APPLICATION OF PHRASEOLOGY IN UZBEK LITERATURE

SCIENCE AND INNOVATION INTERNATIONAL SCIENTIFIC JOURNAL VOLUME 4 ISSUE 11 NOVEMBER 2025 ISSN: 2181-3337 | SCIENTISTS.UZ 65 APPLICATION OF PHRASEOLOGY IN UZBEK LITERATURE H.R. Sa’dullayeva1, N.A. Sherboyev2 4th-year Student, Department of Foreign Languages and Literature, Faculty of Foreign Philology, National University of Uzbekistan named after Mirzo Ulugbek1 Scientific Supervisor, Lecturer, Department of Foreign Languages and Literature, Faculty of Foreign Philology, National University of Uzbekistan named after Mirzo Ulugbek2 https://doi.org/10.5281/zenodo.17861985 Abstract. This article scientifically analyzes the features of the use of phraseological units in Uzbek literature, focusing on their role in enriching the artistic content of texts and enhancing expressiveness. The study examines the semantic and stylistic characteristics of phraseological units, as well as their function in conveying national and cultural meaning. Using examples from works by Uzbek writers such as Abdulla Qahhor, O‘tkir Hoshimov, and Cho‘lpon, the paper explores the expressive potential of phraseological units in literary language. The results show that phraseological units are essential for the development of Uzbek literary language and for reflecting national thought. Keywords: phraseology, phraseological unit, Uzbek literature, literary language, expressiveness, style, national mentality. Introduction. Language is a key reflection of a nation’s spiritual wealth, mentality, and culture. One of the layers that form its artistic and figurative means of expression is phraseology. Phraseology is a branch of linguistics that studies phraseological units, their structure, meaning, origin, and functions in speech. Phraseological units are products of national thinking, reflecting the worldview, customs, and historical experience of a people. Unlike individual words, phraseological units are stable combinations whose components do not retain independent meaning but together convey figurative or idiomatic meaning. Therefore, phraseology is one of the main sources of national identity and expressiveness in a language. Studying the phraseological layer is of both scientific and practical importance for understanding the richness and expressive possibilities of a language. In literary language, phraseological units occupy a special place. They enrich the meaning of words, make expression more impactful, figurative, and memorable. Artistic phraseological units help reveal character traits, impart emotional coloring to events, and demonstrate the author’s stylistic skill. Therefore, phraseological units are among the most active elements determining the level of expressiveness in literary speech. In Uzbek literature, the use of phraseological units is closely connected with national thinking, cultural values, and historical heritage. Each phraseological unit reflects the life, customs, worldview, and aesthetic taste of the people. In this respect, phraseological units form not only a linguistic but also a cultural layer of the literary text. The purpose of this article is to scientifically analyze the use of phraseological units in Uzbek literature, revealing their function in the literary text and their role in creating expressiveness. The study examines the semantic, stylistic, and aesthetic features of phraseological units in the works of Uzbek writers such as Abdulla Qahhor, O’tkir Hoshimov, and Cho‘lpon. The research demonstrates the role of phraseological units in the development of Uzbek literary language and their significance in reflecting national mentality. Phraseological issues in linguistics SCIENCE AND INNOVATION INTERNATIONAL SCIENTIFIC JOURNAL VOLUME 4 ISSUE 11 NOVEMBER 2025 ISSN: 2181-3337 | SCIENTISTS.UZ 66 began to be systematically studied in the early 20th century. Today, several prominent international scholars have established phraseology as an independent field of study. Their research is crucial in identifying the nature, semantic structure, functional features, and linguocultural essence of phraseological units. The scientific grounding of the concept of phraseology is often associated with the Swiss linguist S. Balli, who distinguished stable, ready-made combinations in a language and interpreted them as phraseological units. Balli argued that phraseological units are not recreated in speech but used as ready patterns and are a powerful tool for realizing the emotional and expressive potential of language. The Russian linguist V. V. Vinogradov expanded the theoretical foundations of phraseology and developed a classic classification, dividing phraseological units into three groups based on semantic integrity: phraseological fusions, phraseological unities, and phraseological combinations. According to Vinogradov, the most important feature of phraseological units is their semantic wholeness: the components are closely connected and create an overall figurative meaning. In the second half of the 20th century, A. V. Kunin became a leading scholar who shaped the scientific school of phraseology. Kunin emphasized three key features of phraseological units: stability, figurative meaning, and reproducibility. He analyzed phraseology not only as a structural-semantic system but also as a linguocultural phenomenon. According to him, phraseological units are cultural units that reflect the people’s cultural experience, national values, and historical memory. In English linguistics, L. P. Smith played an important role in the development of phraseological studies. He focused on the etymological nature and historical roots of phraseological units. Smith argued that phraseology is a linguocultural indicator that reflects a people’s worldview, mentality, and moral values. Therefore, he considered phraseology not only as a grammatical unit but also as a vivid reflection of national culture. Phraseological units contribute significantly to the aesthetic and semantic richness of literary texts. They enhance the emotional impact of a work, enliven the speech of characters, and increase the artistic and aesthetic value of the text. Below is an analysis of the main functions of phraseological units in literary texts: 1. Enhancing aesthetic and artistic impact: Phraseological units make literary speech more vivid and expressive. They help the text reach the reader in a natural and engaging way. For example, commonly used folk expressions imbue the work with a unique national spirit. 2. Bringing characters’ speech to life: Phraseological units make dialogues and monologues more natural. They are invaluable for reflecting individual speech traits of characters. Using folk expressions in creating lively, humorous, or emotionally charged speech helps reveal a character’s personality. 3. Reflecting national color: Each nation’s phraseological units reflect its culture and worldview. In Uzbek literature, the use of folk expressions helps preserve national spirit and promote cultural heritage. For instance, phrases like “dasturxonga baraka” (blessings to the table) or “boshi ko‘kka yetmoq” (to reach the sky with one’s head) convey values unique to Uzbek culture. 4. Ensuring semantic completeness of the text: Phraseological units increase semantic cohesion, making the text more understandable and memorable for the reader. They help convey subtle meanings and emotions. 5. Increasing metaphorical and figurative expressiveness: Through their figurative meanings, phraseological units add imagery to the text, broadening the reader’s imagination and SCIENCE AND INNOVATION INTERNATIONAL SCIENTIFIC JOURNAL VOLUME 4 ISSUE 11 NOVEMBER 2025 ISSN: 2181-3337 | SCIENTISTS.UZ 67 making the narrative more engaging. For example, expressions like “tog‘dek yelka” (shoulders like a mountain) or “ko‘z quvonchi” (joy of the eyes) make descriptions more vivid. 6. Creating satire and humor: Phraseological units are widely used to give a satirical or humorous tone to a work. They help approach an event or character with irony. For example, to humorously depict a character’s ordinary situation, common folk expressions may be employed. Phraseological units occupy an important place in literary language as expressive means. They expand the emotional, expressive, and figurative potential of language, enhancing the aesthetic value of a literary work. Linguist S. Rahmatullayev notes: “Phraseological units embody the oldest layers of national thought, reflecting a people’s worldview, spirit, and philosophy of life” (1). Prominent Uzbek literary figures such as Cho‘lpon, Abdulla Qodiriy, Oybek, G‘afur G‘ulom, Erkin Vohidov, and Abdulla Oripov used phraseological units as a tool for creating lively and folk-like tones in their works. For example, in Cho‘lpon’s novel Kecha va Kunduz, phrases like “ko‘ngli to‘lmoq” (heart full), “yuragi ezilmoq” (heart crushed), and “ko‘z yosh to‘kmoq” (shed tears) reflect human suffering and hope. In Abdulla Qodiriy’s O‘tkan kunlar, expressions like “ko‘ngli g‘ash bo‘lmoq” (heart angry), “yuragi orziqmoq” (heart longing), and “boshini egmoq” (bow one’s head) convey social contradictions and human experiences. All these functions demonstrate the essential role of phraseological units in literary texts. Proper and contextual use enhances the artistic value of the text and leaves a deeper impression on the reader. Definition and Nature of Phraseological Units: A phraseological unit (phraseologism or phraseme) is a stable combination of two or more words that are semantically interconnected and used in a figurative or idiomatic sense as a single unit. Unlike syntactically similar structures, phraseological units are not formed through free word selection or substitution in speech but are pre-formed lexical and grammatical combinations. The structural component of a phraseological unit is the word (lexeme), while its content is the phraseological meaning. Phraseological meaning can be complex: some elements carry denotative meaning similar to ordinary words, while others only have a grammatical function. For instance, independent phraseological units such as “burgaga achchiq qilib, ko‘rpaga o‘t qo‘ymoq”, “tarvuzi qo‘ltig‘idan tushmoq”, “ko‘ngli bo‘sh”, or “hash pash deguncha” convey denotative meaning. Dependent phraseological units like “turgan gap” or “shunga qaramay” perform only grammatical functions. A phraseological unit consists of more than one independent word. However, the meanings of its component words and the overall meaning of the unit may sometimes coincide or may be entirely unrelated. For example, the phrase “qo’yniga qo’l solmoq” (to meddle in someone’s business) does not derive its meaning from the individual meanings of “qo’yin” (bosom), “qo’l” (hand), and “solmoq” (to put). The figurative meaning arises from the contextual use of the components, transforming a literal combination into a phraseological unit. Similarly, if someone drops the melon they are carrying, this situation metaphorically reflects a state of emotional setback, illustrating how free combinations evolve into idiomatic expressions. There are numerous expressions in Uzbek that are closely connected to historical or etymological backgrounds. For example, the phrase “Daqqiyunusdan qolgan” literally means “very old, ancient” (Explanatory Dictionary of the Uzbek Language, Vol. 1). Today, this expression is used to refer to things or events that seem ancient or belong to earlier times. For instance: “Daqonusdan qolgan bu dahri dunda Bir yangi zarraday ko‘zga ilinsam.” (Behzod Fazliddin, Sen qachon gullaysan) In this sentence, the phrase emphasizes the antiquity of the object being described. Similarly, when applied to a person, it conveys the meaning of “outdated” or “left behind by time,” as in: SCIENCE AND INNOVATION INTERNATIONAL SCIENTIFIC JOURNAL VOLUME 4 ISSUE 11 NOVEMBER 2025 ISSN: 2181-3337 | SCIENTISTS.UZ 68 “Har narsa deyavermang, rais bova. Daqqiyunusdan qolgan kampir kimga kerak?” (Tog‘ay Murod, Bu dunyoda o‘lib bo‘lmaydi). Scholars have suggested various origins for the name Daqonus/Daqqiyunus. Some link it to the Eastern designation of the Roman emperor Diocletian. Additionally, in the Qur’an (Surah Kahf), there is a story associated with Daqonus: a group of young men hid in a cave to preserve their faith from a tyrant king, staying there for three hundred years. Daqonus blocked the cave’s exit, but God preserved the faithful young men in a prolonged sleep. Since this event took place in ancient times, Uzbek people have adopted the expression “almisoqdan qolgan” (from very old times, Daqonus’ era) to describe something extremely old. Examples include: “Manavilarni qo‘shini almisoqdan qolgan qo‘shin. Otam zamondan qolgan qo‘shin!” (Tog‘ay Murod, Bu dunyoda o‘lib bo‘lmaydi) “U yoqda almisoqdan qolgan po‘lat sandiq, qulflar yo‘qdir?” (Tohir Malik, Shaytanat) Linguist A. Mamatov’s studies highlight the semantic richness of phraseological units. He emphasizes that such units can express the full spectrum of human emotions and traits—happiness, love, surprise, sarcasm, hatred, curiosity, anxiety, honesty, nobility, intelligence, perseverance, foolishness, and greed. They can also depict abstract concepts like similarity and difference, beginning and end, multiplicity, and identity. Through these expressions, a holistic phraseological landscape of the world is revealed. Phraseological units can correspond semantically to a single word, a phrase, or even an entire sentence. Examining their use in Abdulla Qahhor’s stories, we observe Uzbek-specific linguistic-cultural meanings. For example: “Uyda tovush chiqarmaslik uchun Marg‘uba tishini tishiga qo‘ygan sayin Javlon haddidan oshaverdi.” (Muhabbat) Here, the phrase “tishini tishiga qo‘yish” equates to the verb “chidamoq” (to endure). Other examples in Qahhor’s works include: “Salimjon yo‘lda biroz hovuridan tushganday bo‘lgan edi, uyga kelib yana jazavasi qo‘zidi.” Here, “jazavasi qo‘zimoq” conveys intense anger. “Muborakxonim birpas dami ichiga tushib ketdi-yu, Hakimjonga yopishdi.” (Muhabbat) The expression “dami ichiga tushmoq” artistically conveys fear or anxiety. In another instance: “Agar Muhayyo Anvarga ko‘ngil qo‘ysa, boshini osmonga yetkazgan bo‘ladi.” Two phraseological units appear here. “Ko‘ngil qo‘ymoq” expresses the act of loving, while “boshi osmonga yetmoq” conveys joy. Both phrases, through their idiomatic use, reflect the writer’s artistic skill and illustrate culturally specific Uzbek expressions. Similarly: “Kishining yuragini qon qilib yuborasan! – dedi anchadan keyin, - nainki men asal olsam!” idiom “yurakni qon qilib yubormoq” communicates the idea of causing someone emotional pain or distress. Phraseological units serve as a tool to emphasize humoristic or satirical nuances in the speech of literary characters. Otkir Hoshimov effectively employed such phraseological expressions in his works. For instance: “Ariq qazib bo‘lmasa, yer qazib bo‘lmasa... o‘zimizniyam patagimizga qurt tushib turibdi.” Every writer has a unique style and approach in using phraseological units. By examining Hoshimov’s works, such as “Dunyoning ishlari,” “Ikki eshik orasi,” “Tushda kechgan umrlar,” and “Bahor qaytmaydi,” one can analyze the writer’s distinctive style and method. Some examples include: Pinakka ketmoq: means to fall asleep. “Alimardon yaproqlarning pirpirab uchishini tomosha qila-qila pinakka ketdi.” Burnini suqmoq: synonyms include a) bosh suqmoq, b) burnini tiqmoq, c) tumshug‘ini tiqmoq (negative connotation), d) chovlisini solmoq. “Aytyabman-ku, burnini suqmagan joyi yo‘q edi bu bolaning.” SCIENCE AND INNOVATION INTERNATIONAL SCIENTIFIC JOURNAL VOLUME 4 ISSUE 11 NOVEMBER 2025 ISSN: 2181-3337 | SCIENTISTS.UZ 69 Og‘zi qulog‘iga yetmoq: means to feel joyful. “Kechqurun og‘zim qulog‘imga yetkudek bo‘lib bir do‘ppi yong‘oq ko‘tarib keldim.” Olamdan o‘tmoq: variant “olamdan ketdi”; means to die. “Menu shuncha o‘limdan asrab qolgan odam shundoq ko‘z o‘ngimda olamdan o‘tdi.” Belida belbog‘i bor: means brave. “Endi… gapning po‘stkallasi shu: belimda belbog‘im bor deganing ertalab hasharga kelaver.” The formation of phraseological units is primarily a semantic phenomenon. Without phraseological units or words, syntactic and semantic cohesion would not exist. Phraseological units with various characteristics constitute the phraseological layer of a language. In literary texts, phraseological units are important linguistic tools that enhance imagery, convey the author’s style, and create emotional impact. They help express the author’s aesthetic goals, reveal a character’s inner world, and evoke emotional responses in readers. In Uzbek literature, this artistic function of phraseological units is especially prominent in the works of Abdulla Cho‘lpon. As a poet and writer, Cho‘lpon skillfully utilized the richness of the Uzbek language, elevating phraseological units in his works to a means of expressing national spirit, emotion, and thought. In Cho‘lpon’s works, phraseological units primarily function as tools of imagery and poetic expression. Expressions such as “ko‘ngli to‘lmoq,” “yuragi ezilmoq,” “ko‘z yosh to‘kmoq,” and “ko‘ngli g‘ash bo‘lmoq” depict human inner states, emotional distress, and feelings of love and hope in a natural, folk-like manner. These phrases enhance the lyrical quality of Cho‘lpon’s language, allowing readers to immerse more deeply into the psychological world of the text. Cho‘lpon frequently uses phraseological units metaphorically, expanding their semantic potential. For example, “yuragi qon yutmoq” conveys not only pain and suffering but also internal conflicts and the condition of an oppressed people. This demonstrates how phraseological units in Cho‘lpon’s style function as metaphorical tools. Cho‘lpon adapts the semantic depth of phraseological units to the context of his works rather than focusing on their external form. In his novel “Kecha va kunduz,” phraseological units enhance narrative development, reveal character traits, and reflect the national psyche. Expressions like “boshini tik tutmoq,” “ko‘ngli yorishmoq,” and “yuragi orziqmoq” convey characters’ psychological experiences while symbolizing national pride and consciousness. This shows that phraseological units are not only ready-made linguistic units but also artistic elements that create aesthetic meaning. Cho‘lpon’s use of phraseological units bridges folk oral literature and literary language. He reworks proverbs, expressions, and wordplays in his style, giving them new life in a literary context. Consequently, Cho‘lpon’s phraseological units reveal the naturalness of literary language, national spirit, and poetic power. He elevated them to the level of a linguistic-cultural phenomenon expressing national thought. Cho‘lpon’s active use of phraseological units highlights both his direct connection with folk language and his substantial contribution to the development of Uzbek literary language. His idiomatic style expanded the artistic potential of the Uzbek language and introduced a new stylistic dimension. Professor N. Mahmudov, commenting on the role of phraseological units in literary language, notes: “In literary works, phraseological units determine the degree of imagery in the language and allow the author to express their national-aesthetic worldview.” Similarly, in Oybek’s novel “Navoiy,” expressions like “ko‘ngli yorishmoq,” “boshini tik tutmoq,” and “yuragi to‘lmoq” play a crucial role in revealing the inner world of characters. In the works of G‘afur G‘ulom, phraseological units are used primarily to convey a folk-like tone and humorous meaning. For example, in his work “Shum bola,” expressions such as “boshini changallamoq,” “ko‘zini SCIENCE AND INNOVATION INTERNATIONAL SCIENTIFIC JOURNAL VOLUME 4 ISSUE 11 NOVEMBER 2025 ISSN: 2181-3337 | SCIENTISTS.UZ 70 suzmoq,” and “ko‘ngli joyiga tushmoq” not only intensify comic situations but also reflect the naturalness of folk speech. On this topic, G. Abdurahmonov notes: “Phraseological units determine the emotional tone of the work, serving as a natural bridge between folk mentality and artistic speech.” In the poetry of Erkin Vohidov and Abdulla Oripov, phraseological units actively convey national spirit and philosophical content. For instance, in Erkin Vohidov’s poem “O‘zbekiston,” expressions such as “boshini baland tutmoq,” “yuragi to‘lmoq,” and “ko‘ngli yorishmoq” become symbolic tools representing patriotism and pride. Linguist Z. Maksetova explains this phenomenon, stating that “in literary texts, phraseological units possess poetic semantic expansiveness and shape the author’s individual style.” Phraseological units also express the intrinsic connection between literary language and folk language. Through them, an author can artistically depict the mentality, worldview, and emotions of their people. L. Turaboyeva comments on this, stating: “Phraseological units in literature function not only as aesthetic tools but also as linguocultural units that convey national thought”. Thus, the use of phraseological units in Uzbek literature involves not only employing the rich expressive means of the language but also reflecting national spirit, folk mentality, and historical-cultural values through literary language. Each author adapts phraseological units to their individual style, expanding their semantic and aesthetic potential. In conclusion, in Uzbek literature, phraseological units appear as an essential means that expands the artistic potential of language, enhances folk tone, and strengthens aesthetic impact. Their application in literary texts defines the author’s style, enriches the semantic layers of the work, and evokes deep emotional responses in the reader. Research shows that phraseological units are actively employed across nearly all stages of Uzbek literature, particularly in the works of Cho‘lpon, Abdulla Qodiriy, Oybek, G‘afur G‘ulom, Erkin Vohidov, and Abdulla Oripov, serving various functional and aesthetic purposes. In Cho‘lpon’s works, phraseological units express inner psychological experiences, while in Abdulla Qodiriy’s works they reveal social contradictions. In the poetry of Oybek and Erkin Vohidov, they illuminate national spirit and philosophical meaning. These aspects demonstrate that phraseological units are not merely ready-made linguistic forms but also artistic tools that create literary and aesthetic meaning. Linguists such as Sh. Rahmatullayev, G. Abdurahmonov, N. Mahmudov, Z. Maksetova, and L. Turaboyeva confirm this view, noting that phraseological units enhance the imagery of language and function as linguocultural units expressing national thought. Specifically, Sh. Rahmatullayev regards phraseological units as “the oldest layers of folk mentality,” while N. Mahmudov describes them as “a means of expressing the author’s nationalaesthetic worldview.” Based on this, it can be concluded that in Uzbek literature, phraseological units are not only ornaments of literary language but also reflect national spirit, social life, worldview, and culture. Each author adapts them to their individual style, elevating the artistic and aesthetic level of Uzbek phraseology. 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