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THE COMPARATIVE ANALYSIS OF METAPHORICAL EXPRESSIONS
IN E. HEMINGWAY'S A FAREWELL TO ARMS
Mirzokhid Nezomov Nosirjon o’g’li
Master Student of Nordic International University
Faculty: Foreign Language and Literature
Email: mirzoxidnezomov22@gmail.com
Phone number: +99 899 637 34 74
https://doi.org/10.5281/zenodo.15294370
Abstract:
This paper presents the important role of metaphorical
expressions as a key stylistic device in Ernest Hemingway’s novel
A Farewell to
Arms
and examines how metaphors are used in the Uzbek translation. By using
stylistic and comparative analysis, the study investigates the key metaphorical
expressions that contribute to the novel’s emotional tone, thematic depth, and
narrative structure. The results show that while most metaphors are preserved
during translation, some experience a modification, reflecting cultural
adaptation and linguistic difficulties. The results highlight the importance of
metaphor in Hemingway’s style and the difficulties translators face in
maintaining stylistic authenticity across languages.
Keywords:
metaphorical expressions, stylistic devices, intercultural
communication, comparative analysis, Uzbek translation, modification.
Introduction.
The term “metaphor”, as the etymology of the word studies, means
transference of some quality from one object to another. From the times of
ancient Greek and Roman rhetoric, the term has been known to denote the
transference of meaning from one word to another. It is still widely used to
designate the process in which a word acquires a derivative meaning. Ernest
Hemingway’s
A Farewell to Arms
(1929) is widely regarded as a masterpiece of
American literature. Known for his succinct, economical prose, Hemingway
often employed subtle stylistic devices that give his seemingly simple language
deep emotional resonance. Among these devices,
metaphor
plays a crucial role
in portraying the horrors of war, the fragility of love, and the inevitability of
death. Metaphor can let Hemingway express complex emotional experiences
indirectly, adding layers of meaning without heavy description. In the context of
literary translation, preserving the function and emotional weight of metaphors
is a significant challenge, particularly when cultural and linguistic differences
intervene.
The objectives of this article is twofold: to investigate the importance role
of metaphor in shaping the emotional and thematic structure of A Farewell to
THEORETICAL ASPECTS IN THE FORMATION OF
PEDAGOGICAL SCIENCES
International scientific-online conference
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Arms, and to examine how these metaphors are preserved, changed, or lost in
the novel’s Uzbek translation.
Methods:
In this article, it can be clearly seen 2 types of methods:
Qualitative
stylistic analysis
and
Comparative translation analysis.
Research materials
As a basic source, the followings are used: “
A Farewell to Arms”
(English
original, 1929 edition) and “
Alvido qurol”
in Uzbek translation. Metaphors were
analysed through close reading, particularly in passages related to war, love,
nature, and existential reflection and approximately 30 metaphorical
expressions were chosen for detailed analysis. Each metaphor was categorized
by theme (war, love, death, nature). English and Uzbek versions were compared
to assess the degree of preservation (faithful translation, adaptation, or loss).
Selection criteria
Metaphorical expressions were choosen according to the following criteria:
The metaphor must contribute significantly to thematic development (e.g.,
war, love, death, nature).
The metaphor must appear in both the English text and the Uzbek
translation.
Metaphors with cultural, emotional, or symbolic weight were prioritized
to assess the challenges of translation.
Analytic Framework
The analysis proceeded in three main steps:
Identification:
Careful close reading of both the English and Uzbek texts to locate
metaphorical language.
Definition of metaphor following Lakoff and Johnson’s (1980) conceptual
metaphor theory: metaphors as expressions where one conceptual domain is
understood in terms of another.
Classification:
Metaphors were grouped thematically into four groups:
a) War metaphors
b) Love and relationship metaphors
c) Death and existential metaphors
d) Nature metaphors
Comparison:
Each metaphor was compared between the English and Uzbek versions.
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The focus was on evaluating the degree of preservation:
Faithful translation: metaphor and meaning are fully preserved.
Adaptation: metaphor is modified to suit the target culture but
retains similar meaning.
Loss: metaphor is weakened, literalized, or omitted.
Translation strategies were interpreted according to Newmark’s (1988)
categorization of metaphor translation procedures (e.g., reproduction,
replacement, deletion).
Research Questions
In this methodological process learners will be able to find clear and
complete answers for the following research questions:
How are metaphors stylistically employed in A Farewell to Arms?
To what extent are these metaphors preserved in the Uzbek translation?
What translation strategies are used to render metaphors, and what are
their effects on the text’s emotional and thematic integrity?
Results
From the analysis of the novel “A Farewell to Arms” by Ernest Hemingway,
it can be precisely clear to understand the used stylistic devices in several
sentences. In the following, we can face to some examples of metaphors:
1. “In the bed of the river, there were pebbles and boulders, dry and
write in the sun, and the water was clear and swiftly moving and blue in
the channels”
.
In this sentence
‘the bed of the river’
is a metaphor. Because the word
‘a bed’
is a piece of furniture and Hemingway used this word for river, meaning ‘the
bottom of river’.
2. “Troops went by the house and down the road and the dust they
raised powdered the leaves of the trees”.
The word
‘powdered’
is used for
‘dust’
and this can mean it as metaphor. It
is
“personification”
as ‘dust’ can’t do any action. But the writer used as the
person.
3. “The vineyards were thin and bare- branched too and all the
country wet and brown and dead with the autumn”.
In this sentence two metaphors
“bare-branched”
and
“dead”
are
explained
.
The writer wrote about vineyards “bare –branched” since he wanted
to write “vineyards were without leaves”. The second metaphor is “dead”. The
writer used this word for ‘country’, but this word is in inanimate, because of it
this can also justify the word dead as a metaphorical personification.
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Now, we will try to give some examples related to the translations of
Metaphors from English into Uzbek.
1.“The trunks of the trees too were dusty and the leaves fell early that
year and we saw the troops marching along the road and the dust rising
and leaves, stirred by the breeze, falling and the soldiers marching and
afterwards the road bare and white except for the leaves”(English)
“Daraxtlarning shoxlari ham rangga burkangandi, o’sha yili yaproqlar erta
to’kila boshlagandi, biz bo’lsa, yo’ldan qo’shinlarning o’tib borishini, chang
to’zonning ko’kka o’rmalashini, shamol yaproqlarni yulkib-sulkib o’girib
ketayotganini, soldatlarning odimlarini, so’ng esa kimsasiz, bo’m-bo’sh tuproq
yo’lda yolg’iz yaproqlargina to’kilib yotishini tomosha qilardik”(Uzbek)
It is clear that from the translation of the sentence, Author tried to his
novel more interesting and attract the readers’ attention by using several
adjectives and stylistic devices and by using these, the author can create natural
scenery for the readers and they can imagine in their mind and that can
completely impact on increasing the number of readers who want to read this
book. Furthermore, here, the role of Translator is crucial too in front of readers,
How? If Translator can translate any works into another language by keeping its
original meaning, at that time, readers can enjoy by reading from the beginning
till the end of the book. So, here, in this sentence, Translator translated the
sentence professionally from English into Uzbek language and the original
meaning was not changed.
2. The vineyards were thin and bare-branched too and all the country
wet and brown and dead with the autumn.(English)
Tokzorlarning ham orasi ochilib, quruq novdalargina qoldi, tevarak–atrof
qo’ng’ir tusga kirdi, hammayoq rutubat, kuzgi so’lg’inlikka cho’mdi.
(Uzbek)
3. In the bad of the river were pebbles and boulders, dry and white in
the sun, and the water was clear and swiftly moving and blue in the
channels.(English)
Daryoning o’zagi oftobda oqargan, quruq qayrag’ochlar va mayda shag’al
bilan qoplagan, daryo shahobchalarida esa suv tip-tiniq va ko’m-ko’k bo’lib, sho’x
shaldirab oqib borardi.
(Uzbek)
In these two sentences, the readers also are able to imagine the situation
that Author created by using metaphorical expressions like
swiftly moving, blue
in the channels, thin vineyards, wet and dead country with the autumn,
in Uzbek
translation, these can be like this:
sho’x shaldirab suvning oqishi, tip – tiniq va
ko’m-ko’k suv, tokzorlarning siyrakligi, tevarak atrofning qo’ng’ir tusga kirib
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hammayoq kuzgi so’lg’inlikka cho’mishi.
These metaphors can persuade the
readers to read any books from the first page till the end one.
Discussion
The analysis presents that metaphor is a pivotal element in Hemingway’s
stylistic design, giving emotional depth, thematic richness, and narrative
subtlety. Metaphors about war (e.g., physical breaking, obscene abstraction)
depict trauma and disillusionment. Nature metaphors (e.g., rain, seasons)
improve the emotional atmosphere and symbolize uncontrollable forces. In the
Uzbek translation, most physical and nature-related metaphors are kept
effectively, indicating that universal human experiences translate well across
cultures. However, metaphors involving emotional irony, cultural critique, or
philosophical reflection are sometimes softened. This may reflect cultural
differences in expressing cynicism or emotional detachment. Thus, translation
choices directly impact on the emotional and thematic reception of Hemingway’s
novel for Uzbek readers. The translator's sensitivity to metaphorical meaning
significantly influences the preservation of Hemingway’s unique voice.
Conclusion
This research set out to explore the importance of metaphor as a stylistic
device in Ernest Hemingway’s A Farewell to Arms and to examine how
metaphors are preserved or transformed in its Uzbek translation Alvido Qurol.
The findings confirm that metaphor is a central element of Hemingway’s
narrative style, contributing to the emotional tone, thematic complexity, and
psychological depth of the novel. Through metaphor, Hemingway is able to
express profound ideas about war, love, loss, and existential uncertainty with
remarkable subtlety and emotional impact. The comparative analysis revealed
that the majority of Hemingway’s metaphors are preserved effectively in the
Uzbek translation, particularly those related to nature and physical imagery.
However, metaphors involving emotional irony, cultural critique, or
philosophical abstraction often undergo softening or adaptation, sometimes
leading to a partial loss of the original stylistic force. These shifts reflect broader
challenges in literary translation, where linguistic differences, cultural
expectations, and stylistic norms must all be carefully negotiated. Overall, the
study emphasizes that metaphors are not merely ornamental features of literary
language but essential tools for constructing meaning, shaping readers'
perceptions, and conveying complex emotional realities. In the context of
translation, preserving the metaphorical fabric of a literary work is crucial for
maintaining its artistic integrity and emotional resonance. Translators must
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International scientific-online conference
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therefore engage not only with the literal meanings of words but also with their
deeper stylistic, cultural, and emotional dimensions. Future research could
expand this analysis by examining additional stylistic devices in Hemingway’s
works, by studying other translations into Uzbek or different languages, or by
investigating readers’ receptions of metaphorically rich translations. Such
studies would further enrich our understanding of the intricate relationship
between language, style, and meaning in both original literary creation and
literary translation.
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