sounds may be formed in nature by things, people, or animals. For example: ding-dong, zip-zip, quack-quack, doodle-doodle.
• Rhyme – may be met when the similar sounds are repeated together, in the combination of words. For example: silver bells and cockle shells;

worth-forth.

Based on our translated work “Saodat Sohili”, here are given the examples for above mentioned phontic stylistic devices, and their types are given in the brackets:

a) “Woodcutters who fetched and hauled the firewoods found unconscious H. Koyki who was under the ruined rickety rock - along the rare ravine.”.

(Tog’dan o’tin terib qaytayotgan o’tinchilar behush yotgan H. Ko’ykiyni dara etagidagi nuragan qoya tagidan topib oldilar.) Alliteration.

b) “Neither property is poor,

Nor its way is almost far,

Nation, whereas, not believer…”

(Moli vofir, eli kofir, yo’l yovuq…) Alliteration.

c) “The word ‘Farkat’ reminded him blizzard, burdensome days with heavy rains, rapid-fire lightnings which sparkled in the high skies of Fall, and the moiling, mournful moments of his life.”. (“Farkat” degan so’z unga sovuq yomg’ir savalab turgan izg’irinli kunlarni, kuzak osmonida favqulodda chaqnagan chaqmoqlarni eslatdi, umrining rutubatli, hazin onlarini yodiga soldi.) Alliteration.

d) “Hereupon, by such manners, merely mournful and miserable memories of those days are alive.”(Oqibat, o’sha kunlardan bu kun faqat achchiq, mahzun xotiralar yodgor, xolos.) Alliteration.

e) “After the Noon Prayer, listening to the majestic melodies of elysian birds with much passion and pleasure, he rambled, as slowly as molasses, around the shady alley with full of unknown, unprecedented and glittering flowers, to which he has laid his eyes on for the first time in his life.” (Peshin namozidan so’ng, umrida ilk daf’a ko’rib turgani – notanish anvoyi gullar yal-yal yongan salqin xiyobonda jannatoshiyon qushlarning hur navolarini zavq-shavqqa to’lib tinglashgancha ohista kezib yurdi.)  Alliteration.

f) “While H. Koyki was still ‘beating of a different drummer’ calmly, he eagled his eyes and kept a close watch on the fluttering, waving intensity of Babur’s believed thoughts and the momentary motions of multiple feelings which embodied instantly in the sublime face of his interlocutor – Babur.”

(H.Ko’ykiy hanuz muntazir qo’l qovushtirib o’tirarkan, hamsuhbatining ulug’vor chehrasida lahza sayin tajassum topayotgan turfa hislarning oniy jilvalarini, fikrning tutqich bermas shiddatini zo’r diqqat bilan kuzatar, ulardan o’zicha ma’no topmoqqa tirishar edi.) Alliteration.

g) “And again Babur himself softened this strained situation.” (Bu o’ngg’aysizlikdan yana Boburning o’zi qutqardi) Alliteration.

h) He knew very well that this “magic phrase” could give immense serenity and strength to his sorrowful soul, when the moments – waiting matchless tortures such as scorching heat, hunger, thirst, misery; and the moments – awaiting for the embracing cold death – were ahead, by-and-by. (Hali oldinda jazirama issiq, ochlik, tashnalik, tushkunlik singari mislsiz uqubatlar kutayotgan, istiqbolda ajal quchog’ini ochib turgan bir paytda bu so’zning mahzun ko’ngilga naqadar ulkan quvonch va quvvat bag’ishlashini u yaxshi bilardi.) Alliteration.

i) Following day, exhausted Binokul within the hunger and hurt, beseeched his master to have mercy. (Ertasi kuni ochlik va og’riqdan sillasi qurigan Binoqul ustozidan o’tinib iltijo qildi) Alliteration.

j) You would rather leave me alone and avoid killing your time, Your Grace, ooooooh… (Taqsir, meni shunda qo’yib, yo’lingizdan qolmang, uh-h…) Graphone.

k) Rugged large rocks which saw the blood of bare foots. (Yalang’och tovonlarning qoni tomgan chag’ir xarsanglar Alliteration.

l) Waaateer, waaaaateeer… Your Grace, a drop of water, take my life and help me to get rid of these torments! (uv…Su-u-v… Taqsirjon, bir qultumgina suv, umrimni beray, taqsirjon, bu azobdan qutqaring!) Graphone.

m) Ooooooh-oh! Your Reverance, it is my ultimate solicitation: I put in a plea for you to cover the tracks of my father if you get a chance. (Uh-h! Taqsir, so’nggi o’tinchim: imkon topsangiz, otamning daragini so’roqlab ko’rarsiz) Graphone.

n) Aaaah-ah! Your Reverance, bless me… bless me, I need your benediction!

(Ha-ah! Taqsir, rozi… mendan rozi bo’ling…) Graphone.

o) A timid inn on the caravan route which is settled along the Agra Bazaar, to which the wayfarers infrequently drop in – as they appear to be a bull in a china shop, is discordantly noisy this evening rather than before, “with silver bells and cockle shells and pretty sells – all in a row” (Agra bozorining etak tomonida joylashgan, odatda yo’lovchilar ko’pda bosh suqavermaydigan pasqam karvonsaroy bu oqshom har qachongidan ko’ra sershovqin) Assonance.

p) Today he went out for a stroll around the city at dawn and as he was returning back to his sanctuary, when twilight crept upon the darkening mind, a sudden and stringy stare of one gloomy stranger who was next to the gate caught his attention. (Bu kun erta tongdan shaharni kezib, qosh qorayganda qo’nalg’asiga qaytarkan, darvoza oldida o’tirgan turq-tarovati g’alati bir kimsa tuyqusdan e’tiborini tortdi) Alliteration;

q) After all, it will not end well, it does not matter, at last, you will have harm and harsh in the end. (Baribir oxiri voy bo’lur, ha! Bilib qo’y, ha, oxiri voy!) Alliteration.

r) On the Eve of the Convocation’s Closure, a gallant gate-guardian – a Watchman, whose gold-threaded robe’s collar was embellished with gilded embroideries, penetrated and bowed expressing his respect. (Mashvarat nihoyasiga yetay deb qolganida zarbof to’ni yoqasiga zarrin uqa tutilgan barvasta eshik og’asi kirib ta’zim qildi) Alliteration.

s) Following father’s footsteps, he grew up as a brave man. (Otasiga tortgan ekanda, jasur yigit bo’lib ulg’ayibdi) Alliteration.

t) As far as I hearkened, for the time being, he strolls along the streets – voices praying and praisings. (Endilikda ko’cha-ko’ylarda hamdu sano aytib yuradir, deb qulog’imga chalinadir…) Alliteration.

u) For a while, he gave up giving a glinting gaze to the book and took his previous position. (U kitobdan bir dam nigohini uzib, yana qad rostlab o’tirdi) Alliteration.

v) Mirza Babur’s mulish brows frowned with a firm feat and said. (Bobur Mirzoning qaysar qoshlari mardona chimirildi) Alliteration.

w) A brilliant book - “a spiritual sophistication of human’s soul”. (Yaxshi kitob – kishi ruhining jon ozig’i) Alliteration.

x) Soon, speaking silence simmered down between them and slow the moment was. (Oraga og’ir dam jimlik kirdi, sukunat…) Alliteration.

In this way we may create special stylistic devices while translation.

References:

1. Khayriddin Sulton. “Saodat sohili”. –T.: G’. G’ulom, 2005. 82-123 p.
2. Арнольд И.В. Стилистика современного английского языка. -Ленинград: Просвещение, 1981. -296 с.
3. Galperin.I.R. Stylistics. - Moscow: Higher School Publishing House, 1971. 344-p.