Comparitive study of zoonim riddles between uzbek anda english

Ul na gumbazdur, eshig-u tuynugidin yo‘q nishon,
Necha gulgunpo‘sh qizlar manzil aylabdur, makon?
Sindirib gumbazni, qizlar holidin olsam xabar,
Yuzlariga parda tortig'liq turarlar bag‘ri qon! (Anor)
[ It is a dome, a sign without a door,
How many pink girls are there?
Break the dome, girls, let me know,
Blood on their faces!] (pomegranate)
Ul nadurkim, sabzto‘nlik, yoz yog‘ochning boshida,
Qish yalang‘och aylagay barcha xaloyiq qoshida.
Barcha qushlarning so‘ngoki ichida,
Ul na qushdurkim, so‘ngoki toshida. (Yong‘oq)
[It's not, it's green, it's summer on the tree,
Winter is naked in front of all the people.
Inside all the birds,
It's not a bird, it's a rock.] (Walnut)
Ikki mahbubni ko‘rdum, bir-birisin ko‘rmagan,
Ikkisining o‘rtasiga, do‘stlar, qil sig‘magan. (Kun va tun)
I saw two lovers who didn't see each other,
There is no space between the two, friends. (Day and night)
According to these riddles, one of them is highlighted from its specific features is the riddle about Pomegranate. After all, through this riddle about the pomegranate, the author also mentioned the lifestyle of the girls of that period and the oppression shown to women and the internal system of the palace. Ul na gumbazdur, eshig-u tuynugidin yo‘q nishon, [ It is a dome, a sign without a door,] is said that in this line, because the shape of the pomegranate is round and domed, the harem (i.e., women’s characteristic rooms) in the palace of the khanate is depicted through the symbol of pomegranate in terms of shape and appearance. Necha gulgunpo‘sh qizlar manzil aylabdur, makon? [How many pretty girls are there?] is said that there are many beautiful girls are lived in that Harem for the nights of the Sultan. Yuzlariga parda tortig'liq turarlar bag‘ri qon! [Blood on their faces!] is about that we know that on the inside of the pomegranate fruit, the apricot kernels of the fruit are separated by thin curtains, and behind the curtain, the apricot kernels of the fruit are arranged in order. The order and form in the internal structure of the pomegranate is figuratively transferred to the lifestyle of the girls in the palace harem. And here the author described the tragic fate of the girls in the palace harem through the image of a pomegranate face with blood. the fact that the pomegranate seeds were mostly red, the blood on the faces of the palace girls that made this simulation look so beautiful, and the fact that the red color of the pomegranate fruit was all revealed after breaking the dome and lifting the curtain, make this fruit break.
In Uzbek, the term has several forms, such as riddle, riddle, like a ball, a ball, a ball, a puzzle. Riddles - the creation has a very long history, so it has come down to us. The puzzles contain material and information from different periods. Apparently, to find the answer to the riddles, too, from the historical past of your people, however agriculture, farming, animal husbandry, household goods, weapons, natural phenomena, plants, animals, insects, etc. must have some knowledge of So, the riddle finder interested in the riddles of a nation's oral tradition is aware of the mentality of the national cultural way of life of this people, that is, He is aware of the mentality, national values ​​and worldview of the people can easily find the answer to their riddles. “Folklore mentality is an important source of learning.
We divide them into the following groups according to the prevalence of the riddles among the people, and to what subject it is chiefly devoted.

Riddles
Folk riddles	Literary riddles
According to its meaning:
Own meaning/ typical riddles	Portable riddles

Folk riddles - among the scholars there is no unanimous agreement on the status of a riddle as a folk genre. The debates unfold around the ideas whether this status should be based on the structural elements of the riddle or its functions, the sphere of usage or speech context in which it appears, etc. Thus, in terms of its semantic plane the riddle is defined as a text, whose denotative element is represented by a particular object, not named in the text of a riddle ⁴⁸. Within a pragmatic description the riddle is viewed as a genre that has the “question-answer” structure and a multifunctional communicative use as well as combines in itself features of both an utterance and a text. Besides, it is noted that the leading cognitive-pragmatic functions of a riddle are logical and image-creative ones, i.e. the formation in the speakers’ minds of logical clichés filled with images from the traditional culture in their “metaphorically creative” role⁴⁹. In other works, the riddle is considered as a specific discursive formation or as a standardized dialogue represented according to definite rules and principles. The consideration of functional features of the text of a riddle can be based on Lotman⁵⁰ postulates that within the culture, texts perform two main functions: an adequate transmission of meanings and generation of new meanings. In terms of a riddle the majority of scholars indisputably recognize a didactic function as its primary sociocultural goal⁵¹. At the same time, there is no doubt as to the multifunctional nature of a folk riddle, quite explicitly overviewed in the paper⁵², where the author named the following functions of a riddle: cognitive, modelling, image-creative, image-regulatory, ritual, entertaining, and others. Even though the description of riddle functions, presented in this paper, is not, in our opinion, logically structured, it gives us a sufficient terminological material for the clarification of the nature of the riddle communicative sub-functions, participating in the realization of its general didactic function. Thus, as a result of the carried out analysis we can inevitably come to the conclusion that the system of riddle functions acquires the following hierarchical subordination: general didactic function → creative-and-instructive pragmatic orientation → entertaining-and-training function.

Considering this, we can formulate a generalized definition of the riddle as a genre. We define the riddle as a specific folk genre, whose text, having a creative-and-instructive pragmatic orientation, performs an entertaining-and-training functional role, realized on the basis of an associative-and-creative mechanism of reconsideration of knowledge, existing in the recipient’s mind.
Literary riddles - although literary material and folk – material are often inextricably entwined, it is best for the folklorist to separate them as much as possible. Each feeds into the other – literary men especially have drawn from the folk – reservoirs, but their imitations can usually be recognized easily. Literary tales have often been conceived of in the popular manner.
As do the tale and the ballad, the riddle also has both popular and literary forms. Literary form is generally far longer, more vague and more diffuse than the folk – riddle. It generally contains a long series of assertations and contradictions which force the teller sacrifice some of the unity of his conception. They depend less on specific details than do folk – riddles. Also, literary riddles are more likely to employ abstract themes suggest obscene answers and surprise the listener with innocent solution. A great many give evidence of being deliberate artistic elaborations of folk themes. Frederick Tupper distinguishes the two genres by the names “Kunstratsel (artistic)” and “Volksratsel (folk)”.
Literary riddles are of extremely old traditions. We can often trace a continuous tradition from a Sanskrit riddle more than two thousand years old to a collage dean writing in his study today. Records are incomplete and difficult to understand, but we have good evidence that literary riddling in the Near and Far East.
Coming to the conclusion, we can say that the difference between folk riddles and literary riddles are often impossible to separate and tell them the riddles belong to exact type. Because, all riddles are originated from the root of ancient riddles which separated among the speech of people and became daily – life items to use during communications.
On the other hand, there is also clearly difference given according to its usage and genres: literary riddles are more likely to employ abstract themes suggest obscene answers and surprise the listener with innocent solution while At the same time, there is no doubt as to the multifunctional nature of a folk riddle, quite explicitly overviewed in, where the author named the following functions of a riddle: cognitive, modelling, image-creative, image-regulatory, ritual, entertaining, and others. Even though the description of riddle functions, presented in this paper, is not, in our opinion, logically structured, it gives us a sufficient terminological material for the clarification of the nature of the riddle communicative sub-functions, participating in the realization of its general didactic function.