Buxoro davlat universiteti huzuridagi ilmiy darajalar beruvchi

44-misol.

Ingliz tilida

O‘zbek tilida

My father worked with a horse-plough, His shoulders globed like a full sail strung Between the shafts and the furrow. The horse strained at his clicking tongue. An expert. He would set the wing And fit the bright steel-pointed sock. The sod rolled over without breaking. At the headrig, with a single pluck Of reins, the sweating team turned round And back into the land. His eye Narrowed and angled at the ground, Mapping the furrow exactly. I stumbled in his hob-nailed wake, Fell sometimes on the polished sod; Sometimes he rode me on his back Dipping and rising to his plod.^221

Sen – yolg‘izlik kabi jimjit. Sen – yolg‘izlik kabi go‘zal... Sen –yolg‘izlik kabi g‘amgin.. Sen –yolg‘izlik kabi yolg‘iz... Sen – yolg‘izlik kabi. Sen – yolg‘izlik... Sen – ... ^222 Olislardan kelgan olis yo‘l... Olislarda qolgan olis yo‘l... Olislarga ketgan olis yo‘l... Olislardan kelgan olis umid... Olislarda qolgan olis umid... Olislarga ketgan olis umid...^223 Sen yo‘g‘ eding... Kelding... Yo‘l – sog‘inch... Vaqt – sog‘inch... Makon – sog‘inch... Susambil... Kangul – sog‘inch... Haq – sog‘inch... Imkon – sog‘inch... O‘, tang dil...^224

Sheymas Xini o‘zining “Follower” (“Izdosh”) she’rida bir nechta poetik unsurlarni namoyish etadi, bu esa u bolalik davrining manzarasi o‘quvchilar qalbiga yetib borishiga turtki bo‘ladi. Xuddi shunday she’r ikkinchi misradagi o‘xshatish bilan boshlanadi. Bu yerda shoir otasining yelkalarini dengiz shamoli tufayli shishgan “to‘liq yelkan” bilan taqqoslaydi. Birinchi qatorda konsonans mavjud. O‘quvchilar ushbu qurilmani “worked with” iborasida uchratishadi. Shoir alliteratsiyadan ham foydalanadi. Shundan so‘ng, oxirgi misraning ochilishida asindeton ishlatiladi. Bu bayt ham antiteza hosil qiladi. Oxirgi misralardagi “Yapping always”, “Behind me, and will not go away” kabi jumlalarda tushirib qoldirilgan so‘zlar ellipsisni ko‘rsatadi. “It is my father who keeps stumbling” jumlasida esa inversiya mavjud. Ikrom Otamurodning yuqoridagi satrlarini she’riyatdagi geometrik figura deyish mumkin. Avvalo, anafora betakror: undagi so‘zlar satrdan satrdan o‘tgan sayin kamayib boradi va asosiy takrorlanuvchi so‘z “sen” qoladi. Asosiy ma’no shunga yuklanadi. Ayni vaqtda ellipsisning yangi ko‘rinishi yuzaga kelgan: an’anaviy ellipsisda ikkinchi darajali bo‘laklar tushib qoladi. Bunda esa satrlar bo‘ylab so‘zlar kamayib boradi va o‘ziga xos geometrik shaklni yuzaga keltiradi. Poetik sintaksis unsurlari tashbeh sari yo‘l ochgan. “Sen” – lirik qahramon. U yolg‘izlik bilan parallel qo‘yiladi va yolg‘izlikka xos xususiyatlar: jimjit, go‘zal, g‘amgin, sokin kabilarga qiyos etiladi.
Har bir misra boshida “olis” so‘zi takrorlangan. Shu bilan birga bandning dastlabki uch misrasi so‘ngida “olis yo‘l”, keyingi uch misrasida “olis umid” birikmalari aynan takrorlangan. Bularni anafora va epiforaning uyg‘unligi deb baholash mumkin. She’r olislarda qolgan yoshlik armonlariga yo‘g‘rilgan. Shoir shu jihatdan “olis” so‘ziga katta ma’no yuklagan. Sukut esa bu kechinmalar cheksiz ekanligini ifodalab kelgan.
Yuqorida ta’kidlaganimizday, “sen” – shoirning lirik qahramoni, sevgili obrazi. Bu misralarda sukut va ellipsis birga kelgan. U kelgunga qadar oshiq uchun yo‘l, vaqt, makon, kangul, haq, imkon – barchasi sog‘inch. Darhaqiqat, ellipsisda ot-kesimning bitta so‘z (“sog‘inch”) bilan berilishi I.Otamurod uslubining individuallik xususiyatini namoyon etadi. Darhaqiqat, inson hayoti sog‘inchlardan iborat. Shoir Susambilni talmeh qiladi. Susambil afsonaviy, to‘kis yurtni ifoda etadi. Demak, ma’shuqaning makoni uzoq, yetish mushkul bo‘lgan Susambil yurtida. She’rning deyarli hamma satrida sukut qo‘llangan. Bu ham she’rga sig‘magan fikrlar ko‘pligini bildirib turadi.
45-misol.

Ingliz tilida

O‘zbek tilida

At childhood’s end, the houses petered out into playing fields, the factory, allotments kept, like mistresses, by kneeling married men, the silent railway line, the hermit’s caravan, till you came at last to the edge of the woods. It was there that I first clapped eyes on the wolf. I clung till dawn to his thrashing fur, for what little girl doesn’t dearly love a wolf? Then I slid from between his heavy matted paws and went in search of a living bird – white dove – which flew, straight, from my hands to his hope mouth. One bite, dead. How nice, breakfast in bed, he said, licking his chops. As soon as he slept, I crept to the back of the lair, where a whole wall was crimson, gold, a glow with books.