Особенности гиперболы и сравнения в стилистике

Аннотация

Ключевые слова: Данная статья посвящена изучению особенностей гипербола, гиперболы и сравнения в стилистике, а также их роли в сравнение, усилении смысла высказывания. Рассматривается преувеличение, значение гиперболы и сравнения как лексико- нормы, выразительное значение, стилистических приёмов в художественных текстах. лексическое свойство, Анализируются различные типы усиления общих черт словосочетание, в высказываниях. Освещается понятие нормы при стилистические значение. оценке значимости лексических выразительных средств и стилистических приёмов. Выделяются общие черты и особенности выразительных словосочетаний. To understand the linguistic nature of the stylistic devices of this group, it is necessary to clear up some problems, so far untouched of definition as a philosophical category. Any definition can point out only one or two properties of a phenomenon. Therefore, in building up a definition, the definer tries to single out the most essential features of the object. These are pinned down by the definer through a long period of observation of the object, its functioning, its growth, and its changes. However, no definition can comprise all the inner qualities of the object and new combinations of it with other objects as well; a deeper penetration into the ontology of the object will always reveal some hitherto unknown qualities and features. In the third group of stylistic devices, which we now come to, we find that one of the qualities of the object in question is made to sound essential. This is an entirely different principle from that on which the second group is based, that of interaction between two lexical meanings simultaneously materialized in the context. In this third group, the quality picked out may be seemingly unimportant, and it is frequently transitory, but for a special reason, it is elevated to the greatest importance and made into a telling feature [1, 27]. The notion of norm is believed to be connected with a recognized or received standard of language regarded as a pattern to be followed; at the same time, it is thought to be a deviation from the received standard, which is sometimes called fluctuation. Fluctuations ensure some variability of norms, among which there exist stylistic norms that split into language variations for written and oral forms. Likewise, the norm of emotive prose is believed to differ from the norm of scientific prose, on the one hand, and from poetry and drama, on the other. But still, regular deviations from the norm that have been repeated for some time establish themselves as variants of the norm. Thus, we may conclude that the norm presupposes the oneness of the multivariate type. The norm may be defined as the invariant of the phonemic, morphological, and syntactical patterns circulating as language-in-action at a given period among language users, it is common to all of them [4, 22]. Sometimes, for a special reason, one of the features of the thing is made the most essential; it is elevated to greatest importance. Such stylistic devices as simile and hyperbole are included in this group. The intensification of some features of the concept in question is realized in a device called a simile. The simile is a stylistic device expressing a likeness between different objects. The formal elements of the simile are the following conjunctions and adverbs: as, like, as like, such as, as if, seem, etc. The simile is based on the comparison of objects belonging to different spheres. For example: 245 Жамият ва инновациялар – Общество и инновации – Society and innovations Special Issue – 03 (2025) / ISSN 2181-1415 Mr. Dombey took it (the hand) as if it were a fish. We must not confuse ordinary comparison and simile as a stylistic device, which represents two diverse processes. Comparison implies the estimation of two objects that belong to one class of objects to establish the sameness or difference. Comparison takes into consideration all the properties of the two objects. For example, “The boy seems to be as clever as his mother” is an ordinary comparison. “Boy” and “mother” belong to the same class of objects – human beings. The nature of a simile is to compare two (or several) objects that belong to different classes of objects. A simile finds one or several features that are common to the objects compared. The sun was as red as ripe new blood. Different features may be compared in simile: the state, actions, and manners. My heart is like a singing bird/ The body was tensed as a strong leaf of spring [3, 113]. А simile consists of three components: 1) What is compared (the subject of a simile); 2) With what the comparison is made (the object of the simile); 3) The basis of comparison. Similes enrich English phraseology: like a squirrel in a cage, to sleep like a log, busy as a bee, blind as a bat. These phraseological units are trite similes and have become clichés. The simile must not be confused with a metaphor, though they are both based on a likenes