The Borrowed Violin
Qarzga olingan skripka
Sarlavha va pastdagi so‘zlarga qarang. Matn nima haqida bo‘lishi mumkin? Bir daqiqa o‘ylab ko‘ring — bu miyani o‘qishga tayyorlaydi.
Iste’dodli qizning qarzga olingan skripka bilan tanlovga tayyorlanishi haqida hikoya.
Kalit so‘zlar
Bu so‘zlar matnda uchraydi va matnda ajratib ko‘rsatiladi. Bosing — talaffuzini eshitasiz.
⏱ O‘qish boshlanganda vaqt o‘lchanadi — oxirida tezligingizni ko‘rasiz.
👆 Istalgan so‘zni bosing — tarjimasi yoki lug‘atga havola chiqadi.
The violin was older than anyone in the room. Its wood had darkened to the colour of strong tea, and there was a small crack near the chin rest that had been carefully repaired long ago. Madina held it as if it were made of glass. “It belonged to my teacher’s teacher,” Mrs Abdullayeva said. “It has played in Moscow, in Vienna and once, they say, in front of a king. Now it is going to play for you.”
Skripka xonadagi har qanday odamdan ham qari edi. Uning yog‘ochi achchiq choy rangigacha qoraygan, iyak tayanchi yonida esa uzoq vaqt oldin ehtiyotkorlik bilan ta’mirlangan kichik yoriq bor edi. Madina uni go‘yo shishadan yasalgandek ushlab turardi. “U mening ustozimning ustoziga tegishli bo‘lgan”, — dedi Abdullayeva opa. — “U Moskvada, Venada va aytishlaricha, bir marta qirol oldida chalingan. Endi u sen uchun chaladi.”
Madina was sixteen and had been playing since she was six, but she had always used the cheap factory-made instrument her parents had bought second-hand. It was enough for lessons, but not, her teacher had decided, for the national competition in Tashkent, which was now only six weeks away. The winner would receive a scholarship to study at a conservatoire abroad. For Madina’s family, who ran a small shoe-repair shop in Kokand, it was an opportunity they could never have paid for.
Madina o‘n olti yoshda edi va olti yoshidan beri chalardi, lekin u doimo ota-onasi qo‘ldan sotib olgan arzon zavod skripkasidan foydalangan edi. U darslar uchun yetarli edi, lekin ustozi qaroriga ko‘ra, endi atigi olti hafta qolgan Toshkentdagi respublika tanlovi uchun emas. G‘olib chet eldagi konservatoriyada o‘qish uchun stipendiya olardi. Qo‘qonda kichik poyabzal ta’mirlash ustaxonasini yuritadigan Madinaning oilasi uchun bu hech qachon to‘lay olmaydigan imkoniyat edi.
At first, the old violin seemed to refuse her. Its sound was richer and deeper than anything she had produced before, but it was also unforgiving: every small mistake in her bowing, every note slightly out of tune, was suddenly obvious. After the first week, she went home in tears. “It is too good for me,” she told her mother. “It shows everyone how bad I am.”
Dastlab qadimiy skripka uni rad etayotgandek tuyuldi. Uning ovozi ilgari o‘zi chiqargan har qanday ovozdan boyroq va chuqurroq edi, lekin u kechirimsiz ham edi: kamonni yurgizishdagi har bir kichik xato, sal noto‘g‘ri sozlangan har bir nota birdan yaqqol bilinib qolardi. Birinchi haftadan keyin u uyga ko‘z yosh bilan qaytdi. “U men uchun juda yaxshi”, — dedi u onasiga. — “U hammaga qanchalik yomon ekanimni ko‘rsatyapti.”
Her mother, who knew nothing about music, put down the shoe she was stitching and thought for a moment. “When your father first started working with good leather,” she said, “he ruined three pairs of boots. Cheap leather hides your mistakes. Good leather shows you exactly where you went wrong. That is how he learned.”
Musiqadan hech narsa tushunmaydigan onasi tikayotgan poyabzalini qo‘yib, bir lahza o‘ylanib qoldi. “Otang yaxshi charm bilan endi ishlay boshlaganda, — dedi u, — uch juft etikni buzib qo‘ygan. Arzon charm xatolaringni yashiradi. Yaxshi charm esa qayerda xato qilganingni aniq ko‘rsatadi. U shunday o‘rgangan.”
Madina went back to practising with a different attitude. Instead of fighting the violin, she began to listen to it. She practised slowly, sometimes playing a single phrase fifty times until every note was clear. She recorded herself on her phone and listened critically on the bus to school. Gradually, the violin seemed to change its mind about her. By the fifth week, Mrs Abdullayeva closed her eyes during a lesson and said nothing at all for a long time, which Madina had learned was the highest form of praise.
Madina boshqacha munosabat bilan mashqqa qaytdi. Skripka bilan kurashish o‘rniga, uni tinglay boshladi. U sekin mashq qildi, ba’zan har bir nota aniq chiqquncha bitta jumlani ellik marta chalardi. U o‘zini telefoniga yozib olib, maktabga ketayotgan avtobusda tanqidiy tinglardi. Asta-sekin skripka u haqidagi fikrini o‘zgartirayotgandek tuyuldi. Beshinchi haftaga kelib, Abdullayeva opa dars paytida ko‘zlarini yumib, uzoq vaqt hech narsa demadi — Madina bu maqtovning eng oliy shakli ekanini bilib olgan edi.
On the day of the competition, Madina was the eleventh of fourteen performers. She played a piece by Bach and a melody by an Uzbek composer that her grandfather used to sing. She did not play perfectly; she noticed one note in the Bach that was slightly too sharp. But when she finished, the hall was silent for a second before the applause began, and one of the judges was wiping her eyes.
Tanlov kuni Madina o‘n to‘rt ijrochidan o‘n birinchisi edi. U Baxning asarini va bobosi kuylagan o‘zbek bastakorining kuyini chaldi. U mukammal chalmadi; Bax asarida bitta notaning sal baland chiqqanini payqadi. Lekin u tugatganida, olqishlar boshlanishidan oldin zal bir soniya jim qoldi va hakamlardan biri ko‘zlarini artayotgan edi.
She did not win first prize. She came second, which brought a smaller scholarship to study in Tashkent rather than abroad. On the train home, she held the violin case on her knees and expected to feel disappointed, but instead she felt something closer to gratitude. When she returned the violin to Mrs Abdullayeva the next morning, her teacher pushed it gently back into her hands. “Keep it until you have your own,” she said. “It has decided it likes you.”
U birinchi o‘rinni olmadi. U ikkinchi bo‘ldi va bu chet elda emas, Toshkentda o‘qish uchun kichikroq stipendiya berdi. Uyga ketayotgan poyezdda u skripka g‘ilofini tizzasiga qo‘yib, hafsalasi pir bo‘lishini kutdi, lekin buning o‘rniga minnatdorlikka yaqinroq bir narsani his qildi. Ertasi kuni ertalab skripkani Abdullayeva opaga qaytarganida, ustozi uni ohista qayta uning qo‘llariga tutqazdi. “O‘zingnikini olguningcha saqlab tur”, — dedi u. — “U seni yoqtirib qolishga qaror qildi.”
Tushundingizmi?
Javob topa olmasangiz, «O‘qish» bosqichiga qaytib, matnga qarang — bu ham mashq.
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Asosiy g‘oya
1 What is the main message of the story?
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2 Why did Mrs Abdullayeva lend Madina the violin?
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3 Why was Madina upset after the first week?
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4 What did Madina’s mother compare the violin to?
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5 How did Madina feel on the train home?
True / False / Not Given
True — matnda aynan shunday deyilgan. False — matn aksini aytadi. Not Given — matnda bu haqda ma’lumot yo‘q.
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1 Silence from Mrs Abdullayeva was a sign of high praise.
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2 Mrs Abdullayeva let Madina keep the violin for now.
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3 Madina won a scholarship to study abroad.
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4 Madina recorded herself to check her playing.
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5 The violin was made in Italy.
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6 Madina’s mother is a musician.
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7 Madina started playing the violin at the age of six.
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8 Madina’s parents bought her violin new.
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9 Madina played the last piece of the competition.
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10 Madina practised for six hours a day.
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11 The violin had a repaired crack.
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12 Madina’s family run a shoe-repair shop.
So‘zni ma’nosi bilan juftlang
Chapdan so‘zni, o‘ngdan uning ma’nosini tanlang. Hammasi juftlansa, natija chiqadi.
Natijangiz
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