The emotive meaning of a word can be clearly understood if we introduce the notion of neutral meaning. It denotes the unemotional communication: Stylistic of emotional word and constructions are easily sensed when they are set against the non emotional words and constructions.

Interjections. Usually these words express our feeling such as regret, despair, sorrow, woe, surprise, astonishment etc. In the previous parts we have spoken about interjections which were defined as expressive means of the language. Emotionally coloured features of interjections after conscious and intentional intensification of their structural and semantic properties move up to a generalized status and become a stylistic device.

Interjections may be divided into simple and derivative.

Simple interjections: Oh! Ah! Bah! Pooh! Gosh! Hush! Alas! Voy! Eh! Oh! Be! Ie! Iy! Voey! E-ha! xa! Voy-bo`y! Xaya! I-i! Yop! Ey! Xax! Obbo!

Derivative interjections:Heavens! Good gracious!

Dear me! Good! By the lord! God knows! Bless me! Hum bug! Yopiray! Tavba! Alvido! Yopirim! Parvardigor! Barakalla!, “Xe, mayli-da, uka, buyam endi qirq yilda bir eshak o`yin deganday gap-da. Voy, Xushomadgo`y-ey!” Voy, otasi tushgur-ey, dedi kula-kula Musa, -men sizni so`fi, bunday ishlarga r`tabor qilmaydi deb yursam, sizda gap ko`p ekan. Voy, otasi tushkur-ey!

There are a number of adjectives and adverbs which may be classified as interjections. Among them are the following: terrible, awful, great, wonderful, splendid. When they are used as interjections they are not used in their logical dictionary meanings. In most cases they are used in their emotive meanings as intensifiers.

The Epithet

From the strongest means of displaying the 'writer's or speaker's emotional attitude to his communication, we now pass to a weaker but still forceful means— the epithet. The epithet is subtle and delicate in character. It is not so direct as the interjection. Some people even consider that it can create an atmosphere of objective evaluation, whereas it actually conveys the subjective attitude of the writer, showing that he is partial in one way or another.

The epithet is a stylistic device based on the interplay of emotive and logical meaning in an attributive word, phrase or even sentence used to characterize an object and pointing out to the reader, and frequently imposing on him, some of the properties or features of the object with the aim of giving an individual perception and evaluation of these features or properties. The epithet is markedly subjective and evaluative. The logical attribute is purely objective, non-evaluating. It is descriptive and indicates an inherent or prominent feature of the thing or phenomenon in question.

Thus, in 'green meadows', 'white snow', 'round table', 'blue skies', 'pale complexion', 'lofty mountains' and the like, the adjectives are more logical attributes than epithets. They indicate those qualities of the objects which may be regarded as generally recognized. But in 'wild wind', 'loud ocean', 'remorseless dash of billows', 'formidable waves', "heart-burning smile', the adjectives do not point to inherent qualities of the objects described. They are subjectively evaluative.

The epithet makes a strong impact on the reader, so much so, that he unwittingly begins to see and evaluate things as the writer wants him to. Indeed, in such word-combinations as 'destructive charms', 'glorious sight', 'encouraging smile', the interrelation between logical and emotive meanings may be said to manifest itself in different degrees. The word destructive has retained its logical meaning to a considerable extent, but at the same time an experienced reader cannot help perceiving the emotive meaning of the word which in this combination will signify 'conquering, irresistible, dangerous'. The logical meaning °f the word glorious in combination with the word sight has almost entirely faded out. Glorious is already fixed in dictionaries as a word having an emotive meaning alongside its primary, logical meaning. As to the word encouraging (in the combination 'encouraging smile') it is half epithet and half logical attribute. In fact, it is sometimes difficult to draw a clear line of demarcation between epithet and logical attribute. In some passages the logical attribute becomes so strongly enveloped in the emotional aspect of the utterance that it begins to radiate emotiveness, though by nature it is logically descriptive. Take, for example, the adjectives green, white, blue, lofty (but somehow not round} in the combinations given above. In a suitable context they may all have a definite emotional impact on the reader. This is prob-ably explained by the fact that the quality most characteristic of the given object is attached to it, thus strengthening the quality. Epithets may be classified from different standpoints: semantic and structural. "Semantically! y, epithets may be divided into two groups: those associated with the noun following and those an associated with it.

Associated epithets are those which point to a feature which is essential to the objects they describe: the idea expressed in the epithet is to a certain extent inherent in the concept of the object. The associated epithet immediately refers the mind to the concept in question due to some actual quality of the object it is attached to, for instance, 'dark forest’, 'dreary midnight', 'careful attention', 'unwearying research', 'in-defatigable assiduity', 'fantastic terrors', etc.

Unassociated epithets are attributes used to characterize the object by adding a feature not inherent in it, i.e. a feature which may be so unexpected as to strike the reader by its novelty, as, for instance, 'heartburning smile', 'bootless cries', 'sullen earth', 'voiceless, sands', etc. The adjectives here do not indicate any property inherent in the objects in question. They impose, as it were, a property on them which is fitting only in the given circumstances. It may seem strange, unusual, or even accidental.

In any combination of words it is very important to observe to what degree the components of the combination are linked. When they are so closely linked that the component parts become inseparable, we note that we are dealing with a set expression. When the link between the component parts is comparatively close, we say there is a stable word-combination, and when we can substitute any word of the same grammatical category for the one given, we note what is called a free combination of words.

With regard to epithets, this division becomes of paramount importance, inasmuch as the epithet is a powerful means for making the desired impact on the reader, and therefore its ties with the noun are generally contextual. However, there are combinations in which the ties between the attribute and the noun defined are very close, and the whole combination is viewed as a linguistic whole. Combinations of this type appear as a result of the frequent use of certain definite epithets with definite nouns. They become stable word-combinations. Examples are: 'bright face', valuable connections' 'sweet smile', 'unearthly beauty', 'pitch darkness', 'thirsty deserts', 'deep feeling', 'classic example', 'powerful influence', sweet perfume' and the like. The predictability of such epithets is very great.

The function of epithets of this kind remains basically the same: 'to show the evaluating, subjective attitude of the writer towards the thing described. But for this purpose the author does not create his own, new, unexpected epithets; he uses ones that have become traditional, and may be termed "language epithets" as they belong to the language-as-a-system. Thus epithets may be divided into language epithets and speech epithets. Examples of speech epithets are: 'slavish knees', 'sleepless bay.'

The process of strengthening the connection between the epithet and the noun may sometimes go so far as to build a specific unit which does not lose its poetic flavor. Such epithets are called fixed and are mostly used in ballads and folk songs. Here are some examples of fixed epithets: 'true love', 'dark forest', 'sweet Sir', 'green wood', 'good ship', 'brave cavaliers'.

The epithet is a SD which is built on the interplay of two meanings of words: emotive and logical. It denotes a permanent or temporary quality of a person, thing, idea, phenomenon and characterizes it from the point of view of subjective perception: gooseberry eyes, cat-like eyes, proud boxing gloves, iron hate, waiting silence, silver hair, rose berry blond hair.

Qorli tog`lar orqasidan

Atlas sochin tarab quyosh

Gox mo`ralab o`ynashar quyosh

Xanda sochar dudog`idan.

(G`ayratiy)

The degree of individual subjective evaluation is clearly seen if we compare these word combinations with the traditional logical founded word combinations: black, green, small, large, eyes, siyrak, quyuq, to`zg`igan, kalta, o`rilgan jilvar, oq, sariq soch.

A comparison of such word combinations as “iron gate” and “iron will”, “temir darvoza” and “temir iroda”. In the first case “iron” is logical attribute denoting a special type of gates, whereas in “iron will” “temir iroda”- iron serves as an epithet and denotes an “unyielding will”. The same refers to “green meadow” “green old age”, “green thoughts”, Steel weapon, steel will,ham tarvuz ,xom yigit, polat sim, polat qala ets.

An erithet has always an emotional meaning or connotation. This meaning may be combined with denotatinal meaning or it may exist independently.

After the long usage epithets form fixed word combinations which established in the language and enter the group of set expressions; true-love, merry mind, lagy gay, sweet smile, heated discussions, ogir yigit, engiltak juvon, ogir yuk, qora quzgun.

Individual epithets depend on the authors stile and his artistic purpose. Eg; He looked shy and embarrassed and wild hope came to me (G. Green) Oyni kutgan oqshomgi kokda beshik-beshik bulut yurardi. (Oybek)

Semantic criterion gives us the right to distinguish associated and unassociated epithets. Associated epithets single out a feature which is essentially typical, inherent in the concept of the object they describe; the red sunset, the towering woods, dark clouds, pokiza yoshlik, ola chipor koylak, ochilgan guncha. Unassociated epithets characterize the object through a feature which is not typical and alien for this object. Such association immediately brings surprising effect, attracts the readers attention. Eg; elegant books, smiling year, dim roar, the wild moon, osmon upar uylar, shaftoli gul kuylak, sargaygan dunyo, ichakuuzdi latifalar. These adjectives indicate properties which are associated with other notions; elegant manners, smiling child, dim light, qiziq latifalar.

In present day English epithets can be by various morphological and syntactical categories. Very often and epithet is expressed in the form of an adjective in the attributive function. Eg; Bold shadows, shallow sorrows, golden autumn day.

Adjectival epithets are expressed by compounds consisting of;

1) Noun+adjective; Stone-cold water, steel-grey cloud.

2) Noun+participle: The house had a snow-beaten look.

3) Adjective (adverb+participle: much-traveled cousin.

4) Noun+adjective (derived from a noun): the key-eyed boy, her high, long-legged dreams, pot-bellied man, gun-coloured overalls.

5) Very often an epithet is expressed by a participial attributes: the gray boiling sea burst on to the sand.

In the examples given above epithets are expressed by nouns in the function of a prepositive attribute which denotes qualities such as colour, shape, consistency etc.

While speaking about epithets we must distinguish different structural types such as: simple compound, string, phrase, sentence epithets and reversed epithets. Here are the illustrations:

Simple epithets: a brainless animal, a sensible. Stroke, buyuk xasis, tengsiz mumlik, qarsillagan kulgu, mexmondo`st odam, sofdil kishilar.

Compound epithets stand very close to compound adjectives: weak-minded ideas, cast-iron opinion, a shamed-looking dog, a carefully thought out curses

String epithets, the structural attributes describe the object from different points of view. Very often string epithets constitute gradation. Eg: Moving magically to fresh and strange and exciting places; a miserable, long-nosed, dirty-looking scoundrel.

Prase epithets (sentence epithets): a life-and-death struggle; Her mother ran up, and came into the bad-room with a worrid-end-of-the-world frown on her face (E. O`. Brien). Baxtingga tasadduq zaminu olam, ko`ngli oq va o`zi qora qoshyurtim!

Such constructions serve to the reversed epithet consists of two nouns connected by an “of phrase”, a claw of fear, a day of happiness. These are called metaphorical epithets.

The essence (nature) of transferred epithets lies in the fact that it is associated with a noun other than to which it grammatically belongs: She put her careful, not her foot.) Mr. Baker stirred with a thoughtful spoon. (Mr. Baker was thoughtful, not his spoon) (Azizbek) Boshlab fuqaroga salom berdi, so`ngra siniq va ojiz qolgan bir tovush bilan xalqqa uzr aytdi.

From what have been said above it is quite clear that the stylistic function of epithets is to give subjective evaluation of things and notions. In most cases it is the writer’s subjective attitude to what he describes.

Oxymoron. Oxymoron is lexical device the syntactic and semantic structures of which come to clashes eg: “cold fire”, brawling love” “ishbilarmon dangasa” “achiq kulgi”. Oxymoron is the use of an epithet or in attributive phrase that is contradictory to the noun it modifies. Chopin’s beautiful sorrow, a generous miser, busy idleness, a beautifully ugly face.

An Oxymoron is used to give a figurative characterization of a notion to reveal its inner complicated nature. It may serve to denote a temporary feature of a notion.

Eg: It was with an almost cruel joy. Suddenly she felt the need to speak. The wordy silence troubled her: It was a relief to be on board and no longer alone together.

Of course an oxymoron always expressed the author’s subjective attitude:

Come to me in the silence of the night

Come in the speaking silence of a dream.

Uyg`on, ey malagim, tur o`rningdan tur,

Otashin muzlarda isinaylik yur

Yong`inli daryoda quloch otaylik,

Bu erdan ketaylik, faqat ketaylik.

The stylistic effect is based on the fact that the denotational meaning of the attribute is not entirely lost. If it had been lost the word combination would resemble those attributes with only emotional meaning such as: It’s awfully nice of you, I’m terrible glad. Oxymoron as a rule has the following structural model: adjective+noun or adverb adjective.