2 Chapter I: Phraseology as a branch of linguistics in literary works

To kick the bucket – jon bermoq;
To be all thumbs – qo’pol, beso’naqay odam;
The real McCoy is a diamond - olmosdek qardli narsa;
Grin like a Cheshire Cat – og’zi qulog’ida (og’zini tanobi qochdi).
Sustainable vocabulary is derived from the portable meanings of the meaning components. In particular, there is a graphic of idols in the history of stable word combinations. [14, 31]
2. The phraseological units - maintains that they are indivisible in terms of their meaning in the context of their portable meaning:
Too much to be painted the devil blacker than he is.
In order to understand the phraseological units, their components must be taken in portable sense. For example, the expression "make a mountain out of a molehill" is a camel, making something much exaggerated (namely, building a mountain from the crosspiece), the word "molehill" is "a very small thing" and "mountain" the meaning will be opened. The connection between tela-phraseological units was motivated, when they wrote that metaphysics was clearly perceived. [14, 32]
3. Phraseological compounds are fixed compounds that contain freely and phraseologically related meanings:
A bosom friend – qadrli do’st;
Black frost – qora sovuq;
As red as a turkey cock –xo’roznong tojidek qizil;
The Blue Blanket – moviy osmon;
As bold as a lion - sherdek jasur;
As an obstinate as a mule – eshshakdek qaysar. [14, 32]
The adequate interpretation of the phraseological units, which are a complex compound of linguistic means against the lexical units of the language, is one of the most complex and, at the same time, one of the most important issues of translation practice. Because the phraseological units are involved in expressing more diverse methodological tasks than the simple, neutral statement of the word as artistic means of the speech, the aspiration for a better interpretation of the translation, taking into account these tasks, is the desire to reproduce the imaginary and emotional-image value of the artistic work is closely linked.
It is well known that the translation methods of the phraseological units are translated mainly by four: equivalents, translated into alternative versions, translated by translations, and rendered by visual means.
In our study, we have traced the translation of the phraseological units in the translations of translations in English and Uzbek. The art of translating and developing national languages ​​should also be shown in the field of translation. The higher the original language, the more fluent the language is.
The purity of the dialectic language, the struggle for its supreme culture, is logical with the creativity in the creation of adequate translators, and that all the lexical and phraseological units and stylistic devices have a genuine natural rhythm, first of all, in their own meanings and their functions.
The lexical-phraseological units within artistic creativity provide for the interpretation of the idea of ​​a work in the context of the speech culture and the meaning and stylistic function of the author, which the author implies. Without taking into account the communicative and stylistic ability of the units, the use of them in the unusual natural environment can lead to the formation of compounds that most of them do not even have the culture of translation, and may even lead to a totally different interpretation of meaning and function.