Untitled

Last night the beast of burden

preyed on darkness

the sinister weaving of mind

came into distinct presence

in a hill town, as  clouds rumbled

under black skies

Were  man and animal in conflict?

Or was it just the ghost stalking 

a town in the landscape of the wind,

sky and torrents of ghostliness?

Shillong you will never change,

ever since I knew you; to run 

through your streets in the darkness

of skies and only the call of the fox;

in wilderness of strange forests,

A terror stricken solitude…

I felt your shadow following me

as I ran home with footprints 

left behind. The moon slowly 

withered into a crescent as 

the hills were comatose

Years later I heard of 

the ghost and the bowler hatted 

horseman; as horse hooves rent night skies

Do you remember how the dark

forests groaned under the toiling

radiance of your sun, as winter moved

into bursts of cloudy seas?

Ananya S Guha lives in Shillong in North East India. He has been writing and publishing his poetry for the last forty years.

Practical Analysis of Idiom Translation between English and Uzbek

Pardayeva Yulduz

                 2nd-year Master’s Student English Language and Literature       program, Faculty of Foreign Languages, Uzbekistan

             National Pedagogical university Named After Nizami

Abstract (English). This article offers a strategy-oriented practical analysis of idiom translation between English and Uzbek in both directions. The paper systematizes the procedures most frequently required in practice, including idiom-to-idiom transfer, functional substitution, paraphrase, calque, and compensation. The results show that natural idiomatic equivalence is the strongest option when available, but functional substitution is the dominant solution because image, register, and cultural framing often differ across the two languages. The article also identifies recurrent errors such as literalism, false equivalence, register mismatch, and pragmatic loss, and proposes a staged best-practice workflow for translators.

Keywords: translation strategies, idiom-to-idiom transfer, functional substitution, paraphrase, compensation, literalism, register mismatch, translation workflow

Annotatsiya (O’zbek). Ushbu maqola ingliz va o’zbek tillari o’rtasida idiomalar tarjimasining ikki yo’nalishdagi amaliy, strategiyaga yo’naltirilgan tahlilini beradi. Maqolada idiomadan idiomaga o’tkazish, funksional almashtirish, parafraz, kalka va kompensatsiya kabi amaliy jarayonda eng ko’p uchraydigan usullar tizimlashtiriladi. Natijalar tabiiy idiomatik ekvivalent eng kuchli variant ekanini, ammo obraz, uslub va madaniy ramkalash ko’pincha farq qilgani uchun funksional almashtirish ustun strategiya bo’lishini ko’rsatadi. Shuningdek, maqolada literalizm, soxta ekvivalentlik, uslubiy nomuvofiqlik va pragmatik yo’qotish kabi xatolar aniqlanib, tarjimonlar uchun bosqichma-bosqich ish jarayoni taklif etiladi.

Kalit so’zlar: tarjima strategiyalari, idiomadan idiomaga o’tkazish, funksional almashtirish, parafraz, kompensatsiya, literalizm, uslubiy nomuvofiqlik, tarjima ish jarayoni

Introduction

A practical analysis of idiom translation must move beyond abstract theory and examine how translators actually solve problems when direct phraseological equivalence is unavailable. In English-Uzbek translation, the challenge is not only to preserve meaning, but also to decide whether image, tone, cultural reference, or discourse function should be prioritized in a given context [1; 2; 3].

The dissertation’s practical chapter shows that translators routinely work with a limited but flexible strategy set: idiom-to-idiom transfer, functional substitution, paraphrase, calque, and compensation. The success of each method depends on genre, target audience, and the interaction between semantic adequacy and pragmatic naturalness [4; 5].

The aim of this article is to summarize the dominant practical strategies and to identify the most recurrent errors that reduce translation quality in English-Uzbek and Uzbek-English idiom transfer.

Methods

The study uses comparative qualitative analysis of representative idiom pairs discussed in the dissertation and its appendices. Each solution is interpreted through a strategy lens and evaluated according to semantic adequacy, pragmatic adequacy, idiomatic naturalness, and register compatibility [1; 2; 5].

A second layer of analysis focuses on error patterns. Special attention is paid to literalism, false equivalence, proverbization, excessive colloquialization, and the loss of politeness, irony, or humor, because these errors often make idiom translation sound unnatural even when the basic meaning is recognizable [3; 6; 7].

Results

The first result is that idiom-to-idiom transfer remains the strongest solution whenever a natural counterpart exists. Pairs such as to hit the nail on the head – mixni boshiga urmoq, or tishini tishiga qo’yib chidamoq – to grit one’s teeth, preserve both rhetorical compactness and figurative energy [1; 7].

The second result is that functional substitution is the dominant practical strategy. Very often the source image is not conventional in the target language, so translators preserve the communicative effect through another idiom: when pigs fly becomes hech qachon or tuyaning dumi yerga tekkanda, and qovun tushirmoq becomes to put one’s foot in it [2; 4].

The third result is that paraphrase is necessary under non-equivalence but risky when overused. Descriptive translation protects clarity for culture-bound items such as carry coals to Newcastle or some proverb-like Uzbek idioms, yet repeated paraphrase flattens style and reduces the idiomatic density of the text; for this reason, compensation is often needed in neighboring sentences or passages [5].

The fourth result is that the most common practical errors are predictable: literal translation of non-conventional images, false equivalence based on superficial similarity, register mismatch, and pragmatic loss. In dialogue, these mistakes can distort character voice; in argumentative prose, they can weaken irony, criticism, or politeness [3; 6; 7; 8].

Discussion

The results suggest that idiom translation should follow a staged workflow: detect idiomaticity, interpret meaning in context, choose the most appropriate strategy, check the target expression for naturalness and register, and revise for consistency. This procedure is more reliable than the simple opposition between ‘literal’ and ‘free’ translation [1; 2; 4].

A second implication is that direction matters. Uzbek-English translation often needs stronger register control because proverb-like authority that sounds natural in Uzbek may sound overly didactic in modern English prose, while English-Uzbek translation often needs stronger politeness adaptation in hierarchical or evaluative contexts [3; 6].

Finally, the study shows that high-quality idiom translation depends on systematic checking rather than intuition alone. Translators need phraseological awareness, sensitivity to discourse function, and readiness to use compensation when a single local equivalent cannot preserve all layers of meaning [5; 7].

Conclusion

In practical English-Uzbek idiom translation, natural idiomatic equivalence is ideal but limited, functional substitution is the dominant solution, and paraphrase remains necessary under strong non-equivalence. The most effective professional habit is a revision-oriented workflow that tests every idiom against meaning, tone, register, and communicative effect before the translation is finalized [1; 3; 5].

References

[1] Baker, M. In Other Words: A Coursebook on Translation. 2nd ed. London/New York: Routledge, 2011.

[2] Newmark, P. A Textbook of Translation. London: Prentice Hall, 1988.

[3] House, J. Translation Quality Assessment: A Model Revisited. Tubingen: Gunter Narr, 1997.

[4] Toury, G. Descriptive Translation Studies and Beyond. Amsterdam/Philadelphia: John Benjamins, 1995.

[5] Hervey, S., & Higgins, I. Thinking Translation. 2nd ed. London/New York: Routledge, 2002.

[6] Brown, P., & Levinson, S. Politeness: Some Universals in Language Usage. Cambridge: Cambridge University Press, 1987.

[7] Moon, R. Fixed Expressions and Idioms in English: A Corpus-Based Approach. Oxford: Clarendon Press, 1998.

[8] Nida, E. A. Toward a Science of Translating. Leiden: E. J. Brill, 1964.

Mother — The Light of My Life

The most sacred and dearest person in my life is my mother. A mother is kindness, patience, and the symbol of endless love. We meet many people in this world, but it is hard to find someone who loves as selflessly as a mother.

My mother is the one who brought me into this world and held me in her arms for the first time. Even when I understood nothing, she felt every cry of mine and found joy in every smile. She stayed awake at night by my side, and when I was sick, she stroked my head and prayed for me. Only as I grow older do I begin to truly understand the value of all this.

My mother’s hands have become rough from hard work, yet those same hands feel like the softest comfort to me. Even when she is tired, she never shows it. For my happiness, she is ready to sacrifice her own. Sometimes I wonder: why is a mother so kind? Because a mother’s heart lives with her child.

Now I am growing up and taking steps toward my dreams. Maybe one day I will go far away, but my mother’s prayers will always follow me. Because a mother’s prayer is the greatest strength and the strongest protection.

Everything in this world can be replaced, but no one can take a mother’s place. That is why we must cherish, respect, and show love to our mothers while we can—so that one day, unspoken words and undone kindness do not turn into regret.

Mother is the light of my life. As long as she is there, the world is bright. As long as she is there, my heart is full of hope. For me, the greatest happiness is to see my mother smile.

My name is Mubina, and my surname is Botirova. I was born on June 20, 2008. I am from Qiziltepa village, Oltiariq district, Fergana region. I am currently studying at School No. 29.

Identifying Restricted Vocabulary in Literary Works

Author: Usmonaliyeva Bahora Abduvali qizi

Affiliation: Uzbekistan State World Languages University

Email: usmonaliyevabahora@gmail.com

Abstract

This article analyzes restricted lexical units utilized in literary texts, specifically focusing on the linguistic and stylistic properties of dialectisms, phraseological units, and idiosyncratic authorial expressions. The research explores the formation of phraseological units, their variation processes, and their functional roles within artistic discourse. Furthermore, through the analysis of works by Abdulla Qahhor and Tog‘ay Murod, the study demonstrates the significance of idioms in character development, psychological portrayal, and the enhancement of aesthetic impact. The findings provide valuable theoretical and practical insights into the study of literary linguistics.  

Keywords: literary work, restricted vocabulary, phraseological unit, dialectism, literary text, stylistic features, lexical layer, imagery, individual style, language and society.

INTRODUCTION

Literature serves as a complex system reflecting human psychology, societal life, and an author’s aesthetic vision through linguistic means. Within this system, the lexical layer holds a distinct position, serving as a vital tool for unfolding content, animating characters, and intensifying artistic resonance. In particular, restricted vocabulary—comprising dialectisms, professionalisms, phraseological units, and socio-lectal markers—plays a crucial role in shaping an author’s individual style and realistically depicting the portrayed environment.  

The study of the functional characteristics of lexical units in literary texts remains a prominent issue in modern linguistics. The purposeful use of diverse linguistic layers not only elevates aesthetic value but also provides a clearer illumination of a character’s social background, worldview, and emotional state. Consequently, analyzing restricted vocabulary in literary contexts is of significant scientific importance in revealing the profound link between language and society. This article examines the application, types, and artistic functions of lexical layers, specifically restricted vocabulary, supported by evidence from selected literary works.  

Historical Context and Terminological Foundations of Turkic Phraseology

While phraseology as an independent branch of Turkic linguistics emerged relatively late, its scholarly roots trace back to the early 20th century. Initially, various terms were employed in place of “phraseology,” a process influenced by the linguistic traditions of that era.  In early 20th-century grammatical works, the term “phrase” was often used to denote a sentence or clause, differing from its modern sense—a phenomenon attributed to the influence of Russian grammar.

Azerbaijani linguists B. Cho‘ponzoda and F. Og‘azoda, in their work Grammar of the Turkic Language, introduced significant terminological innovations. Alongside “Semasiology” and “Stylistics,” they utilized the term “Idiomatism,” citing Turkic expressions such as boshga solmoq (to explain/instill) and ko‘z ko‘rmoq (to witness) as primary examples.  Systematic research into Turkic phraseology gained momentum in the 1940s and 50s. Prominent scholars S.K. Kenesboyev and Sh.U. Rahmatullayev are recognized as the founders of this field, having classified Turkic idioms and established the discipline’s theoretical framework.  

Methodology

To determine the linguistic and stylistic features of phraseological units, the following scientific methods were employed:

Descriptive Method: Used to characterize the relationship between form and meaning, structural composition, and the position of idioms within literary norms. This method was particularly instrumental in detailing the variation processes of numerical components in idioms.  

Comparative-Typological Analysis: Applied to identify commonalities and differences in phraseology between the Uzbek and Karakalpak languages. For instance, the equivalent forms of the idiom ko‘zi ilindi (to doze off) were examined through this lens.

  Contextual Analysis: This served as the primary method for identifying the function of idioms within the works of Abdulla Qahhor and Tog‘ay Murod. Beyond literal meanings, the analysis focused on the specific emotional-expressive nuances (e.g., irony, sarcasm, or affection) these units acquired within the text.  

Linguostatistical Method: Employed to validate the artistic impact of repetitions in Tog‘ay Murod’s style. For example, the repetition of the phrase mo‘min-mazlum (pious-oppressed) six times within a 33-word segment was analyzed statistically.  

Literary Analysis I: Abdulla Qahhor’s Phraseological InnovationThe artistic mastery of Abdulla Qahhor is evident in his ability to create new, individualized idioms based on general phraseology. Qahhor crafts expressions so profound and ironically sharp that they often attain the status of folk aphorisms, making it difficult to distinguish his original creations from traditional idioms.  

Every phraseological unit is rooted in a specific image or action. Qahhor leverages these foundational images to develop phraseological neologisms. For example, in the idiom og‘zi qulog‘iga yetdi (his mouth reached his ears), the physical imagery of a wide smile is used to convey intense joy.

Furthermore, he adapts metaphorical proverbs, reinterpreting existing imagery to instill them with unique semantic and stylistic functions.

  Literary Analysis II: Variation and Structural RelationsAlthough phraseological units are stable, they undergo transformations in speech, leading to new variants. Substituting numerical components often intensifies the descriptive coloring without altering the core meaning.  For instance, the common idiom biri ikki bo‘ldi (doubling one’s wealth) appears as biri besh bo‘ldi (increasing fivefold) in Cho‘lpon’s novel Kecha va kunduz to exaggerate the accumulation of wealth. Similarly, numerical variations in expressions like obro‘yi bir pul bo‘ldi (his reputation became worth one cent) versus uch pul (three cents) remain semantically equivalent, both denoting a total loss of dignity.  

Literary Analysis III: Tog‘ay Murod’s Folk Mastery

Tog‘ay Murod’s novel Otamdan qolgan dalalar (Fields Left by My Father) is distinguished by its natural, folk-oriented language. The author skillfully employs idioms to reveal character traits and thematic depth, stating that he intended the work to be a linguistic monument to the spiritual identity of the Uzbek people.  Murod utilizes the Surkhandarya dialect and colloquialisms to maintain authenticity. This is seen in the character Dehqonqul, whose simple nature is mirrored in the language used by his mother; instead of harsh rebukes, she uses affectionate scolding like “Oshingni yeyin sen tentakni”. 

Repetition is another hallmark of Murod’s style, used to heighten emotional resonance. Statistical analysis shows that in one 33-word passage, the descriptor mo‘min-mazlum is repeated six times to emphasize the character’s plight. 

Conclusion

Phraseological units manifest both as common linguistic units and as restricted vocabulary bound by dialect or individual authorial style. In the works of Qahhor and Murod, these units serve as essential tools for psychological depth and vivid imagery. Ultimately, the strategic use of restricted lexis enriches the linguistic map of literature.                                                

 References

1.Rahmatullayev, Sh. (1992). Phraseological Dictionary of the Uzbek Language. Tashkent: Qomuslar.  2.Kenesbayev, S.K. (1977). Phraseological Dictionary of the Kazakh Language. Almaty: Gilim.  3.Cho‘ponzoda, B., & Og‘azoda, F. (1924). Grammar of the Turkic Language. Baku.  4.O‘rozov, A.T. (2009). On the linguistic features of Tog‘ay Murod’s “Fields Left by My Father.” Language and Literature Education Journal, (5), 45-47.  5.Sadullayeva, D. Phraseological neologisms in A. Qahhor’s works and their semantic-stylistic functions.  6.Qahhor, A. (1987-1989). Selected Works. Tashkent: G‘afur G‘ulom.  7.Murod, T. (1994). Fields Left by My Father (Novel). Tashkent: Sharq.  8.Cho‘lpon. (2014). Night and Day (Novel). Tashkent: Yangi asr avlodi.  9.Ziyonet Educational Portal: https://api.ziyonet.uz/uploads/books/47828

The Legend of Loquat Island

1. You Bring All of Yourself

When the sun has fully turned to summer,

you are still there,

among the indistinct clouds.

You do not come,

do not step on any of the seven strings,

rhythmically stepping out of the unclear clouds.

Nor do I go.

The stop sign is yellow, hidden by pagoda blossoms;

I fear I might lose my way.

The wind runs along the shadows of flowers till noon,

and noon shatters in the sound of the qin.

Flowers are like eyes, gazing at fruits from afar.

Leaves and sails turn brown gradually —

summer is growing old.

For loneliness is a game of Go,

played by the left hand against the right.

In a throat murmur, I paint rust over your name,

walk near the fence, bend with the grapevines and peer.

It is already summer, so much summer.

Soon the flowers will put on yellow jackets.

The last bus always writes ugly novels,

yet cannot write your warm name.

You are my summer.

When you come, summer stays.

Let maple leaves burn themselves out.

As long as you bring all of yourself.

2. Perhaps I Do Not Love You

Perhaps I should not speak this obscure sentence.

Your drizzle is about to damp my swaying steps again.

Your story moves me,

moves the vast seasonal moods in my heart.

A liquid landscape rises on our cheeks, a curved theme.

Your eyelashes, scattered with chinaberry flowers,

take me as your future.

Yet from your small figure, I revisit my past.

In this summer with a mischievous sun,

innocent fruits stir the noise of old days.

It is only that we are too gentle, like water,

fond of waiting and remembering.

All from one moment’s attention

grew into the whole secret of my life.

I love you — the shadow of my childhood in you.

Please love me too — your promised autumn in me.

Let us be two mirrored Z’s,

lyrical on either side of a single sentence.

3. Duet

We walk into a night without a title,

into a bumpy alley.

The moon, a yellowish raven,

holds the burning road behind us.

One easily grows emotional in the dark.

You say it’s nothing — we’re poets,

so I am no longer shy.

I take your hand and walk past the lamps of misunderstanding.

Alley connects to street; the alley is a solo.

We are a bumpy duet,

perhaps all duets are like this.

We laugh secretly, and our laughter turns to flowers on branches.

We cannot turn back; the moon still lingers,

we have lingered too.

That year we both lost love, both looked pale.

It is fate, you say, pressing your lips

and holding me tighter.

I only lift my head and whistle a clumsy tune.

The alley leads to the long street.

We count the stop signs one by one and do not stop.

In every tree shadow, two pairs of eyes catch each other.

The duet behind us spreads into a clear mixed forest.

You imitate my whistle,

then scare yourself away.

On the main street,

we give away our bumpy heartbeats

to all the lingering figures of Pisces.

4. Loquat Island

Loquat Island lies where God does not reach.

Invitations are rejected,

stamps are rejected.

Even the temperamental typhoon

cannot land on Loquat Island.

Loquats on Loquat Island never ripen.

Summer flowers only bloom for crowded music.

All numbers from one to seven love lyricism.

Loquat Island, Loquat Island, far out at sea.

Tender green coconuts are lifted by tides to keep balance.

Drift bottles carry distant questions.

We pass through the typhoon.

We land gently, on each other’s coastal lips.

Since we came, the moon has hidden in the bird’s nest in the tree,

the sun has lost its way in our eyes,

and drizzle always murmurs softly.

Since we came, loquats no longer turn sour.

We occupy the date of waves and rocks,

the date of moon and sun.

We link our hands into a rainbow and claim sovereignty.

With a wave of the sleeve,

we snap the rope of the canoe,

wave away the one-way wind and rain.

Let us stay on Loquat Island —

be two loquat trees growing ten leaves each,

standing in a season where even stones can bloom.

Loquat Island, Loquat Island, abundant in love.

Let us pretend to be mountain spirits,

cloaked in litchi leaves, greedy and playful.

If one day the sea is stuffed full of loquats we shake down,

will you invite the lovelorn typhoon

to come to our Loquat Island

and taste authentic loquat love?

May 24, 1985

 Father’s light 

Father, your warmth is like the sun so bright,

Every word you speak guides me through the night.

When I grow weary, your voice gives me might,

In my heart, you are a beacon of light.

Your soul is vast, like the shoreless sea,

Through you, I found faith and the strength to be.

No hardship can ever discourage me,

For with you by my side, I stand strong and free.

Hardworking, honest, and kind in your way,

None can replace you, come what may.

Your smile is my joy, the light of my day,

May your life be a throne where golden rays play.

With you, our home is filled with grace,

Peace and happiness in every space.

Stay healthy and near us, in love’s embrace,

May joy follow every step you trace.

Gulsanam Mamasiddiqova was born on July 22, 2007, in the Oltiariq district of the Fergana region, Uzbekistan. A 2025 graduate of School No. 25 in Oltiariq, she is currently a first-year student at Andijan State University, majoring in Philology and Language Teaching (English). Gulsanam is passionate about literature and linguistics, seeking to bridge cultures through her creative writing and poetic voice.

Corsica 

France valued you at a price, and Genoa prospered from your sale.

Your isle of beauty took France’s lustful glances, as Genoa for gain, sold her costly Cabochon.

Your beautiful bay and dramatic cliffs caused so much contention for your dowry.

Palombaggia’s white sands are lovers’ basking points, where dreams and many fantasies come to fruition.

Rocky coves, diverse plains and mountainous interiors attract every romantic adventurer seeking your atmospheric and fragrant scrubland.

You are the pearl between Italy and France!

The very beautiful bride between, guarded jealously by France’s over-protective all seeing eye.

Bonaparte first inhaled you at infancy! 

On Saint Helena’s very distant bland shores, he nostalgically christened you his childhood paradise.

In his depths of longing, he craved and craved for your fragrant earth, like one who craved for his departed Josephine!

Joseph C Ogbonna is a widely published poet, former high school teacher and an amateur historian. Some of his many works have been published in Spillwords Press, North of Oxford, Waxpoetry Magazine, Borderless magazine, Micromance magazine, PoetryXhunger and in at least two dozen anthologies. He is also an Amazon International best selling co-author.