C2 — 3-dars: Ilg'or idiomlar va madaniy iboralar (allusions)

C2 — MAHORAT (native) · 3-dars · (maksimal chuqurlik · inglizcha-og'ir)

1. Dars nomi, maqsad va motivatsiya

C1-9 da idiomlarning asoslarini ko'rdik. Bu dars eng yuqori, eng madaniy qatlamga o'tadi: allusions — expressions that reference a shared body of cultural knowledge: classical myth, the Bible, Shakespeare, literature, and history. To call a weakness an "Achilles heel," a no-win situation a "Catch-22," a looming disaster "the writing on the wall," or a hollow win a "Pyrrhic victory" — these are not ordinary idioms but cultural references, drawing on stories every educated native speaker half-remembers.

Bu nima uchun muhim. Allusions are the deep grammar of cultural belonging. To understand them is to read native English — journalism, literature, speeches, conversation — without missing half the meaning ("He met his Waterloo," "a Faustian bargain," "Orwellian surveillance" assume you know the story). To use them aptly is to signal not just fluency but cultural literacy — membership in the educated discourse community. This is among the final frontiers of C2: not the language itself, but the world of reference it carries.

ASOSIY tushuncha — idiom + yashirin hikoya. An allusion is an idiom whose meaning rests on a story:

Allusion	Manba (hikoya)	Ma'no
Achilles heel	Yunon mifi (zaif tovon)	yagona zaiflik
Catch-22	Heller romani	yechimi yo'q vaziyat (paradoks)
the writing on the wall	Bibliya (Doniyor)	yaqinlashayotgan halokat belgisi
a Pyrrhic victory	Pirr (qadimgi shoh)	shunday qimmatga tushgan g'alaba — mag'lubiyatdek

Hikoyani bilsangiz — idiom esda qoladi va aniq ishlatiladi.

O'xshatish — "yashirin kutubxona". Allusions are like quotations from a vast, invisible library that all educated speakers have "read" (or half-read). When a writer says "a Sisyphean task," they are quietly handing you a Greek myth — Sisyphus, doomed to roll a boulder uphill forever — and trusting you to catch it. To miss the reference is to find a locked door in the conversation; to catch it is to step, knowingly, into a shared room. C2 = holding the keys to that library.

Til-fakti: ingliz tili allusionlarga g'oyat boy — sababi uning madaniy ildizlari: Yunon-Rim mifologiyasi (ta'lim asosida), King James Bibliyasi (asrlar davomida har uyda), Shekspir (so'z boyligimizning eng katta yakka manbai — ~1,700 so'z va o'nlab idiom u kiritgan), va keyinroq adabiyot va tarix. Bu manbalar ingliz "madaniy xotirasi"ni shakllantirgan. Achilles, Pandora, Judas, Scrooge, Big Brother — bular shunchaki nomlar emas, butun hikoyalar bir so'zga siqilgan. Native bola bularni asta-sekin yutadi; C2 o'rganuvchi ongli ravishda egallaydi.

2. Avvalgi darslardan takror (spiral)

• C1-9 (idiomlar): asoslar, "less is more". Bugun madaniy/tarixiy allusion.
• C2-1/2 (aniqlik/konnotatsiya): allusion — aniq, yuklangan ibora.
• C2-18 (madaniy savodxonlik) ko'prik. C2-10 (metafora).
• Tez mashq: Achilles heel = ? (yagona zaiflik). a Catch-22 = ? (yechimi yo'q paradoks).

3. Leksika — chuqur, to'liq tushuntirish (manba bo'yicha)

3.1. Klassik mifologiya (Yunon-Rim)

Achilles heel — yagona zaiflik (Axilles tovoni)
Pandora's box — to'xtatib bo'lmas muammolar manbai (qutini ochish)
a Trojan horse — yashirin xavf/aldov (Troya oti)
a Herculean task — ulkan, og'ir vazifa (Gerakl)
a Sisyphean task — befoyda, cheksiz takroriy mehnat (Sizif)
a Pyrrhic victory — juda qimmatga tushgan g'alaba (Pirr)
the Midas touch — har ishi pulga aylanadi (Midas)
a Gordian knot — yechilmas murakkab muammo (Aleksandr kesgan tugun)
a Cassandra — rost ogohlantirib, eshitilmaydigan kishi
between Scylla and Charybdis — ikki o't orasida (ikki xavf)
a siren song — jozibali, lekin halokatli chaqiriq
narcissistic — o'ziga oshiq (Narkiss) · an odyssey — uzoq sarguzasht (Odissey)
a Promethean effort · tantalise (Tantal) · a Herculean / Augean task

3.2. Bibliya (King James)

the writing on the wall — yaqinlashayotgan halokat belgisi (Doniyor)
a good Samaritan — notanishga yordam beruvchi xayrli kishi
the promised land — orzudagi maqsad/joy
forbidden fruit — taqiqlangani uchun jozibali narsa
a Judas — xoin · the patience of Job — buyuk sabr
David and Goliath — kuchsizning kuchliga qarshi kurashi
a wolf in sheep's clothing — qo'y terisidagi bo'ri (yashirin yovuz)
by the skin of your teeth — zo'rg'a (juda oz farq bilan qutulish)
the prodigal son — adashib qaytgan farzand
salt of the earth — oddiy, halol, qadrli odam · an eye for an eye
turn the other cheek — yomonlikka yomonlik bilan javob bermaslik
the powers that be — hokimiyatdagilar · a fall from grace · forbidden fruit

3.3. Shekspir (eng katta yakka manba)

the green-eyed monster — rashk (Otello)
star-crossed lovers — taqdiri fojiali oshiqlar (Romeo va Juletta)
wear your heart on your sleeve — hislarini ochiq ko'rsatmoq
a pound of flesh — shafqatsiz qarz talabi (Venetsiya savdogari)
a foregone conclusion — oldindan ma'lum natija
a wild-goose chase — befoyda, behuda qidiruv
the world's your oyster — barcha imkoniyatlar oldingizda
all that glitters is not gold — yaltiragan hamma narsa oltin emas
break the ice · in a pickle · method in the madness (jinnilikda mantiq bor)
to be, or not to be — hayotiy tanlov/ikkilanish · the be-all and end-all

3.4. Adabiyot va zamonaviy (literary allusions)

a Catch-22 (Heller) — yechimi yo'q paradoksal vaziyat
Orwellian / Big Brother / doublethink (Orwell, 1984) — totalitar kuzatuv
Kafkaesque (Kafka) — absurd, tushunarsiz byurokratik dahshat
a Scrooge (Dickens) — ziqna, baxil odam
Jekyll and Hyde — ikki yuzli (yaxshi/yovuz) xarakter
Frankenstein's monster — yaratuvchisiga qarshi chiqqan ijod
quixotic (Don Kixot) — orzuparast, real bo'lmagan
a Pollyanna — haddan optimist · a Peter Pan — ulg'aymaydigan
gaslighting (film 'Gaslight') — psixologik manipulyatsiya
15 minutes of fame (Warhol) — qisqa shuhrat

3.5. Tarix va eponimlar (nomdan kelgan so'z/ibora)

TARIXIY IBORA:
  meet your Waterloo — yakuniy mag'lubiyat (Napoleon)
  cross the Rubicon — qaytib bo'lmas qaror qilmoq (Sezar)
  a witch-hunt / McCarthyism — asossiz ta'qib
EPONIM (nom  so'z):
  boycott (kapitan Boycott) — boykot · draconian (Drakon) — o'ta qattiq
  Machiavellian (Makiavelli) — ayyor, makkor siyosiy · spartan — qattiqqo'l, sodda
  stoic (stoiklar) — sabr-bardoshli · herculean — ulkan · maverick — mustaqil fikrli
  galvanise — harakatga keltirmoq · mesmerise — maftun qilmoq · lynch · saxophone · sandwich
  chauvinist · quisling (xoin) · bowdlerise (senzura) · gerrymander

3.6. Allusion'larni qanday ishlatish

TUSHUNISH (birinchi):  native matn/nutqda allusion'larni ushlash (yo'qotmaslik)
ISHLATISH (ehtiyot):  auditoriya HIKOYANI bilsa ishlating
   ish/yozuvda: "It was a Pyrrhic victory — we won, but at huge cost."
   auditoriya bilmasa — yo'qoladi (yoki tushuntirish kerak)
TABIIYLIK:  majburlamasdan, mos joyda (C1-9 "less is more")

Allusion ishlatish — ikki tomonlama bilim talab qiladi: siz va auditoriyangiz hikoyani bilishingiz kerak. Shubhada — ishlatmang yoki tushuntiring. Lekin tushunish — har doim foydali (native matnni to'liq o'qish).

4. Native nozikliklari va qo'shimcha qoidalar

• Tushunish > ishlatish: the primary value is recognising allusions in native text/speech — missing "a Faustian bargain" or "crossing the Rubicon" means missing the meaning. Using them is secondary (and risky if the audience doesn't share the reference).
• Hikoyani bilish = idiomni esda saqlash: learn the source story — it makes the idiom vivid and memorable, and prevents misuse. Pyrrhic victory makes no sense until you know Pyrrhus said "one more such victory and we are lost." The story is the key.
• Eponimlar — "ko'rinmas" allusionlar: many everyday words are buried allusions: boycott, sandwich, draconian, quixotic, stoic, maverick, mesmerise. You use them without knowing the person/story behind them. C2 = recognising the hidden reference (enriches understanding).
• "Mixing" yoki misuse — sezilarli xato: misremembering an allusion ("a Pandora's box of opportunities" — Pandora's box is bad!) or mixing two ("the Achilles heel of his Trojan horse") marks the non-native. Know the meaning precisely.
• Allusion va register: literary/classical allusions lean formal/educated (essays, journalism, speeches); pop-culture ones (jumped the shark, gaslighting, 15 minutes of fame) are more casual/current. Match to context (C2-2 register).
• Dated/obscure allusions: some allusions assume knowledge that's fading (classical myth less universal now). Very obscure references ("a Procrustean bed," "the sword of Damocles") may not land. Gauge your audience.

5. Ko'p misollar — kontekstda

MIF:  "Overconfidence was his Achilles heel." · "Cutting the budget was a Gordian knot."
   "Fixing this is a Sisyphean task — it never ends." · "It was a Pyrrhic victory."
BIBLIYA:  "The declining sales were the writing on the wall." · "A good Samaritan helped her."
   "He betrayed us — a real Judas." · "We escaped by the skin of our teeth."
SHEKSPIR:  "Jealousy — the green-eyed monster — destroyed them."
   "It was a foregone conclusion." · "After graduation, the world's your oyster."
ADABIYOT:  "The bureaucracy was Kafkaesque." · "It's a Catch-22: no experience, no job;
   no job, no experience." · "The surveillance felt Orwellian." · "Don't be such a Scrooge."
TARIX:  "The company met its Waterloo." · "By signing, she crossed the Rubicon."
   "The new rules are positively draconian." · "His Machiavellian scheming paid off."

6. Holat/case yechimlari

1. A no-win, self-contradictory situation — what idiom?

• a Catch-22 (Heller — you need X to get Y, but Y to get X).

2. A win so costly it's almost a defeat.

• a Pyrrhic victory (Pyrrhus — "one more such victory and we are lost").

3. Early signs of inevitable failure.

• the writing on the wall (Bible — Daniel, Belshazzar's feast).

4. "It was a Pandora's box of wonderful opportunities" — biror narsa noto'g'ri.

• Misuse — Pandora's box releases evils/troubles (negative), not wonders. "a wealth/treasure trove of opportunities".

5. A maddening, absurd bureaucratic ordeal.

• Kafkaesque (Kafka — The Trial/The Castle).

6. Where does the everyday word "boycott" come from?

• Captain Charles Boycott (1880, Ireland — ostracised) — an eponym (hidden allusion).

7. Kengaytirilgan banki (eng muhim allusionlar)

Native iboralar (allusion bilan ishlatish):

• to put it in mythological terms,... — mifologik tilda aytsam...
• as the saying goes... — aytishlaricha... (introducing a proverb/allusion)
• to borrow a phrase from Orwell,... — Orwell iborasini olsam... (flagging an allusion)

Native siri (C2): allusions are best learned through their stories, not as a list. When you meet "a Sisyphean task," read the myth of Sisyphus (two minutes); now the idiom is unforgettable and you'll never misuse it. Build your cultural literacy by reading the canon's "greatest hits" — a digest of Greek myths, key Bible stories, Shakespeare's most-quoted plays, and landmark novels (1984, Catch-22, A Christmas Carol). You don't need to read them all in full; knowing the essential reference of each is what lets you catch the allusion in the wild. This is the cultural foundation native speakers absorb invisibly — and which you can acquire deliberately.

8. O'qish — graded matn (C2 — allusion haqida)

The invisible quotations

Every language carries, beneath its surface, a hidden anthology — a set of stories so deeply known that a single word can summon them whole. In English, this anthology is vast and ancient. To call someone's flaw their "Achilles heel" is to invoke, in three syllables, the entire myth of the Greek warrior dipped in the river Styx, invulnerable but for the heel by which his mother held him. The speaker need not explain; the listener, if educated, simply knows.

These allusions draw on a handful of deep wells. From Greek and Roman myth come our Herculean tasks and Pandora's boxes; from the King James Bible, our good Samaritans and writing on the wall; from Shakespeare — that single inexhaustible source — our green-eyed monsters and foregone conclusions. Later wells were dug by novelists: Orwell gave us Big Brother, Heller his Catch-22, Kafka an adjective for nightmares of bureaucracy.

For the learner, this presents a peculiar challenge. One may know every word in a sentence and still miss its point entirely. "He made a Faustian bargain" is opaque unless one knows of Faust, who sold his soul to the devil; "they crossed the Rubicon" means nothing without Caesar and his fateful river. The vocabulary is not the obstacle; the culture is.

And yet here lies a quiet pleasure. To learn these references is to be handed, one by one, the keys to rooms previously locked — to read a newspaper or a novel and feel the floor of meaning drop away into depth. It is to move from translating a language to inhabiting a civilisation. For the final fluency is not lexical but cultural: not knowing more words, but sharing more stories.

Topshiriq: What is the "hidden anthology"? Name the four "wells" of English allusion. Why can you know every word and still miss the meaning? What is "the final fluency"?

9. Tipik xatolar (C2 — allusion)

Asosiy tuzoq: (1) manba hikoyasini aniq biling (Pandora's box = yomon, Pyrrhic = qimmat g'alaba); (2) allusionlarni aralashtirmang; (3) auditoriya hikoyani bilsa ishlating; (4) over-use qilmang; (5) "Frankenstein" = yaratuvchi (monster emas — keng xato).

10. Chuqur tahlil — qo'shimcha faktlar va nozikliklar

C2 — native daraja.

(a) Allusion — siqilgan hikoya (compression). An allusion compresses an entire narrative into a word or phrase — extraordinary economy. "A Sisyphean task" conveys "futile, endless, repetitive labour" in two words, plus an emotional resonance (the tragic absurdity of Sisyphus) no plain phrase matches. This compression + resonance is why educated writers prize allusions. C2 = unpacking and (sparingly) packing this density.

(b) Shakespeare — the single greatest source. Shakespeare contributed an estimated 1,700+ words and dozens of idioms to English (break the ice, wild-goose chase, in a pickle, foregone conclusion, the be-all and end-all, wear your heart on your sleeve, green-eyed monster). Many speakers quote him daily without knowing it. His influence on English is unmatched by any single author. Reading his most-quoted plays (Hamlet, Macbeth, Romeo and Juliet) repays the cultural-literacy investment hugely.

(c) The King James Bible — centuries of saturation. For 400 years the dominant English Bible, read aloud weekly in every church, it seeded the language with phrases now fully secular: a labour of love, the powers that be, the salt of the earth, a fly in the ointment, the writing on the wall, by the skin of your teeth, a drop in the bucket. Even non-religious speakers use these. C2 = recognising the biblical origin (and the formal/weighty register it carries).

(d) Eponyms — names become words. When a name becomes a common word, the allusion goes "invisible": sandwich (Earl of Sandwich), boycott (Capt. Boycott), draconian (Draco), quixotic (Don Quixote), machiavellian (Machiavelli), galvanise (Galvani), silhouette, guillotine, mesmerise, chauvinist, maverick, sadist. Knowing the source enriches usage (draconian = harsh because Draco's laws were brutal). Hundreds exist.

(e) Cultural literacy — the "Hirsch" idea. E.D. Hirsch argued that comprehension depends on shared background knowledge ("cultural literacy") — the network of references a culture assumes. A text isn't just words; it's words plus assumed knowledge. This is why a foreigner can decode every word yet miss the point: the shared knowledge is missing. C2 = acquiring this network deliberately.

(f) Allusion and irony/humour. Allusions power much wit: a mock-epic comparison ("his quest for the remote control was positively Homeric") is funny because of the grand reference applied to the trivial (bathos). Headlines, satire, and clever speech lean on this ("a tale of two pizzas," "much ado about parking"). C2 humour (C2-19) often turns on shared reference.

(g) Living vs dead allusions. Some allusions are so embedded they've become plain idioms (break the ice — few think of Shakespeare); others remain "live," still felt as references (a Faustian bargain). The line shifts over time and by speaker. And new allusions form constantly (gaslighting, jumping the shark, a Karen, going viral). The anthology is alive and growing.

(h) Misallusion — the educated error. Misusing an allusion is a distinctive "educated" mistake — it shows reach exceeding grasp. "Pandora's box of delights," "a Pyrrhic victory" for any win, "begs the question" for "raises the question." These mark someone reaching for sophistication without the underlying knowledge. C2 = precision in the reference (or restraint in using it).

(i) Globalisation of allusion. As anglophone pop culture spreads, modern allusions (The Matrix, Star Wars, Harry Potter, memes) become globally shared, sometimes more than classical ones. "a red pill," "the dark side," "he-who-must-not-be-named," "level up" now allude across cultures. C2 awareness spans both the classical canon and contemporary culture.

(j) The pleasure and danger of depth. Allusions reward the knowing and exclude the unknowing — they are inherently a marker of in-group membership. This gives them power (cultural belonging, eloquence) but also risk (exclusion, pretension, miscommunication). The skilled communicator alludes when it connects and avoids it when it would alienate or confuse. As with idioms (C1-9): understanding is universal value; usage is contextual judgement.

(k) "Signposting" — ishorani ehtiyot bilan ochish. Native yozuvchining nozik mahorati: allusionni ishlatib, ayni paytda uni bilmagan o'quvchini xafa qilmasdan yashirin kalit berish. Buni ochiqchasiga tushuntirish emas, balki kontekstga singdirish bilan qiladilar — "like Sisyphus with his boulder, he pushed the same report uphill every month" (ibora + hikoyaning bir chizgisi bir gapda). Yoki yumshoq belgi bilan: "in what one might call a Faustian bargain," "a Cassandra of sorts." Bu formulalar (of sorts, in a sense, so to speak, what amounts to) allusionni biroz uzoqlashtiradi — bilgan uchun "ha, aynan" tuyg'usi, bilmagan uchun esa ma'no baribir yetib boradi. C2 mahorat = ishorani shu qadar tabiiy joylashtirishki, u bir vaqtning o'zida bilgan bilan bilmaganga ham "ishlaydi": bilganga chuqurlik, bilmaganga sirpanib o'tadigan yuza ma'no. Bu — allusionning "eshigini" pisanda bilan ochiq qoldirish san'ati.

Native daraja: allusions are the cultural unconscious of English — invisible quotations from a shared library of myth, scripture, drama, and history. C2 mastery means reading native text in full depth (catching every reference) and, when apt, alluding with grace. This is the "final fluency": not more vocabulary, but more shared stories — moving from speaking the language to inhabiting its civilisation. Build it by learning the canon's essential references (Greek myth, key Bible stories, Shakespeare's hits, landmark novels) — not exhaustively, but enough to hold the keys. The remaining C2 lessons — slang, stylistics, humour, culture — continue this deep cultural immersion.

11. Mashqlar

A. Match the allusion to its meaning:

1. Achilles heel · 2. Catch-22 · 3. the writing on the wall · 4. a Pyrrhic victory · 5. Kafkaesque (a. costly win · b. only weakness · c. nightmarish bureaucracy · d. no-win paradox · e. sign of doom)

B. Name the source (myth / Bible / Shakespeare / literature / history):

1. green-eyed monster · 2. cross the Rubicon · 3. good Samaritan · 4. Big Brother · 5. Pandora's box

C. Use the right allusion:

1. (an endless, futile task) · 2. (a hidden danger/trick) · 3. (early signs of failure) · 4. (a no-win situation)

D. Fix the misallusion:

1. "It opened a Pandora's box of wonderful surprises." · 2. "After a stunning, effortless win, it was a Pyrrhic victory." · 3. "Frankenstein chased the villagers."

E. Eponyms — what's the hidden source?

1. boycott · 2. draconian · 3. quixotic · 4. sandwich

F. Write 3 sentences, each using a different allusion correctly (mix sources: myth, Bible/Shakespeare, literature).

12. Amaliy topshiriq (Wisar AI bilan) — allusion mashqi

Maqsad: to recognise and aptly use cultural/historical allusions — the deep layer of native fluency.

Vazifa (tanlang):

• (A) Recognition: I give you a sentence or short text with allusions, you identify each, name its source, and explain its meaning.
• (B) Apt usage: I describe a situation, you choose the perfect allusion for it and use it in a sentence (and tell me the source story briefly).
• (C) Source stories: Pick an allusion you're unsure of; I tell you its story, then you use it correctly.

Show:

1. Recognition (spotting allusions in text)
2. Source knowledge (myth/Bible/Shakespeare/literature/history)
3. Precise meaning (Pandora's box = bad, not good)
4. Apt selection (the right allusion for the situation)
5. Restraint (not over-using; matching audience)

Example (A, "The merger was their Waterloo, a Pyrrhic deal that left both Kafkaesque firms in ruins."): you "'Waterloo' (history, Napoleon) = final defeat; 'Pyrrhic' (Pyrrhus) = win at ruinous cost; 'Kafkaesque' (Kafka) = absurdly bureaucratic/nightmarish."

"Tayyor" mezonlari: (1) allusions identified; (2) sources correct; (3) meanings precise (no misallusion); (4) usage apt; (5) not over-used; (6) cultural literacy evident.

Men javobingizni C2 cultural literacy (recognition, source knowledge, precision, aptness) bo'yicha baholayman — qaysi allusion to'g'ri, qaysi biri "misallusion" ekanini ko'rsatib, manba hikoyalarini va native madaniy savodxonlikka yetish maslahatlarini beraman.

13. Javoblar kaliti

A: 1-b · 2-d · 3-e · 4-a · 5-c

B: 1. Shakespeare (Othello) · 2. history (Caesar) · 3. Bible · 4. literature (Orwell) · 5. Greek myth

C: 1. a Sisyphean task · 2. a Trojan horse · 3. the writing on the wall · 4. a Catch-22

D: 1. a treasure trove of wonderful surprises (Pandora's box = troubles) · 2. (Pyrrhic = costly; "effortless win" contradicts it) "a resounding/decisive victory" · 3. Frankenstein's monster chased... (Frankenstein = creator)

E: 1. Capt. Boycott (ostracised landlord agent) · 2. Draco (harsh Athenian lawgiver) · 3. Don Quixote (deluded idealist) · 4. Earl of Sandwich

Tez ma'lumotnoma

ALLUSION = madaniy hikoyaga ishora qiluvchi idiom (siqilgan hikoya + rezonans)

MIFOLOGIYA: Achilles heel(zaiflik) · Pandora's box(muammolar) · Trojan horse(yashirin xavf)
   Herculean/Sisyphean task · Pyrrhic victory(qimmat g'alaba) · Gordian knot · Midas touch
BIBLIYA: the writing on the wall(halokat belgisi) · good Samaritan · a Judas(xoin)
   by the skin of your teeth(zo'rg'a) · a wolf in sheep's clothing · salt of the earth
SHEKSPIR: green-eyed monster(rashk) · star-crossed lovers · foregone conclusion · world's your oyster
ADABIYOT: Catch-22(paradoks) · Orwellian/Big Brother · Kafkaesque · Scrooge · quixotic · Faustian
TARIX/EPONIM: cross the Rubicon · meet your Waterloo · draconian · machiavellian · boycott · maverick

 MANBA HIKOYASINI aniq biling (Pandora's box=YOMON, Pyrrhic=qimmat g'alaba) · aralashtirmang
 Frankenstein=YARATUVCHI (monster emas) · auditoriya bilsa ishlating · over-use qilmang
 TUSHUNISH > ishlatish (native matnni to'liq o'qish) · hikoya=idiomni esda saqlaydi
 madaniy savodxonlik = shared stories (canon hits: myth/Bible/Shakespeare/1984/Catch-22)
 C2 = "tilni gapirish"dan "sivilizatsiya ichida YASHASH"ga (final fluency)

Bog'lanish

• Oldingi: C1-9 (idiomlar), C2-1/2 (aniqlik/konnotatsiya), C2-10 (metafora — ko'prik).
• Keyingi: C2-4 (Slang, kolloquializm, zamonaviy til).
• Aloqador: C2-18 (madaniy savodxonlik), C2-19 (yumor/satira), C2-17 (adabiyot o'qish).

Manba

Brewer's Dictionary of Phrase and Fable; E.D. Hirsch Cultural Literacy; Oxford Dictionary of Allusions; Shakespeare's Words; King James Bible (phrases); Greek myth digests (Edith Hamilton).