THE STYLISTIC PECULIARITIES OF THE “SONG OF HIAWATHA” BY H.W. LONGFELLOW IN ORIGINAL TEXT AND TRANSLATION

The article investigates the stylistic devices that are used in the plot of the poem of H.W. Longfellow “The Song of Hiawatha” and analyzes the ways of preserving them in translation versions. Theoretical content of the article is proved by examples of original extracts and their translation into the Uzbek language.


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H. Longfellow's work is to organize the masterpieces of the entire romantic school in world poetry. Longfellow was one of the school leaders who brought Boston poets. Poems in romantic spirit are a higher perfection and huge artistic professionalism, which is of great importance in the poet's work. We should note that the classic Oriental literature in the Uzbek language translations of these poems have a masterpieces in the spirit of Romance.
The object of the study of the present research is H.W. Longfellow's "The Song of Hiawatha" and its translations made by the romantic epics of translators.
The subject of the study is H.W. Longfellow's poetry, a comparative analysis of the specific aspects of the originality of the romantic epic "The Song of Hiawatha" in Uzbek translations in comparative aspect.
The following methods of research were used: method of comparative-historical, comparative-biography, linguopoetic and text analysis.
The tasks of the study are: H.W. Longfellow's "The Song of Hiawatha", its linguopoetic analysis and Uzbek translations in historical and comparative study; coverage of the specific style of the author, the main lexical and stylistic features of the poetic text, its rhyming system, its originality, essentiality of language means, the problem of originality in the translation of the original poetics; "The Song of Hiawatha", identifying the bright ideas of the author and the development of methodological recommendations for doing translations in Uzbek and developing the romantic spirit of the epic.

Results and Discussion:-
Due to "The Song of Hiawatha" Longfellow became the American National Poet with a key factor that poem's connection was related to the Indians. As an emergency popular in our country and abroad success, the images of the oldest Indians are succeeded in harmony with their way of thinking, living and worldview. In the poem, history, ethnography and inspirational poetics have become a whole.
Longfellow's poem has specific features of epic poetry -also have a bright diversity of metaphors, epithets and other stylistic devices. There are comparisons and voice notes (alliterations, associations, anaphora, epiphora).
Study of fictional literature in the objecty and translation leads to a logically individual-author concept. Once upon a time V.V. Vinogradov noted, in the research of the artistic literature student is a support building. "If more complex constructive forms and attention of more than the outer grammar of the language, the literary language structure is more complicated in the form, in which the author body is embedded in a subjective plan" [V.V. Vinogradov, 1959, p. 269].
In the literary creation of the writer and his works, the word serves as a unique construction material of the images. And it is impossible to create a real literary work without it, and the word forces the reader to feel incidents and live under influence. It was epithets that have internal sensitivity and bright expression, which occurred during lyrical art [A.N. Veselovskiy, b. 288]. The mobility and variability of the meanings ensures the ability to have a special semantic capacity, the bright assessment convening is the ability to build lively literary form between them.
Epithet is an important stylistic method in the poem "The Song of Hiawatha" (294 epithets), in the story of the author, the author comes as a tool that represents "I". Longfellow uses a "epithet" method, i.e., trying to turn many substantic words identifiers. The epithet is haunting the hidden and appear as a noun, verb, number. It should be noted that in the logical identification, the context plays a leading role, which can also determine the epithet. Longfellow identifiers use the following methods in using of contextual epithet: From the perspective of semantic (meaning), poem epithets are easily associated (linked). They are obvious that it is unique to the epic genre of the train more than any other genres. Among them, the permanent epithet, which are typical of the public poet, are separate, and they, in turn, are divided into the evaluating, describing and repetitive types: 1) Evaluatingwords of sweetness, sweetest odors, a faithful bowstring, a swift arrow, gentle look, etc.
2) Describinga green forest, green branches, a yellow water-lily, a white fog, the red sun, leafy woods, etc.
Metaphorical epithets (65 epithets) are relatively clearly distinct by the associated (links) epithet comes in the form of revitalizing-epithet. The surrounding the world is alive Indian folk tour also is also unique. For example, the pine songs sing in the "The Song of Hiawatha" is called singing pine-trees, sleeping shadows. From semantic point of view, poem epithets look like these ones.
The role of epithets in "The Song of Hiawatha" often in most cases is vivid thorough qualities of nouns. The main section is simply on the structure, only in small epithets are expressed in complex adjectives: ooal-black, blood-red, heavy-hearted. Together, combined with other stylistically, the epithet plays a big role in ensuring that the image of the poem is rich and emotional.
In addition to individual epithets, double, double epithets are also specific to Henry Longfello Thus, alliteration connects expanded epithets a whole. Alliteration in Longfellow's poem is widely manifested. He not only covers the word within a single verse, but also enhances, depicts several sequences, some series of incidents or events, and helps to separate this or that word separately.
Epithetes also affect the emotional composition of poems. They represent the author's "I" and the events that will happensweetly sang the blue bird, said the old man darkly frowning groping blindly in the darkness.
Longfello often uses a horse for "of-phrase": a smile of sunshine, words of sweetness, a sigh of sorrow, a voice of sunder, a cry of pain and anguish.
The epithets play a major role in creating imagery in poem and ensuring emotional vertification.
The next widespread stylistic device used in the poem is metaphor (a total of 194 metaphors). In H.Longfellow's poem, the verb is dominated by metaphors, which forms 65% (126 verbs metaphors) in all cases of metaphaphy word application. Example: the whispering of the pine-trees; signing of the branches, the riverlet, talking to the …forest; the footsteps of the thunder; he streamlets laughed; the rushes whispered; the waves … sobbed.

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Ordinary metaphors, enriching the imagination of an object, often comes side and moves. For example: … he heard the cataract's laughter [Longfellow, 1967, р. 106]. Sometimes the accumulation of unified metaphors with one key idea, gathering the reader's attention to one point. Such tightening of metaphora has, for example, allowed the stylistic effect in the hungry winter image. All the earth was sick and famished; Hungry was the air around them, Hungry was the sky above them [Longfellow, 1967, р. 183] The author also includes a number of traditional metaphors. These are a revitalizing metaphor type: the rushes whispered; the forest signed; the stars looked at them; the tempest of anger. In poetic context they will help the image clearly and clear with other image tools. However, concreting details develop images, giving them a new shape: All the stars of night looked at them, Watched with sleepless eyes their slumber [Longfellow, 1967, р. 111]; Guskewau, the darkness, wrapped her Closely in his sacred mantle [Longfellow, 1967, р. 135] In "The Song of Hiawatha" there are many realias: 1. The objects of everyday use (totally 53): a bow, bow-string, a cord, an arrow, a birch-canoc, paddles, a warclub, a loance, an arrowm a wigwam, a heart-stone, curtains of a wigwam, etc. 2. The animals world (48): a bison, a panter, a deer, an antelope, a wolf, an otter, a squirrel; birds: an eagle, a flamingo, a crow, a magpic, a robin; insects: a wasp, a spider, a cricket, a battle, a hornet, a dragon-fly; trees: a willow, a birch, an oak tree, a pine-tree; flowers: a water-lily, a lily, prairie, grasses, reeds, rushes. 3. Natural objects (24): far-off waters, a water, a river, a streamlet, sun, moon, stars, etc. The main task of imaginative images in the "The Song of Hiawatha" is to ensure image-expression. I. R. Galperin pointed: "Comparison real compares the objects such as metaphors and help the writer to clarify the writer's attitude and helps the author's worldview appears to show strongly" [I.R. Galperin, 1981

All her young and handsome suitors, And then married old Osseo, Old Osseo poor and ugly…
In the process of analyzing epithetes in the form and translation, we have made sure that I.A. Bunin seeks ways to preserve this stylistics device. The interpreter deals with different epithets. We found that the work will drop 104 epithets in their translation from 294 epithets in the original version.  Кокилидан совуқ қорга, Drops of sweat fell fast and heavy, Тер томчилай бошлади, Making dints upon the ashes, Худди кўклам томдан оққандай As along the eaves of lodges, Ё дарахтнинг новдасидан томгандай As from drooping boughs of hemlock, [Bunin 1982:74] Drips the melting snow in spring-time, Making hollows in the snow-drifts. [Longfello 1967:84] The important features of the style of translation are vivid in careful selection of the lexical tools, syntactic and stylistic expressions. The poet sang the glorious psyche of the Hindus -his bravery, strong and hardworking.
"The Song" style is distinguished by its richness in high-quality emotions typical of the romantic emotions in the poetry. The image of the poemy is helped with this. However, the image of the language is an important sign of folk poetry. It is this feature that Henry Longfello has set the method of epic work.
I.Bunin' clear work that consistent with a careful approach to all features of style and the interrelationships of stylistic methods. D.Mikhalovsky did not develop comments explaining Hindu realities, but did not give stylist bells, Poema's resounding. In translators, E.Sweshnikova and S.P.Kazanksky allowed their translations to literally, the gross violation of the original method.