American Journal Of Philological Sciences
362
https://theusajournals.com/index.php/ajps
VOLUME
Vol.05 Issue04 2025
PAGE NO.
362-365
10.37547/ajps/Volume05Issue04-89
Phraseological Expressions Formed Based on The
Emotional State of The Individual in The Work "Qisasi
Rabguziy"
Farmonova Umida Maxsutaliyevna
Teacher of Fergana state university, Uzbekistan
Received:
28 February 2025;
Accepted:
29 March 2025;
Published:
30 April 2025
Abstract:
This article explores the phraseological expressions formed based on the emotional states of individuals
in the work "Qisasi Rabg‘uziy." The study highlights how various
phraseological units, reflecting both positive and
negative emotional nuances, contribute to the depth and artistic expressiveness of the literary text. Special
attention is given to the semantic richness and stylistic role of these expressions in conveying the psychological
experiences of the characters. The article also examines the dual meanings of certain phrases depending on the
context, showing how they serve to enhance the reader’s emotional perception. Through the analysis of these
linguistic phenomena, the research offers insights into the cultural and linguistic features of the 14th-century
Turkic literary tradition, as reflected in "Qisasi Rabguziy.".
Keywords:
Qisasi Rabguziy, phraseological expressions, emotional state, positive connotation, negative
connotation, Turkic literary tradition, psychological portrayal, semantics, stylistic function.
Introduction:
Phraseological units are linguistic
phenomena created with the purpose of fully
expressing the strong impact that events, phenomena,
and characteristics have on human consciousness and
to achieve expressiveness in speech.
It is well known that phrases play an important role in
enhancing the value of literary works. Writers skillfully
use phrases in their works to depict the character of
heroes, describe events, and evoke emotional pleasure
in the reader. Every phraseological unit is directly
connected to the lifestyle and customs of the people.
The complex structure of emotional states is reflected
in the figurative meanings of phraseological units. The
depiction of phrases is a psychophysiological process
based on describing emotions, manifested through
developing changes, gestures, facial expressions, and
subjective experiences and emotional states of
individuals in specific situations.
The phrases presented by Rabguzi not only contribute
to the artistic beauty of the work but also provide an
opportunity to form an understanding of the literary
language and culture of the Turkic peoples in the 14th
century. Using phrases appropriately in the speech
process is a result of mastery. Words or thoughts
expressed at the right moment have always yielded the
intended effect. The author, following tradition, also
aimed to enhance the emotional expressiveness of his
ideas and convey the characters’ emotional states and
the outcomes of their actions through the use of
phrases.
The speaker’s subjective evaluation of reality is
expressed through a positive or negative attitude. In
“Qisasi Rabg‘uziy,” the author use
s phrases to confirm
the credibility of his reflections on the lives and
personalities of the prophets and the events
surrounding them, as well as his conclusions about
positive or negative characters. By using such a
method, the author expresses his views through the
application of phrases with various shades of meaning.
The phrases in “Qisasi Rabg‘uziy” formed based on
emotional states can be classified as follows:
The positive-toned phraseological units used in the
work express the author's attitude towards positive
characters or events. Phrases often emphasize the
American Journal Of Philological Sciences
363
https://theusajournals.com/index.php/ajps
American Journal Of Philological Sciences (ISSN
–
2771-2273)
nobility, kindness, and wisdom of the prophets and
other positive figures.
The positive-toned phrases employed in the studied
work enhance its artistic value and help to convey the
emotions of the characters more deeply.
For example:
xush kelmoq (“to be pleased with”) is associated with
positive emotions, typically expressing the favorable
impact of a person's actions, words, or an event. In
“Qisasi Rabg‘uziy,” it is used in the form xush keldi,
reflecting warm relationships and mutual affection:
"Dӓvudğa bu hukm xuš keldi" [TAD 242].
Kayfi chog‘ bo‘lmoq (“to be in high spirits”) indicates
that a person is in a good mood, experiencing joy or
pleasure.
Kayfini chog‘ qilmoq means creating such a mo
od,
striving to enjoy something or to foster good feelings.
Synonyms like kayfi xush, dimog‘i chog‘, and ko‘ngli
chog‘ are also used to describe emotional well
-being. In
the work, it is expressed as vaqti xush bo‘lmish:
"Varaqa šӓrab ičib vaxtϊ xuš bölmϊšda Hadiča aydϊ: …"
[TAD 344].
The phrase umϊnč berdi is used as a historical form of
umid bog‘lamoq (“to pin hope”). Nowadays, it conveys
the meaning “to believe something will happen”:
"Ujmaqğa umϊnč berdi, …" [TAD 61].
This phrase expresses the act of hoping for a person or
an event to yield a positive result.
Besides lexical units, the active and widespread use of
phraseological units is considered a fundamental
feature of the artistic speech style. In everyday speech,
ready-made units are often used, whereas in literary
creation, poets and writers not only use but creatively
adapt and even invent new ones.
Mehri tushti (“to fall in love with”) means forming a
deep emotional attachment to someone or something.
This phrase is widely used in literature to depict the
deepening emotions of characters:
"Mӓhir erӓn mehrϊ tüšti, …" [TAD 459].
Rohat olmoq (or topmoq, qilmoq) conveys two related
meanings:
to enjoy, to take pleasure;
to live a peaceful and prosperous life.
[O‘TIL. 395].
In “Qisasi Rabg‘uziy,” rohat topg‘il is used to mean “to
attain peace and prosperity through patience and
perseverance”:
"Andϊn so rӓhat topğil" [TAD 290].
The phrase nusrat bermish means "victory," "success,"
or "triumph."
It describes someone achieving victory, succeeding, or
gaining superiority:
"Bulӓrğa Haq ta’ala dušman üzӓ nusrat bermiš erdi"
[TAD 233].
Here, the phrase is used in the sense of overcoming or
defeating opponents. Synonyms include baland kelmoq
(“to prevail”) and zo‘r kelmoq (“to dominate”).
Negative-toned Phraseological Units Used in the Work:
Such phrases are employed in the work to describe
negative characters and unpleasant events. In the
Uzbek language, the lexemes anger, rage, pain,
torment, sorrow, to bend, to hurt, to deteriorate give
rise to phraseological expressions like to lose one's
temper (jahli chiqmoq), to flare up in anger (qahri
kelmoq), to suffer (azob chekmoq), to be heartbroken
(ko‘ngli og‘rimoq), and to grieve heavily (hasratidan
chang chiqmoq), which serve to portray negative
processes related to human emotional states.
Achchig‘i keldi (“to get angry”) expresses the idea
of
someone becoming angry, furious, or losing their
temper. Variants such as jahli chiqdi, qahri keldi, g‘azabi
keldi also denote anger or rage. Synonyms include
expressions like qoni qaynadi (“his blood boiled”),
qonini qaynatmoq (“to provoke anger”), g‘
azabga
kelmoq (“to become furious”):
"Zulayha’s anger rose abruptly" [TAD 140].
Ichi yonmoq (“to burn inside”) conveys meanings such
as to lose one’s temper or to feel deeply hurt. Typically,
it describes a person's inner fury, resentment, or
intense emotional pain. In the work, the expression
appears as ichimni yondurmag‘il, a vivid depiction of
inner anguish or rage:
"Let me die in peace, do not burn my soul" [TAD 88].
Such expressions effectively convey emotions to the
reader in Uzbek literature, making internal pain or
anger strikingly tangible.
G‘azabi kelmoq (“to become angry”) carries several
related negative meanings: 1) to become angry; 2) to
provoke anger; 3) to be enraged; 4) to boil with rage
[O‘TFL. 620]. In the work, it appears in the form o‘fk
asi
keldi:
"Qabil’s anger boiled, and he said:…" [TAD 31].
Umidin kesmoq (“to lose hope”) is a historical form in
literary style, meaning to become hopeless [O‘TFL.
522]. It was widely used in ancient literature and poetry
to depict despair, hardship, or difficult times. This
phrase allows the reader to feel the character’s internal
struggles and emotional suffering:
"…, he lost hope in the people and turned to patience"
American Journal Of Philological Sciences
364
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American Journal Of Philological Sciences (ISSN
–
2771-2273)
[TAD 161].
In the text, it is used in the form uminch kesti.
Writers extensively use the vividness of phraseological
expressions to portray abstract concepts concisely,
creating memorable and emotionally powerful
character descriptions. Phrases are particularly
common in satire and humor, where they help expose
vices through irony, sarcasm, and biting laughter.
O‘ch olmoq (“to take revenge”) expresses a person’s
desire to retaliate against wrongdoing. Often used to
depict the pursuit of justice or restitution for harm
suffered, it reflects a character’s physical or moral
resistance to injustice. In the text, it appears as
o‘chungni olalin:
"If someone has revenge to take, let them take it" [TAD
366].
Azob ichra yotmoq (“to lie in torment”) holds a
historical and profound meaning. According to [O‘TFL.
54], it means to suffer or to endure torment. Synonyms
include azob chekmoq (“to suffer”) and azob tortmoq
(“to endure suffering”). Such phrases enhance the
emotional impact of literary works, allowing for deeper
and richer depictions of human experiences. In the text,
it appears as azobda qolmag‘a
ylar erdi:
"If they had known the unseen, they would not have
remained in suffering for a year" [TAD 270].
Baloni o‘ziga sotib olmoq (“to bring trouble upon
oneself”) expresses the idea of creating trouble for
oneself [O‘TFL. 61]. It denotes a person causi
ng
difficulties for themselves. In the text, the synonymous
expression baloga ilinmoq (“to get caught in trouble”)
is used:
"… whoever enters a hidden place and gets caught in
trouble should read this prayer…" [TAD 123].
Balog‘a tushmoq and baloga uchramoq
are
synonymous, meaning to fall into difficulty, to suffer
misfortune, or to encounter calamity. These
expressions are widely used to depict life’s trials and
hardships. In the text, balog‘a tushmoq is used:
"… those who did not accept it fell into troubl
e" [TAD
289].
Emgatu boshladilar ("they began to torment") is a
powerful phrase describing the infliction of suffering. It
vividly conveys physical and mental torture and is
closely related to azob bermoq (“to inflict suffering”).
In the text:
"… then the
infidels began to torture him" [TAD 162].
Holdan toymoq (“to be exhausted”) and holdan
toydirmoq (“to exhaust someone”) express profound
physical and emotional fatigue. Synonyms like tinkasi
quridi (“he is drained”) and tinkasini quritmoq (“to
completely d
rain someone”) illustrate extreme
tiredness.
Extended forms include holdan ketmoq and holdan
ketkazmoq, indicating deeper physical weakness.
In the text, phrases like yarog‘i qolmadi ("he had no
strength left") and holim qolmadi ("I had no energy
left") highlight the utmost degree of weakness:
"Oh mother, I have no strength left" [TAD 395];
"… I have no strength, no courage to set it on fire, I am
completely exhausted" [TAD 135].
Phraseological Units with Both Positive and Negative
Connotations:
The “Qisasi Rabg‘uziy” stands out among works of its
era for its richness in various phraseological
expressions. Through this work, it is possible to observe
both the positive and negative nuances of phrases, as
well as how they are applied in different contexts.
These phraseological units further deepen and enhance
the expressiveness of the literary events depicted.
Thanks to the use of these phrases, we are able not only
to comprehend the content and essence of the stories
but also to gain a deeper understanding of their
historical background and their evolution up to the
present day.
In the work, the phrase aybini yopar bo‘lur ("to conceal
one's fault") is used. This phrase can undoubtedly carry
dual meanings. It can have a positive connotation when
it refers to concealing someone’s fault or shortcoming
to protect them from shame or embarrassment.
Conversely, it can bear a negative meaning when it
involves hiding someone’s fault or wrongdoing,
potentially leading to negative consequences.
In
the [O‘TFL], the synonymous phrase aybini yopmoq
is recorded, meaning "to cover up, conceal, to gloss
over" [O‘TFL. 50]:
"A friend protects his friend, we are thankful for his
faith, a friend gives thanks, and he covers the faults"
[TAD 387].
Conclusion
Th
e vocabulary of the “Qisasi Rabg‘uziy” has been
analyzed according to the general characteristics of the
language, with lexical units classified into semantic
groups and their grammatical features studied.
This research includes important aspects related to the
phraseological analysis of the work. It provides
significant insights into the vocabulary and grammar of
the phrases used in the text, their division into
semantic groups, the changes occurring during the
development of the language, and the state of the
Uzbek literary language during the 14th
–
15th
centuries.
American Journal Of Philological Sciences
365
https://theusajournals.com/index.php/ajps
American Journal Of Philological Sciences (ISSN
–
2771-2273)
The reflection of phraseological units in language
occurs in various forms and through diverse means.
Studies conducted in Uzbek linguistics show that many
of the phraseological expressions currently used in
modern Uzbek literary language were, in one form or
another, already present in Old Turkic language usage,
about which linguists have expressed differing
opinions.
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