Yusupov Oybek Nematjonovich Ahmedova Nigora Shavkatovna

Description
is a static narrative-compositional form. 
It supplies the details of 
the appearance of people and things “populating'' the book, of the place and time of 
action
[47:103]. So, description is used to 
depict nature (landscape), premises 
(interior), appearance (portrait), and urban scenery (townscape)
. The statements 
come not in consecutive order but in a parallel manner, the predicates being mostly of 
the compound nominal type. Emphasis is laid on attributes, predicatives and other 
qualifying features [54: 171]. 

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126 
As descriptions are often elevated and lyrical, similes and metaphors, including 
personification, are favourite tropes in this kind of the narrator’s discourse. The 
functional potential of various kinds of descriptions is very great. 
Landscapes, 
townscapes and descriptions of dwellings
play a considerable role in the interpretation 
of the subject matter. They not only serve as a setting of the narrative and a means of 
creating an appropriate atmosphere (which arouses the reader’s expectations and 
establishes some certain state of mind for events to come), but also as an indirect 
method of characterization of the personages, a powerful means of revealing the 
character and reinforcing or clarifying the themes of a novel or short story (like for 
example, in the works of E.A.Poe, T.Hardy). 
Portrayal of human appearances is
no 
less but sometimes even more powerful as a means of characterization of the
personage. It may be quite explicit, with the reader being able to feel the author’s 
attitude towards the character described. Such descriptions are rich in epithets and 
similes. Details of dress and physical appearance given in portraits may offer clues to 
the personages’ social and economic status, education, emotional health and well-
being. There are even some stereotyped physical types of characters that have been 
exploited, by common agreement, by authors in works of fiction over a long period of 
time. For example, characters that are tall and thin are often associated with 
intellectual and aesthetic types who are withdrawn and introspective (like Arthur 
Dimmesdale and Roger Chillingsworth in 
The Scarlet Letter
by N. Hawthorne). 
Portly and fat characters, on the other hand, suggest an opposite kind of personality, 
one characterized by a degree of laziness, self-indulgence, and congeniality, as in the 
caseof Ch.Dickens’s 
Tony Weller
[56: 31].