This article is about a true friend of the Uzbek people, translator and poet Alexander Feinberg. His life experiences, works and translations are given in a concise manner to witness the true purpose of the poet’s poems and his charm.
Alexander Arkadevich Feinberg was born on November 2, 1939 in Tashkent.
He was born after moving from Novosibirsk. After that for the rest of his life he lived and created works in Tashkent. For several years, he led the workshop of young writers in Tashkent.
He was also considered a member of the Writers’ Union of Uzbekistan.
He was an extremely prolific creator. He has written 15 poetry books. Based on “Writers Scripts” feature films and more than twenty animated films are shot based on his work.
He translated epics and ghazals, poems of modern Uzbek poets such as Abdulla Oripov, Erkin Vohidov, Omon Matjon into Russian, and through this he allowed the people to enjoy the rare gems of our literature and served the development of friendship and cultural relations between peoples.
Therefore, all literature in our country, regardless of the language and nationality of the writer, deserves respectfully mention. The great Uzbek literature of the 20th century representative, Hero of Uzbekistan, famous poet Abdulla Oripov about him:
“As for the work of Alexander Feinberg, all the high words are one hundredth of the truth does not reflect part of it, because he was, in fact, a unique poet and translator. In Russian none of the writers who speak so much to our sunny country can sing a sincere song”
We can know from the writer’s attention that Alexander Feinberg has a unique place in the world of creativity and has deeply penetrated the hearts of the Uzbek people is a human being. The artistic world of the poet’s work is characterized by a harmonious combination of past and present, West and East, nationality and mutuality.
After continuously enriching his literary knowledge and vocabulary, he began to translate the works of Uzbek poets and achieved great success in the field of artistic translation. In this creative process, according to Zhukovsky, the works of the poets are being translated.
He strove to be a worthy “rival” rather than a “slave,” as he said in the poem “Rebellion of Souls” by the national poet of Uzbekistan Erkin Vahidov, in Tashkent.
Translations of works of Uzbek poets named “Oqqushlar galasi “were published. The collection is the double peak of Feinberg’s translation activity.
The poet’s poems have penetrated so deeply into the hearts of the Uzbek people that the mystery and attractiveness of the image, the brightness and clarity of feelings accompany the reader and make his thoughts wander for a long time. It takes you far away and fills you with deep thoughts.
To sum up, Alexander Feinberg has a strong affection for Uzbekistan. His love is incomparable, as is his loyalty, in introducing our literature to the world. Thanks to the great services he provided to our people, he became a great poet. His works nourish our spirituality, calm our souls, and bring peace to our hearts. So, do not honor such a person, his works do it for him. It is impossible not to read his work with love.
Shakhina Shukhratova is a student of Uzbekistan State World Languages University in Tashkent.
NIGHT AND DAY
The moon and I
spend our nights
on fish and tequila.
Then dawn comes on
with welcome
oranges in her basket.
At times like this
we cherish
the gifts of our healers
and yet recall
how eager
once for a casket.
WHAT WANTON
Which village chemist took us from his shelf
and mixed us with his pestle,
put us in pots,
and sold us to customers with their milk?
(they took us with cereal
and died in knots)
And which astrologer played with ourselves
his odd game of celestial
connect-the-dots?
(he made the moon turn the tides into whales
against glittery crystal
chandelier yachts)
DOWSER
Once I was proudly regarded
as the foremost geographer of You:
I surveyed the careful topography
as I mapped your features anew,
measured each promontory encountered,
and charted every defile.
Many times had I plumbed for your treasures
and glad had continued my earthy research.
And I knew I could move
my stretched willow out
to discover the sweet waters below.
But now that I live in exile from You,
now that your landscape has gone,
I find it was not your true geomancy I'd learned.
For though I'm sure that it was your well I discerned,
I never divined the source.
FIX
Not by any charms or karma.
We all are ruled by lips and arms.
The best arms are keep under sleeve,
phantom limbs we almost believe.
Lips must be always in action:
proclamations propaganda
posters slogans podcasts broadsides
downloads headlines broadcasts soundbites
to entertain alarm arouse
justify distract and excuse.
Terrorists! Fascists! Immigrants
Steal Our Land Our Jobs Our Women!
Innies! Outies! Leftists1 Righties!
Liberals! Mobs! Neo Nazis!
Prosperity Or Poverty!
Our Freedom Or Our Slavery!
Criminals! Our Open Borders!
Infidels! Monarchists! Trade War!
Stolen Elections! Deviants!
Antisemites! Spies! Jacobins!
Family Values! Lies! Misfits!
Epidemics! Nuclear Threats!
Divine Order! Thieves! Bolsheviks!
And thus we’re judased by a fix.
BADGES
Wedged within your fresh crotch --
this now is all I own.
The pasts are buried bones, arrowheads, broken pots that belonged to other lovers, to lost cultures.
Wastelands conceal the nests
of their long-gone futures.
Keen time dines on butchers’ scraps as well as sweet breasts.
Their pasts are buried bones.
This now is all I own.
Calms punctuate the storms
that chart activity.
We were not and won’t be.
Lover – to this culture we belong, not others.
Hedges and not bridges
demarcate these towers.
It’s not in our power to swap campaign badges that chart activities.
We were not.
We won’t be.
The Hallucination
It tracks the edge of the wilderness
inside the skull of the mind,
tongueless yet obstreperous,
shouting like King Ubu lost in Poland.
It is shocking how unshockable it is.
The raptors of consciousness
gather in its many caves,
the blue shells of their eyes
do not blink.
Argus is its only ancient commentary,
though Medusa is to come.
Count its eggs, those tiny mausolea.
The mice in the garden gave it all their stories.
The mountain flowers are frozen like so many monkeys
in its zoo of gazes. The coyotes themselves
are whining to get in, you can hear them every night.
The ravens shake their beaks and coolly smirk
at the madwomen staring at their hands that are holding nothing.
For young people living in the world of adults, “love” is a means of defiance and resistance. Explore with respect to the literary text and any cinematic adaptation of Romeo and Juliet prescribed in your course.
The frantic pace of the movie reveals the outburst vehemence and impulsive hot-headed nature of the dwelling aboriginal of Verona as latterly foreshadowed by the rage, grief and passion of the feuding rivalries between the adversaries-Capulets and Montagues----true to the authenticity of Shakespearean spirit. 1960s film version was focused on tragic love; the 1990s is about violent love.
Shakespearean dramatis persona were the milieu of the starcrossed lovers and their inner moral dilemmas of those minds whose temperaments resonate reckless and hasty nature as the dysfunctional world of the Montagues and Capulets whose blood and honour were inseperable. Modern day mise-en-scene of the adaptation is a brilliant spectacle that marvels the accomplishing achievements through bestowal of laurel wreathed bouquets and accolades. For instance, Mercutio’s raving in the Capulet’s ball makes unimpeachable exemplary phenomenon with the bottling of acid beforehand. Romeo’s decision to end his life with poisonous drugs parallels the lifestyle of violence and addiction. The mafia clans fanaticism of religious sentiments as projected by their Catholic vein running through the plot juxtaposes coldblooded aggression as ironically spotlighted by the stereotypical families.
The close shot camera focusing the Shakespearean hero and heroine cloistered by the walls of Verona and confinement by window frame of patriarchal abode respectively. Upon revealing close up shot Zeffirelli’s camera angle moves to showcase Romeo attired in a deep, lilac; a Montague bereft of Capulet vulgarity and ostentation; nonetheless, pill box hat, eyeliner, flawless complexion and the flower exemplifies effeminacy. “A glooming peace this morning with it brings. The sun for sorrow will not show for his head”-----unshaved, unkempt Romeo beside swollen lips and fluffy faced Juliet in the tomb scene is the visual artifice in commitment to the ironical perspectives of the drama. Zeffirelli’s textual interpretation literally elucidates Shakespeare’s highly stylized and emotionally expressive naturalism that bestows weight to the narrative moments like Juliet’s departure epitomizing overexcitedness and emotional disorientation by the state of the physical dizziness. Here, as throughout, Zeffirelli creates a situation where visibility becomes feeling and feeling becomes awareness.
Religion of love imagery foreshadowed by the sonnet dialogue is absolutely superbly visualized filmic adaptation to cherish beneath the connotations of pilgrimage and saintliness: institutionalized and ritualized love-making courtship. The starcrossed lovers romantic love-making sonnet in the background depicted by the imageries of saints, pilgrims and statues brings the abstractest essence of martyrdom, canonization and immortality---the fabulous trappings embodying their history---their personalities and their naivetes, and their uncertainty of each other and the awareness of the social context in which they find themselves in the ignorance of perils. Choruses last six lines musical effect is absolutely inappropriate and unnecessary addition to the cinematic conventions of diegesis hovering between snapshots and painting, documentary and fiction; reconciling the present tense with the past tense of the film, ethical space with that of the cinema and history with story as profoundly replicated in Mercutio’s remark to Romeo is appropriately credible to Zeffirelli’s diegetic: “Now art thou what thou art, by art as well as by nature.”
Further ReadingSarah L. Lorenz’s “Romeo and Juliet”: The Movie, The English Journal, March 1998, Volume 7, No 3, Teaching the Classics: Old Wine, New Bottles, March 1998, pp. 50-51, National Council of Teachers of English
Michael Pursell’s Artifice and Authenticity in Zeffirelli’s: “Romeo and Juliet”, Literature and Film Quarterly, 1986, Volume 14, No 4, pp. 173-178, Salisbury University
Eid-Ul Azha (2)
The heart is on the goats, cows, camels, or any other animals-
That permits on the day for us
Feeling a touch of love
Sacrifice our best like the friends
So nice of getting active by doing so many things
By embracing, meeting and distributing
The meat to the relatives and neighbors
And enjoying the taste and beauty of sacrifice
Spread the light of brotherhood among us
On the other side the greatest assemble of the Muslims at Ka’ba in Mecca
Pray to Allah for the salvation of the soul
And may He be merciful to the humankind
We are passing our days so acute regarding natural imbalance
And facing the challenge of unknown diseases
Oh Allah! Please, pardon us
Make the world suitable for us to live in peace
We are going to sacrifice our best
Please remove us from our all misdeeds and sins
And receive our sacrifices we do on the day.
Chapainawabganj, Bangladesh,
13 June, 2024.
Md. Mahbubul Alam is from Bangladesh. His writer name is Mahbub John in Bangladesh. He is a Senior Teacher (English) of Harimohan Government High School, Chapainawabganj, Bangladesh. Chapainawabganj is a district town of Bangladesh. He is an MA in English Literature from Rajshahi College under National University. He has published three books of poems in Bangla. He writes mainly poems but other branches of literature such as prose, article, essay etc. also have been published in national and local newspapers, magazines, little magazines. He has achieved three times Best Teacher Certificate and Crest in National Education Week in the District Wise Competition in Chapainawabganj District. He has gained many literary awards from home and abroad. His English writings have been published in Synchronized Chaos for seven years.
Our contributor Michael Lukas has suggested some literary books by both Jewish and Palestinian authors people can read to better understand the region and the conflict.
Also, here are some non-partisan humanitarian ways in which literary folk can consider bringing our unique skills and interests to assist.
Librarians With Palestine has the Matloub (Wanted) project where people from anywhere in the world can choose books off of a website and donate to have them shipped to libraries in the region.
We Are Not Numbers matches up writing mentors who live outside Gaza with Gazan youth who want to tell their stories. They are also looking for venues to repost and reshare the stories.
The Gaza Book Project is an initiative to replace the books in a bookstore that was recently destroyed in the war. They invite people from around the world to donate used books from their personal collections with a letter included about why the book is meaningful to them, with the goal of sparking international connections over literature.
Freelancers in Gaza, founded by a woman from the region, seeks to provide Gazan youths with career mentorship and connections. They’re looking for more mentors from around the world to virtually mentor Gazans who share their career paths.
Next, an announcement from one of our contributors.
(Image is of a smiling Black woman with big hoop earrings, short hair, a light blue sweater, and her hands folded in front of her).
Coral in the Diaspora by contributor Jerrice J. Baptiste is officially available for pre-order and is the third chapbook in Abode’s 2024-2025 lineup!
Book Description:Coral in The Diaspora by Jerrice J. Baptiste is a collection that captures the lives of the Haitian people as they embrace the goodness in their community. It celebrates the wisdom of the elders as leaders who are cherished for their commitment to help the island thrive. Each member of the island’s community is welcomed and valued for their special gifts and the joy they each create by being unique souls. Coral in The Diaspora creates a visceral experience for its readers through its colorful imagery and beautiful language by giving voice to the island of Haiti.
About the Author: Jerrice J. Baptiste is a poet born in Haiti. She has educated different ages through her seven multicultural children’s books with the whimsical talented artist April Matula, and also by her full-length poetry book titled Wintry Mix. As an author she has presented her books in hundreds of public & private schools since 2013. She is also the founder of Authentic Poetry workshops in The Hudson Valley, NY for the past 20 years. She has been a recurring teaching artist/poet at The Omega Institute in Rhinebeck, NY. More about her here.
Our first June issue, Remember Who You Are, covers a variety of ways in which people embrace, create, learn about, and discover their self-concepts. From scholars writing about the history and culture of Haiti and Uzbekistan to a tribute to an immigrant grandmother who left to re-create herself, to people rejecting oppression and violence and finding themselves in nature, wilderness, love, family or chosen family, to those reaffirming their values in a confusing world, to those going on adventures, reflecting on the human condition, celebrating their birthdays and their radio careers in Ghana, or simply playing with words, colors, or syntax to create individualized art, this month’s creators are seeking to understand and reclaim themselves.
Jacques Fleury reminds us of the revolutionary history, vibrant spirit and economic diversity of Haiti and how the country is more complex than Western headlines reveal.
Kurbanova Saodat Ismatkulovna speaks to another rich and complex and lesser-known culture, pointing out that Uzbeks rank highly among measures of the world’s happiest people. She suggests that it has to do with the country’s peaceful culture and natural beauty as much as with material prosperity.
Mixriniso Jurayeva celebrates the history and the unique poetry embedded within the Uzbek language. Uljaboeva Hilolaposhsho highlights the Uzbek language’s crucial relationship to the Uzbek culture. Jorayeva Marjona Baxtiyor delves into Uzbek sociolinguistics and suggests that how Uzbeks use language reflects the beauty and wisdom of their culture. Norsafarova Nilufar discusses the grammatical structure and syntax of the Uzbek language.
Rosiyeva Gulbahor speaks to the joy of education and reading. Shokhida Jurayeva encourages parents and caregivers to bring children books to read for pleasure.
Atajanova Ogultuvak’s essay outlines the importance of early childhood education and Uzbekistan’s efforts to make that accessible to all young children. Gulsevar Xojamova also highlights the importance of education to Uzbekistan and its government. Abdukhadirova Mahliyo explores the psychology of early childhood education and development.
Malika Oydinova advocates for all students to become proficient in a foreign language, for personal as well as professional development. Shokhzod Dilmurod highlights the role of information technology in physics research.
Azimova Munisa describes her personal and academic life goals with determination to reach them. Pascal Lockwood-Villa asserts how he’ll shape his own self-concept, independent of the pressures of commercialism or troubled romances. Cheryl Snell’s poetry highlights the tension between fear and doubt through its dramatic allegory of the protagonist’s ascending from bed on wings of hope, and also questions our dependence on media.
Andrew MacDonald explores how news and media images seep into our collective and personal subconscious. Patrick Sweeney does something similar, interspersing cinematic and worldly imagery into his one-liners.
Mark Young shares what he thinks about or listens to when he should be writing, which is also a tour de force of cultural imagery that has shaped him as an artist and person. Leslie Lisbona’s short story outlines how a dramatic painting of a woman, which she purchased and felt compelled to stare into during Covid-19 shelter-in-place, moored her and gave her confidence during a time of personal change. Ghanaian DJ Ike Boat pens a poem celebrating his own birthday and his creative career and values.
Grant Guy’s visual imagery pays tribute to the No! movement in art, in which artists rejected the consumerism that they saw was becoming part of the art connoisseur world.
Michael Robinson contributes a gentle and spiritual poem in memory of a kind and very close friend who passed away, while Wazed Abdullah pens a simple and heartfelt tribute to his deceased mother.
Kristy Raines highlights the fragility of true love and the need to hold onto it and nurture it. Prasannakumar Dalai writes of warm spiritual and romantic devotion. Graciela Noemi Villaverde evokes a tender moment of longing for a lover not yet present while Faleeha Hassan poetically begs a long-lost love to toss off the coat of absence and re-emerge. Maja Milojkovic speaks to lovers who are so intimately connected that they see echoes of each other’s spirit within their own reflections.
Sayani Mukherjee describes human and natural life bursting forth in a London spring as Zarnigor Ubaidullayeva extols spring’s beauty and fresh new life energy. Muntasir Mamun Kiron reveres the legacy of deep-rooted trees growing alongside generations of humans. Lola Hotamova compares the journey of life to drifting down a brook while Mashhura Ergasheva finds companionship with the rain and Don Bormon rejoices in the fun, renewing, and cleansing energy of a rainstorm.
Dr. Maheshwar Das also pens verses about seeking out the divine, along with tender care for a lover and the beauty of small moments watching the birds. John Edward Culp draws on a farming metaphor to highlight how love prepares and mends the soil of the heart.
David Sapp’s story relates how kindness and love are not characteristics unique to hippies or those who openly claim those traits. Shahlo Abduhamidova revels in the peace and comfort of a family meal. Christina Chin and Uchechukwu Onyedikam’s poetic collaboration focuses in on small scenes in our families and neighborhoods and on the perennial human life cycle. Bill Tope’s short story describes the experiences of people who fall through the cracks of society and celebrates chosen family among people who care for each other, as Nosirova Gavhar renders up a tale of children’s kindness to a neighbor.
Jesse Emmanuella’s short piece shows that life comes with both the bitter and the sweet. Lidia Popa reflects on the passage of history from a vista point on a peaceful and historic beach as Mahbub Alam draws on nature to consider the complex nature of life: its peace and drama, love and suffering.
J.J. Campbell evokes the broken dreams caused by various relational disappointments as Choriyeva Shaxrinoz portrays the aftermath of a broken relationship. Philip Butera draws on fruit metaphors to illustrate the bitterness of lost love.
Mykyta Ryzhykh’s poetry focuses in on life growing in the shadows of large societal trauma and oppression. Dr. Jernail S. Anand laments societies’ pursuit of ambition and worldly success at the expense of beauty, compassion, and other humane values. Amir Hamza reflects on our complex relationship with smartphones: wanting them but knowing it isn’t good to become obsessed. Elmaya Jabbarova urges society to bring our compassion up to the same advanced level as our technologies.
Lilian Dipasupil Kunimasa reminds us to seek peace and remember the human cost of war, and praises tigers for their shrewdness, not their violence. Taylor Dibbert illustrates how the “ugly American” stereotype of obnoxious travelers is not totally without basis.
Jonathan Butcher crafts vignettes of experiences that should have been beautiful but were less than expected in reality. His poetry touches on environmental pollution and greed. J.K. Durick’s poems deal with the ways we get stuck in life, physically or mentally, which includes watching too much news.
Z.I. Mahmud probes the moral tension within Batman films, the question of whether vigilante action is appropriate to deal with criminal violence, through an exploration of other characters in the films who mirror Batman.
Mesfakus Salahin reminds us that no human being can escape death. Duane Vorhees speaks to the inevitable passage of time, how the present will become the past, and all will become history unearthed and revealed.
Isabel Gomez de Diego’s photography explores how we relate to the vast expanses of life beyond ourselves: natural landscapes or historical ruins. Federico Wardal outlines and praises the many international figures who came together to support the near-miraculous veterinary effort to save injured horse Al-Khamilah.
Christina Chin and Paul Callus’ collaborative haiku highlights moments of pursuit and action, small and larger dramas. Kylian Cubila Gomez presents photos of scenes that are at once ordinary and unique and fancifully endearing.
Gabriel Flores Bernard turns inward to the human psyche, illustrating how our moods can serve as background colors for the writing or art we create. Joshua Martin explores the impact of commas and words and syntax in a free-ranging set of poems. Noah Berlatsky probes the overlap between art and practicality, questioning whether elegantly presented or passionately shared collaborative knowledge can become poetry. J.D. Nelson’s one-line fragments reflect an experience of the world that doesn’t make linear sense, but somehow feels right.
We expect that this issue will feel somewhat similar to many readers as they navigate the thoughts and ideas of so many different creators from such a variety of backgrounds. We only hope that this monthly mixture will generate a sense of wisdom and completeness on some level for readers.
GRAMMATICAL DIFFERENCES BETWEEN ADVERBS AND MODAL WORDS
Abstract: This article discusses the introduction of modal words in the modern Uzbek literary language and the difference between similar and different words, documents. In addition to works of art, examples of them are given.
Key words: word groups, modal word, introductory word, feedback, relationship, morphology, syntax, phrase, sentence, analysis, punctuation, communication.
Note: This article discusses the modal words and introductory words in the current Uzbek literary language, their similarities and differences. Examples of them are given in the use of works of art.
Key words: word groups, modal word, introduction, reasoning, relationship, morphology, syntax, vocabulary, sentence, analysis, punctuation, communication.
Annotation: V dannoy state rassmatrivayutsya modalnye slova, sushchestvuyushchie v sovremennom uzbekskom literaturnom zyyke, a similar vvodnye slova, big skhodstva va razlichiya. Examples privedeny v slachae ispolzovaniya hurozhestvennyx proizvedeniy.
Key words: category word, modal word, vvodnoe word, obratnaya svyaz, relationship, morphology, syntax, vocabulary, predlozhenie, analysis, punctuation, communication.
Introductory words are words that add confidence, suspicion, and problematic meanings to the speaker’s opinion.
The introduction is always separated from other parts of the sentence by a comma (,).
In the analysis, the input words are represented by a wavy line below the straight line.
Introductory words can be used in different places of the sentence. In writing, if it comes at the beginning of the sentence, after the introductory words, if it comes in the middle, then both occurrences of the introductory word, if it comes after the sentence, then a comma is placed before the introductory word.
Modal words are words that express the attitude of the speaker to the expressed idea (such as trust, suspicion, pity). Modal words are separated from other words in the sentence by commas. Meaning types of modal words. Modal words mean confidence, doubt, joy, regret, order of thought, control.
Meanings of modal words
Modal words
Examples
Trust
Of course, no doubt
4) originally grew out of a lexeme with the composition “noun lexeme + attributive form builder” and was not divided into meaningful parts: шуба + сиз = without a doubt, шкла + ли = like (it is difficult to pronounce the kll sounds in the next example because the sound i is included in the range of kl sounds) like ;
5) originally formed from a lexeme and a form-forming morpheme, growing as a unit of the modal category, the form-forming morphemes lost their grammatical essence and became inseparable. Such modals are originally:
a) has the composition of “lexeme + unit number + III person relative + main agreement indicator”: chama+I+si+Ø II=chamasi,
like content+ØI+i+ØII=content.
b) having the composition of “lexeme+unit number+place or output agreement affix”: truth+ØI+da=in truth, truth+ØI+dan=truly like (The next modal is often used with a predicate in the form of truth );
d) “lexeme+ singular number+third person accusative+locative or derivational affix has the composition”: asl+ØI+i+da=actually, aft+ØI+i+dan=apparently.
2. Derived from lexemes of a category other than nouns:
1) The adjective grew out of the lexeme form: like natural;
2).
3) Tajik has grown from the verb form: in this case, hoh -‘ista’, no -‘-ma’, from the verb form -‘ista – istama’ in Uzbek at the end of both parts h sound changed to y sound, the first o sound in the second part changed to a sound: hoh-nohoh → hoynakhoy; there was also a serious change in meaning: ‘willingness’ → ‘tusmol’;
Pure and functional modal words. Modal words are also divided into pure modal words and functional modal words. Only modal words are considered pure modal words: indeed, indeed, unfortunately, attang, of course, apparently, first of all, so, if only, for example.
Such modal words are used in the modal sense, apparently, apparently, in general, perhaps, clearly, undoubtedly.
Modals mainly grew out of the unity of categories based on the development of meaning:
1. The noun grew out of the lexeme form: these are the types of modals. In this modal:
1) is considered equal to the root lexeme form: as possible;
2) it is equal to the derivational form of the original Arabic lexeme and is considered a root from the point of view of the Uzbek language: like (haqiqat+an);
3) originally consists of a preposition and a lexeme, and is considered basic from the point of view of the Uzbek language: darhaqiqat (consists of the preposition dar in Tajik and the lexeme of truth borrowed from the Arabic language, and is defined as lexeme form of analytic grammatical form in Tajik as dar truth . is written), by the way (This modal is also such a help: preposition dar+Arabic case’ – ‘in fact’) as well. The archaic form of filhaqiqat is from the Arabic preposition fi, the article of definiteness al and the lexeme of truth: fi al haqiqat → filhaqiqat;
4) Grown from the conjunction: perhaps.
3. The compound noun is formed as a result of ellipsis (dropping) of the participle: self – as from itself.
4. The combination is formed by the transformation of the form into a modal: in any case, as in any case.
If a modal unit grows on the basis of a category unit, in such cases, homonymy usually occurs
Introduction words are considered as one part of the introduction, and introductions are divided into three types:
1. Introduction
2. Introductory compound
3. Introduction.
Introductory words can never be part of a sentence and do not enter into any relationship with other parts.
Entries have great stylistic, expressive-emotional possibilities. Introductions are rarely used in a formal manner, as they are mostly subjective assessments. Such words increase expressiveness and effectiveness of speech.
One of the main differences between a modal word and an introductory word is that a modal word is studied in morphology, while an introductory word is studied in syntax. For example, in the exercises or assignments, if it is said to “identify the word groups in the following sentence, it is considered a modal word. For example, let’s take the sentence, first of all, a person must be a believer. We will analyze this sentence morphologically, that is, Let’s break it down into categories:
The introduction is not a word, a noun, an adjective, a verb
MODAL WORD, NOUN, ADJECTIVE, VERB.
First of all, if it is said to analyze the sentence “A person must be a believer”, i.e. identify and analyze the parts of the sentence, it is analyzed in the form of INTRODUCTORY WORD (not modal word), NOUN, ADJECTIVE, VERB. Distinguishing them mainly helps the applicants in solving the tests.
Modal words are found in all works of art and are used very widely. Below, for each meaning of modal words, modals taken from various works of art are described one by one:
1. Confidence: These are my dreams, of course.
2. Suspicion: Maybe, like me, he wants to walk long and hard to never be separated.
3. Confirmation: In the evening, Murad Ali’s condition worsened, he called his sister at night and said: “Let me tell you what I have to say about my medicine.”
4. Conclusion: He has never slept under a blanket, so he does not know what a thin white petticoat is.
5. Order of thought: First of all, if it was his father’s wish, then he apologized for his rudeness.
6. Proof of opinion: “For example, I don’t eat,” he said coldly.
“Look, I didn’t know you were full.”
This modal word is often widely used in dialogues.
7. Pity: Well, attang, I wish I could say that it works there too.
8. Joy: Good luck, Father hasn’t left for the trip yet. He is currently in Fergana.
9. Unfortunately, you did not do well in the exam.
References:
1. Abdullah Qahhor. Love (short story). Tashkent Publishing House of Literature and Art named after Gafur Ghulom – 1998.
2. Rasul Hamzatov. My Dagestan. The first book. Publishing House of the National Library of Uzbekistan named after Alisher Navoi. Tashkent-2008.
3. Otkir Hashimov. Four pillars of life. Short stories and stories. Merius, Tashkent-2018.
4. Shavkat Rahmatullayev. Modern Uzbek literary language (textbook). Tashkent. “University” – 2006.
5. Fame. Gold is stainless. Chief editorial office of “Sharq” publishing-printing concern. Tashkent – 1995.
Norsafarova, daughter of Nilufar Boybori, was born on April 24, 2004 in Dehkanabad district of Kashkadarya region. At the moment, she is a student of the Uzbek language and literature department of the Shahrisabz State Pedagogical Institute, Faculty of Languages. Norsafarova Nilufar has been actively participating in many international and republican competitions. In 2023, she became the owner of the “Innovative Promoter” badge.
In addition, she is currently actively involved in volunteer work at the institute. She is the author of such articles as “History of the formation of proverbs”, “Palindromes or words of the heart”, “Specific features of an epic work”, “The role and importance of connected clauses, separated clauses, impulses and introductions in a sentence”. These articles were published by foreign publishers and in the prestigious publishing houses of our republic.
