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THE SKILL OF TRANSLATORS IN RECREATING THE HISTORICAL PERIOD REFLECTED IN THE NOVEL "THE DAYS GONE BY"
tahrir7 ISSN: 2776-1010Volume 3, Issue 1, Jan, 202276THE SKILL OF TRANSLATORS IN RECREATING THE HISTORICAL PERIOD REFLECTED IN THE NOVEL "THE DAYS GONE BY"Muxlisa Jumamurodovna ChoriyevaBukhara State University, TeacherAnnotationThisarticle analyzes the translation options of Abdullah Qadiriy's novel “The Days Gone By” by Carol Ermakova and Ilhomjon Tokhtasinov. In translation, the skill of translators in creating a historical period and their skills in word choice are studied.Keywords: The days gone by, historical period, nationality, national words, translation, similarity, differences. IntroductionHistorical works represent a certain period of people's life in socio-historical movements. We all know that most of the language tools used in such works have changed over time, a number of words have become obsolete, obsolete and forgotten, the meaning of a group of words has changed. the lamellae widened, while others, on the contrary, narrowed and narrowed. In short, it is difficult to find surviving linguistic tools as they were in the language of the period in which the work was created. There are also permanent, temporary and temporary, transient, changing linguistic phenomena in the language. He should also carefully study all the translations of the historical work made by other translators so far, and be aware of the successes and shortcomings in this direction. Such factors help to gain a deeper understanding of the content of historical works, to find solutions to difficulties that may arise in the translation process, and to prevent possible errors. Usually, only what is understood and understood correctly and event can be accurately reflected in translation.The reason why translators in the translation of a historical work cannot translate all the means of language through modern language is the “antiquity” of the original, while the reason for denying translation into ancient language is that it must serve the times. The translation of the historical work belongs totwo periods. That is, it must be created in a modern language and reflect the spirit of the historical period. A number of translators (G. Salomov, N. Otajonov, A. Fedorov, O. Semenova, M. Ledere, etc.) have translated the historical-archaic lexicon in an alternative way and conveyed the spirit of the historical period to the reader. Let’s consider the following several factors:a) first of all, the translator must know both diachronic and synchronous layers of the original language, feel its complexity, versatility, be able to understand the most delicate and complex aspects of the visual media;b) to have an idea of the specific aspects of the people's way of life, religious beliefs, traditions, customs, rituals, ceremonies, ethnographic image, described in the original;c) to be familiar with the spirit of the historical period described in the classical work, historical figures, the way of life of the people mentioned in it, the period of the work and scientific sources about them. ISSN: 2776-1010Volume 3, Issue 1, Jan, 202277The artistic and stylistic features of works created about historical events or historical figures differ depending on the period in which the author lived. Samples of this type of creation may not be considered a historical work at the time of its creation, but it is natural that it will be evaluated as a work specific to this genre over a period of time. For example, "Boburnoma", "Shayboniynoma" are among them. They reflect the spirit of the historical period, from the speech of the characters to the narrative style, from the visual media to the art, in general, in the whole external and internal unity of the work, in the lexical and grammatical layer of linguistic expression.It is much easier to translate historical works by contemporary writers. This relief is evident in the interpreter's help -in the interpretation of archaic words, in the writer's explanations and commentaries, in the fact that the style of narration is much clearer and closer to the author for the contemporary translator. Consequently, the restoration of the spirit of the period in translation is "a serious, complex problem, reflecting the leading tendencies of the spirit of the period, the breath of the period, the literary language of the period."The period in which the original was created usually differs to some extent from the time the translation was made. Therefore, the responsibility to completely recreate the spirit of authenticity requires the translator to recreate the feature of the period in which the authenticity arose through the correct selection of the necessary language tools. However, the language of the period in which the translation was made should be somewhat understandable to the reader. Because the translator turns the work for the reader of his time. In short, the translation should use such linguistic means that the resulting text is well understood by the reader, and at the same time, the period described in the play is vivid in his eyes. Each work has its own time and space. In translation, conveying the imprint of this time and place to another reader imposes a great responsibility on the translator. The translator is a contemporary, so he is a reader of today. He is not only a reader, but also a critic who can analyze the artistic aspects of the original and a scholar and writer who can reproduce the work in his own language.In this chapter, we have focused on the analysis of the translation of Abdullah Qadiriy's novel "The Days Gone by", a title common in historical-archaic concepts, professional words and realities, namely, national specific words. However, it is important to fully reflect these in translation.Reality: "The Muslim Normuhammad added five thousand troops to his army and sent them to Tashkent!"I.Tukhtasinov's translation into English: "Muslim sent five thousand troops to Normuhammad Qushbegi to lead a riot over Tashkent!"K. Ermakova's translation: "Muslim Kul has sent five thousand warriors led by Nar Mohammad Kushbegi to suppress the uprising!"We all know that Kushbegi was a high-ranking official, governor in the palaces of emirs and khans, with equal rights as prime minister or minister. Therefore, in order to preserve the history and nationality of the work, the translator did not translate the word "Kushbegi" in the form "Kushbegi" and "Kushbegi" and also gave the meaning of the word to make it clear to the reader.Continuing the analysis, here is another example from the original:"After two or three people came from Muhammad Rajab's house, Yusufbek Haji was forced to leave." ISSN: 2776-1010Volume 3, Issue 1, Jan, 202278This passagewas translated into English by I. Tukhtasinov as follows:"The guests gathered at Mukhammad Radjab kurbashi's hose ambassador came three times to invite Yusufbek-khodji for the feast"K. Ermakova's translation: "Guests had gathered at Mohammad Radzhab-Kurbashi’s house, and messengers had already been dispatched more than once to fetch Yusufbek-hadji to the feast, reluctantly, he had to go."In this passage the word korboshi, which is a historical-archaic word, is used, the meanings of which are given in the "Explanatory Dictionary of the Uzbek language" as follows: 1) in the Middle Ages O In the khanates of Central Asia and some eastern countries: a guard who first guarded the city at night; then an officer in an arms depot and head of an arms, various weapons and cannon-making enterprise; 2) the chief of local police in the Turkestan region before the October coup; chief of guards.The word frog is translated into English as frog in both variants. Perhaps the translators have given the word as it is inorder to preserve the historicity of the place. This is good, of course, but the capabilities of the host environment should not be overlooked either. This word under our analysis may not be intelligible to the English reader. Therefore, the translation would have been even more perfect if our first translator had given the meaning of the word korboshi on the basis of a tag in this place.We now turn our attention to the historical-archaic and professional word dodhoh and its English translations:"Behind him rode a black horse, dressed in a blue robe, a sword on the right side of his silver belt, a pistol on his left, a bar on his head, and a demon naked. There was a man with no eyebrows, a dark face, a little on his cheeks, a sparse chin on his chin, an unseen black beard, deep in his eyes, but full of blood. Rayimbek was a dodge. "The above passage was translated into English by I. Tukhtasinov as follows: "Behind him was a man mounted on a black horse, in a green robe made of cloth, he had a sword on the right side of his belt, on the left side he had a resolver, he was wearing bobble, phantasm, without brow, black faced, a little bit hair on his chin, thin beard, unattractive black beard, his eyes deepened, but blood thirty-one person was coming. man was Azizbek's emir, the commander and his right hand was Raimbek Dodhoh. "Translation by K. Ermakova: “A man in a woollen robe behind him on a horse black as a raven. His collar and cuffs were gold braided, a lambskin papakha adorned his head, a sabre rattled on the right of his silver belt, a small tupponcha pistol was thrust in the left. His swarthy face with sparse beard and sideburns was remarkable for the complete absence of eyebrows, as though the djinns had linked them clean off. His deep-set eyes were bloodshot. This was Azizbek’s commander-in-chief of troops, his right-hand man, Raimbek-dadkha. We all know that in our history there is a profession of state importance called dodhoh, and if we look at the historical roots of this word, it is derived from the Persian language, the original meaning of which is plaintiff, is a seeker of justice. In dictionaries we can see several other meanings of the word dodhoh: 1. Justice-seeker, justice-seeker, plaintiff; 2. An official in the Bukhara khanate who receives an application in the name of the Emir from those who want justice and rights, and delivers his answer to the petitioners; 3. An official in charge of the excavations in the Kokand khanate. 4. A word used in ISSN: 2776-1010Volume 3, Issue 1, Jan, 202279the past to honor the commander and some other officials in the Fergana Valley and Tashkent. For this reason, in the above passage, the translators have given the word Dodhoh on their own in order to preserve the original meaning and to show the uniqueness of the period. In addition, in this passage we pay attention to some details that reflect the nationality, that is, the combination of tunics: we know that the tunic is one of the national costumes of the Uzbek people, which is a long outer garment with or without open cotton. the word is also referred to in our language as a cloak. There are also several types of this dress, for example, kimkhob ton, zarbof ton, uqalik ton and others. In this passage, a combination of massage tones is used. Uqa is a long, narrow fabric that is sewn to the edges of fabrics, clothes, and the like. In English, the compound is translated in the first part as robe made of cloth and in the next as a woollen khalat robe. The translators used a combination of made of cloth and woollen to give the word uqa. In the English dictionary, the word cloth is used for a specific purpose, i.e. a material used for decoration, and the robe is used to mean a serbar long coat. In general, the word uqali ton was correctly translated by the translators in the formof robe made of cloth and woollen khalat robe.In history, with the help of various nicknames, nicknames, etc., a person's place, title, position, ancestry, lineage have been indicated. Adding nicknames specific to a person who represents his or her clan, tribe, or lineage when naming people expands the imagination with a wealth of information about that person, giving the name owner a different name. made it possible to separate from people. One of such words is the word savior, which is often used in the play and always comes with the name of Mirzakarim, one of the main heroes of the play.Reality: "Kutidor was counting on himself:"You can't remember me," he said. "When I was a rescuer in Tashkent, you were about five or six years old ..."Translatedinto English by I. Tukhtasinov: "Kutidor by counting something in his mind and said:-By the way, you can't remember me, -he said. When I had business in Tashkent, you were about at the age of five or six ... "K. Ermakova's translation: “Kutidor quickly made some mental calculations.“Ah, of course, how could you remember me ?!” he remarked. “When I was trading in Tashkent you wouldn’t have been more than five or six...”If we look at the translation of this passage, the word savior is given in the form of savior and savior, that is, in its own right. Because in the explanatory dictionary of the Uzbek language the following meanings of this word are given: 1) a big rich, investor with a box-box-money-world; 2) In the Kokand khanate: a palace officialwho receives, stores and transfers money collected from taxes to the khan's treasury. The word savior in the work corresponds to the second of the above meanings, i.e., a palace official who receives, stores, and transfers the money collected from taxes to the khan's treasury. For this reason, the translators gave the word savior in its original form without translating it in order to preserve the historicity of the work.Here is another example. Reality: "There were fifteen people in the gathering, from Mahmudniyaz Kushbegi, Qasim commander, Qambar juror, Karimqul ponsads to Tashkent's nobles and nobles ..." ISSN: 2776-1010Volume 3, Issue 1, Jan, 202280Translated into English by I. Tukhtasinov: "There were 50 distinguished people, beginning with Mukhammad Niyaz Kushbegi, Kasim Minboshi, Kambar Sharabdor, Karimkul Pansad ..."Translation by K. Ermakova: "About fifteen of the town's eminent men had gathered here, including Muhammad Niyaz Kushbegi, Kazim Mingbashi, Kambar Sharbatdor, and Karim Kul-pansad."If we pay attention to the English translations of the historical-archaic words encountered in this passage, all the words related to the profession are reflected in their original form. Because the translators tried to preserve each word according to its meaning in the explanatory dictionary of the Uzbek language. In particular, the word commander in the play was used to mean an army chief, and the translators, realizing this, gave it in the play as commander and commander. Also, in large gatherings in the khan's palace, the word "juicer" is used in its original form in reference to the person who puts wine in May. The word ponsad, which is one of the titles given to military commanders during the khanate period and is used to refer to a person who holds the same rank, usually commanding a military unit of 500 men, has also been translated into English as pansad.We know that translating a work from one language to another requires many qualities from a translator. That is, without a deep and perfect knowledge of the language in which the work is written, without studying the environment and period, without getting acquainted with the customs and history of the people described by the author, it is impossible to create a harmonious artistic translation. Therefore, translators have a great responsibility when translating works of art from Uzbek into another language. Because in translation, all aspects of the language of the work must be given correctly. Otherwise, the quality and content of the work will be damaged in the translation, the charm and color that the writer wants to express will be lost, and as a result, the beautiful, moving work may become a series of simple words in the translation. That's why translators often use realities. This does not give the said good result either. Professor AV Fedorov in his textbook "Introduction to the theory of translation" (introduction to the theory of translation) shows three different ways of reflecting the realities of translation:Transliteration (full and partial) is the direct phonetic adaptation of a word or the addition of suffixes to one's own language;Create a new word or phrase using real existing elements in the language to express the subject or by morphological conjugation;Translating words that express realities in another language using words that are close to that reality in terms of function and function.When translating realities from Uzbek into English, the first method is used, and in some cases only the third method. In the language of translation, transliteration is used to emphasize its uniqueness in the absence of words and concepts appropriate to the realities. As we have seen above, the English translations of Abdullah Qadiri's novel The Last Days are rich in realities, especially in the delivery of historical words. For example, if we take an excerpt from the translation into English by K. Ermakova:“The mullah thanked Allah and the marriage ceremony was over. All the present prayed for bride and bridegroom’s happiness, raised their hands and said “Amen!”.Young manaccompanied Atabek to the mikh-mankhana. ISSN: 2776-1010Volume 3, Issue 1, Jan, 202281The feast began.Atabek was impatient with desire but the feast went on and on. Only two hours passed, but they seemed him to be years. At last the time of the last evening prayer came. Countless empty dishes and cups were taken away; the table-clothes were rolled up nad the matchmakers came to take the bridegroom with them.The prayer for the young to live in peace and harmony was said again, and Atabek was taken to ichkary. Women and children were at the doorsof Kumush’s room. Some women were holding candles in their hands. The bride’s room was richly decorated with carpets and suzani, a lot of things were brought here from kutidor’s room. A huge chandeher was hanging down from the ceiling, three dozen of candles were illuminating the room with a mysterious light.Dressed in a white, as if it were a party for the girls given by a bride on the eve of her wedding, was sitting Kumush. She was crying and did not listen to what the matchmakers were telling her. Suddenly a shout sounded from the yard:Bridegroom! Bridegroom is coming!Blushed with embarrassement, Atabek appeared on the threshold, he did not know what to do. But the door opened, and the matchmaker invited him:Will you come in, bek!Atabek’s heart was beating so loudly that he was afraid the matchmaker might hear it’s beating.Atabek came in and the matchmakers close the door, but she left a slit through which it might be seen what was taking place inside the room. Silver was standing with her back to the door pulled her handkerchief. She ven did not turn round to look at the person who had come in.-Oh, my dear! -Atabek said and pressed her thin hands. Silver started and moved away."Don't touch me," she said.-Why? Why don’t you look at me? -uttered Atabek in a husky trembling voice.Kumush hardly overcome her unwillingness to look at her husband and cast a suspicious hostile glance at him. She looked and became stiff... Then she came closer and said with emotions:-This is you?-Yes, it’sme.-I can’t believe to my eyes, -said Kumush at last.-Neither can I, -said Atabek, without taking off his eyes.Silver put her small hands and delicate hands on Atabek’s shoulders and he embraced her with his large and strong hands.Silver began to scrutinize his face.-What an unexpected happiness! -she said softly and burst out laughing with her ringing silver-like voice, which was so matched with her name-Kumush.”Here, the word "mullah" is translated into English as "mullah". In addition, if we look at the history, at Uzbek weddings, according to special traditions, a separate table is set for the bride and groom's friends, and in the excerpt, the interpreter sets the table for the groom. brought the room simply in the form of mikhmanhana”. At the same time, the translator translated the word "inside" in the play as "inside" in this case.In reflecting the national identity of a historical period, it is also important to be able to convey the psychological actions, habits, appearance, norms of behavior, behavior and rituals of a particular people. Because the depiction of such features of each person of each nation gives a national character to the work of art. We all know that the languages of the Uzbek people and the English people are structurally different. but nations must know each other well, understand each other. The enjoymentof the wealth created by one nation by another is in line with the peace-loving goals of nations. Translation should serve the same purpose. Translation removes language barriers, brings long distances closer, and brings peoples closer together. The expansion of literary ties between the Uzbek and foreign peoples will require the creation of perfect literary translations from these two literary bases.List of Used literature1.Isoqova Sh.I. Reflection of nationalism and historicity in literary translation. Fil.fan.nom. diss.-T., 2004.2.Qodiriy A. Last days. -Tashkent: G. Gulam edition, 1992.-209 p.3.Qadiri A. Days gone by. translated by Carol Ermakova. Nouvtiodeau Monde editions. -Paris, 2018.-359 p.4.Tukhtasinov I.M, Muminov O.M, Khamidov A.A. The days gone by. Novel by Abdulla Qodiriy. -Tashkent, 2017.-326 p.5.National Encyclopedia of Uzbekistan. The first volume. Tashkent Choriyeva Muxlisa (munozara) 16:01, 19-Sentabr 2022 (UTC)
“O’TKAN KUNLAR” ROMANINING TARJIMA VARIANTLARIDA MILLIYLIK IFODASI VA O’GIRMALARDAGI TAFOVUT VA O’XSHASHLIKLAR
tahrirUshbu tadqiqot Abdulla Qodiriyning “O’tkan kunlar” romanining tarjima variantlarini o’rganishga qaratilgan. Tadqiqot ishining asosiy maqsadi romanda ifodalangan milliy xususiyatlarni aks ettirishda tarjimonlar mahoratini o’rganish hamda tarjimada so’z tanlashdagi o’zaro o’xshashlik va tafovvutlarni ifodalash. Kalit so’zlar: O’tkan kunlar, The days gone by, milliylik, milliy xos so’zlar, realiya, o’shashlik, tafovvut, tarixiy-arxaik so’zlar. ABSTRACT This current study aims to investigate translated version of “The days gone by” by Abdulla Kodiri. The main purpose of the research is to study the skills of translators in reflecting the national characteristics expressed in the novel, as well as to express the similarities and differences in word choice in translation. Keywords: Utkan kunlar, The days gone by, nationality, national words, similarity, difference, archaic words. Milliylik u yoki bu millatning ma’naviy faoliyati va moddiy hayotidagi o’ziga xosliklardan iboratdir. Ma’naviy faoliyatga kishilarning xarakteri, tafakkur tarzi, ruhiyati, intilishlari, qiliqlari, yumor xususiyatlari va boshqalarni kiritishimiz mumkin. Moddiy hayot esa urf-odat, rasm-rusm, marosimlar, kiyimlar, uy-ro’zg’or anjomlari, cholg’u asboblari, pazzandachilik, ismlar va boshqalardir. Badiiy asarlarda aks etgan ana shu milliy xususiyatlar yig’indisi adabiyotshunoslikda milliy kalorit deb ataladi. “Milliy xos so’zlarga milliy taomlar, kiyim-kechaklar, cholg’u asboblari, ro’zg’or anjomlari, nomlar, taxalluslar, laqablar, qishloq xususiyatlari, me’morchilik, geografik nomlar, tabiat manzaralari, daraja, unvon, tabaqa va boshqa bo’linishlarni ifodalovchi so’zlar, muassasalar, tashkilotlar, diniy marosimlar va boshqa etnografik belgilarni bildiruvchi so’z va iboralar kiradi.”1 Badiiy asarning milliy shaklini qayta tiklash – badiiy tarjimaning muhim muammolaridan biri hisoblanadi. Milliy o’ziga xoslikni boshqa til vositalari bilan berish sohasida katta tajribalar to’plangan. Badiiy asarlar tarjimasida milliylikni qayta yaratish muammolari asarni boshqa bir tilda qiyoslangandagina namoyon bo’ladi. Rus tilini puxta o’zlashtirgan kitobxon, tabiiyki, badiiy asarni ham aynan asl tilida mutolaa qila oladi. Agar uning sevimli asari ayni ona tiliga o’girilsa, albatta ona tilida ham mutolaa qilib chiqadi. Ikki tilda jonlangan badiiy asar o’quvchining tasavvurida yo maqtov, yoki asl nusxadagi taassurotlarni ola olmaganligidan shikoyat paydo qilishi mumkin. Shuni inobatga olib, tarjima shunchaki tajriba bo’lib qolmasligi uchun mutarjim har sohada chapdast, uddaburon bo’lmog’i, o’ziga ham tanqid ko’zi bilan qarashni bilishi kerak. O’zbek adabiyoti tarixida o’chmas iz qoldirgan va uning rivojlanishiga hissa qo’shgan buyuk yozuvchilarimiz yetarli. Ularning hayot tarzi va boy adabiy merosining yaratilishi bugungi davr odamlarini tarix haqida o’ylashga majbur qiladi. Abdulla Qodiriyning “O’tkan kunlar” romani ham tarixiy roman hisoblanib, o’zbek tilida yozilgan birinchi roman bo’lib, joriy yilda uning dastlabki boblari yozila boshlanganligiga 100 yil to’ladi. Asarda Otabek va Kumush muhabbati XIX asr o’rtalarida mamlakatimizda yuz bergan ijtimoiy-siyosiy voqealar fonida ko’rsatib berilgan. Ayni paytga qadar asar rus, nemis, turk, tojik, qozoq, turkman va boshqa ko’pgina tillarga tarjima qilingan. Bir necha yillardan beri asarning o’zbek tilidan ingliz tiliga tarjimasi bilan I.To’xtasinov va uning jamoasi shug’ullanib kelmoqda. Asarning rus tilidan tarjimasi angliyalik tarjimon va adabiyotshunos Kerol Ermakova tomonidan ingliz tiliga o’girilgan. Bundan tashqari asarning keyingi tarjimasi amerikalik olim, AQSH harbiy-dengiz akademiyasi Mintaqaviy tadqiqotlar markazining sobiq direktori Mark Riz tomonidan amalga oshirilgan. U 1994-1996 yillari Tichlik korpusining O’zbekistondagi birinchi ko’ngillilaridan bo’lgan. M.Riz mamlakatimizda ko’p vaqtini Farg’onada o’tkazgan, O’zbekiston mustaqillikka erishgach, vodiyga tashrif buyurgan birinchi amerikaliklardan hisoblanadi. M.Riz AQSH Mudofaa vazirligi va Davlat departamentida xizmat qilgan, Afg’onistonga tarjimon sifatida yuborilgan, Davlat departamentining qiyosiy diniy tadqiqotlar dasturiga rahbarlik qilgan, shuningdek, AQSH hukumat dasturlariga Markaziy Osiyo bo’yicha mutaxasis sifatida jalb etilgan. Olim uchun romanni tarjima qilish o’n besh yildan ko’proq vaqt davom etdi. Kitobni nashr etish jarayoni O’zbekistonning AQSHdagi elchixonasi, yurtdoshlarimiz va o’zbekistonlik mutaxassislarning faol ko’magi bilan sezilarli darajada tezlashdi. Kitobning tarjimasi 660 betni tashkil qilgan. Nashr Abdulla Qodiriy tomonidan “O’tkan kunlar”da ishlatilgan turli atama va frazeologizmlar bo’yicha 400 dan ortiq izoh, o’zbek xalqining XIX asr birinchi yarmidagi madaniyati, an’analari, urf-odatlari va hayotining o’ziga xos xususiyatlari haqidagi sharhlarni ham o’z ichiga oladi. Tarjimon fikricha, A.Qodiriy o’z asarini o’sha davrda ushbu tarixiy roman qahramonlari kabi hayotiy qiyinchiliklarni boshdan kechirayotgan o’quvchilar uchun bitgan. “Yozuvchi o’tmish saboqlarini 1917 yilgi voqealardan keyin keskin siyosiy davrni boshdan kechirayotgan zamondoshlariga ogohlantirish sifatida taqdim etgan. Kitobda ko’tarilgan mavzular jamiyatning bugungi muammolariga ham tegishli, O’zbekistondagi dolzarb masalalarni hal qilishda fuqarolik jamiyati institutlarini faol bo’lishga chaqiradi”, -deydi M.Riz. Shuni ta’kidlash joizki, adabiy asarlar ayniqsa romanlarni tarjima qilishning o’ziga xos xususiyati shundan iboratki, ular boshqa adabiy asarlardan farq qilgan holda asl nusxasining o’rnini bosolmaydi va asar matni to’liqligicha tarjima qilinmaydi. Romanning Kerol Ermakova (“Days Gone By”) va Samarqand chet tillar instituti rektori Ilhomjon To’xtasinov (“The Days Gone by”) tomonidan tarjima qilingan variantalari asosida tahlil olib borar ekanmiz, shuni ta’kidlash joizki, tarjimonlarimiz uchun asliyat tili turlicha bo’lganligi uchun tarjimada turlicha farqlarni ko’rishimiz mumkin. Quyida “O’tkan kunlar” romanida tarixiylikni belgilovchi tarixiy-arxaik tushunchalarda ko’p uchraydigan unvon, kasb-korga tegishli so’zlar va realiyalar (milliy xos so’zlar) tarjimasini tahlil qildik. Zero, bularni tarjimada to’liq aks ettirish muhim ahamiyatga ega. Asliyat: “Musulmonqul Normuhammad qushbegiga besh ming sipoh qo’shib, Toshkand ustiga jo’natqan!”2 O’zbek tilidan ingliz tiliga tarjimasi: “Musulmonqul sent troops of five thousand people to Normuhammad Qushbegi to lead a riot against Tashkent!”3 O’zbek tilidan rus tiliga tarjimasi: “Мусулманкул отправил в Ташкент пять тысяч воинов, во главе которых стоит Нармухаммад кушбеги” Кушбеги – почетное звание правителя города или области.4 Rus tilidan ingliz tiliga tarjimasi: Musulmon Kul has sent five thousand warriors headed by Nar Mohammed Kushbegi* to suppress the uprising!”
- Kushbegi – title of the first minister of the khan’s court.5
Bizga ma’lumki, qushbegi unvoni amir va xonlar saroyida bosh vazir yoki huquqi vazirga teng bo’lgan yirik amaldor, hokim hisoblangan. Fikrimizcha, tarjimonlarimiz yuqoridagi tarjima variantlarining barchasida qushbegi so’zini tarjima qilmasdan “Qushbegi”, “Кушбеги”, “Kushbegi” tarzida berilgan, shu bilan bir qatorda ingliz va rus kitobxonlariga tushunarli bo’lishi uchun taglama asosida qushbegi so’zining ma’nosi keltirib o’tilgan. Rus tiliga tarjimasi hamda rus tilidan ingliz tiliga tarjimasida o’quvchi uchun taglama tushuntirish berib o’tgan bo’lsa, o’zbek tilidan amalga oshirilgan bevosita ingliz tiliga tarjimasida hech qanday izoh berib o’tilmagan. Ushbu lisoniy birlik transleteratsiya orqali amalga oshirilishi maqsadga muvofiq bo’lar edi. Carol Ermakova o’z tarjimasida o’quvchilar o’qish jarayonida hech qanday muammoga duch kelmasin deya roman tarkibidagi ismlarni ham bilvosita tarjima jarayonidan ham qiyinchiliksiz muammoni bartaraf etgan deb hisoblaymiz. Sababi har bir kitobxon o’zga bir tildagi atab qo’yilgan birliklarni o’qishga qiynaladi va tushunishi qiyin bo’lgan nomni aytish birozgina muammo yuzaga keltiradi. Yuqorida Carol Ermakova buni his etgan deya olishimiz mumkin. Barchamizga ma’lumki, tarjima ham san’at hodisasi hisoblanadi, aynan qayta yaratish san’ati. Agar bir badiiy asarni o’n kishi o’girsa, ularning tarjimalari bir xil qolipdan chiqqani singari bir-biriga aynan o’xshab qolmaydi, balki jiddiy farq qiladi. Chunki, har bir tarjimon ijodkor sanaladi. Biroq ular bir-birlariga o’xshamaydilar. Har biri o’z oldiga asar muallifining uslubini aks ettirishni maqsad qilib qo’yadi. “Har vaqtki, tarjima maydoniga ikki alp-muallif bilan mutarjim yakkama-yakka tushadilar.”6 Tarjimon ham ijodkordir, u muallif uslubiga qanchalik mahliyo bo’lib ketmasin, o’zini muallifning irodasiga itoat etishga majbur qilmasin, har bir tarjimachining betakror, o’ziga xos uslubi ham shundoqqina sezilib turadi. Shu o’rinda yuqoridagi ikki tarjimonimiz ham asar tarjimasiga alohida yondashgan holda, mahorat va san’atkorliklarini namoyon etishga harakat qilganlar. Mutarjimlarimiz asl nusxada aks etgan shakl bilan mazmunning birligini, yaxlitligini saqlash uchun bo’lak tildan muqobil vositalar qidirib topganlar. Asarni tarjima qilish davomida tarjimonlarimiz muallif uslubini qayta yaratishga, asar ritmi va intonatsiyasini saqlash, personajlar nutqini asliyatdagi tabiiyligi bilan aks ettirishga, milliy koloritni berish, frazeologizmlarning muqobil variantini topishga, sheva xususiyatlarini ifodalash kabilarga e’tibor qaratganlar. Tarjimonlarimiz o’zbek tilini bilish bilan bir qatorda, xalqimizning ijtimoiy o’zini�o’zi anglashi, milliy xarakteri, hayot tarzi, an’analari, urf-odatlari, axloqi, qadriyatlari yig’indisi va dunyoqarashi haqida chuqur bilimga ega ekanliklarini ham isbotlaganlar. Shuni ta’kidlash joizki, tarixiy asarlarda ijtimoiy-tarixiy harakatdagi xalq hayotining ma’lum bir davri ifodalanadi. Bunday asarda qo’llanilgan til vositalarining katta qismi vaqt o’tishi bilan turli o’zlashtirishlarga uchragan, bir qator so’zlar eskirib, iste’moldan chiqib, unitilib ketgan, bir guruh so’zlarning ma’no ko’lami kengaygan, yana boshqalarning esa aksincha chegaralanib, toraygan. Bir so’z bilan aytganda, asar yaratilgan davr tilida qanday qo’llanishda bo’lgan bo’lsa, shunday saqlanib qolgan til vositalarini topish mushkul. Tilda doimiy, turg’un hamda vaqtinchalik, o’tkinchi, o’zgaruvchan til hodisalari ham borki, tarjimon bu o’rinda tarjimasiga kirishgan asar yaratilgan o’tmishni chuqurroq o’rganishi, asar muallifining uslubini, dunyoqarashini bilishi, uning o’zi haqida to’liq ma’lumotga ega bo’lishi zarur. Shuningdek, tarixiy asarning shu davrga qadar boshqa tarjimonlar tomonidan amalga oshirilgan barcha tarjimalarini ham yaxshilab o’rganib chiqishi, ushbu yo’nalishdagi yutuq va kamchiliklardan xabardor bo’lishi kerak. Bu kabi omillar tarixiy asarlar mazmunini chuqurroq anglashga, tarjima jarayonida uchrashi mumkin bo’lgan mushkullikning yechimini topishda va yo’l qo’yilishi mumkin bo’lgan xatoliklarning oldini olishda yordam beradi. Tarixiy asarlar tarjimasida mutarjimlar barcha til vositalarini zamonaviy til orqali o’gira olmasligiga sabab asliyatning qadimiyligi bo’lsa, qadimiy til bilan o’rganishni inkor etuvchi sabab, uning zamonga xizmat qilishi zarurligidadir. Tarixiy asar tarjimasi ikki davrga taaluqlidir. Ya’ni, u zamonaviy tilda yaratilishi hamda o’zida tarixiy davr ruhini aks ettirishi kerak. Har bir asar o’z zamoni va makoniga ega. Tarjimada ana shu zamon va makonning asliyatda qoldirilgan izini o’zga kitobxonga yetkazish, tarjimonga katta mas’uliyat yuklaydi. Tarjimon zamondoshimiz, demak, bugungi kun o’quvchisi. U nafaqat o’quvchi, balki asl nusxaning badiiy tomonlarini tahlil qila oladigan tanqidchi hamda asarni o’z tilida qayta tiklay oladigan olim va yozuvchi hamdir. Quyida keltirilgan parchani tahlil qiladigan bo’lsak, asliyat: “Mirzaboshi kirib xong’a qulliq qildi va Musulmonqulg’a qarab qo’l bog’ladi. Musulmonqul yana xumori bo’lg’an edi – “Chilim!” deb tashqarig’a qichqirdi, so’ngra mirzaboshig’a dedi: -Hozir Marg’ilon hokimi O’tabboy qushbegiga bir xat yozib, chopar bilan yubor. Xatni olg’an zamon Yusufbek hojining o’g’li Otabek deganni olib huzurimizga kelsin!” O’zbek tilidan rus tiliga tarjimasi: Вошел мирза-баши, поклонился почтительно хану, а затем Мусульманкулу. Тот все еще был крайне раздражен и испытывая физическую потребность покурить, приказал – “Чилим!”, затем обратился к мирза-баши: -Немедленно напиши правителю Маргилана Утаббаю-кушбеги чтобы он явился сюда вместе с сыном Юсуфбека-хаджи Атабеком. Письмо отошли с гонцом. Rus tilidan ingliz tiliga K.Ermakova tarjimasi: “Mirza-bashi entered, bowed respectfully to the khan, and then to Musulman Kul. But the ruler was still extremely agitated and once again felt compelled to smoke. iens.uz “Chilim!” he yelled, before turning to Mirza-bashi: “Write to the ruler of Margilan, Utabbayi-Kushbegi, at once, and order him to appear here together with Atabek, son of Yusufbek-hadji. Send the letter with a rider.” O’zbek tilidan ingliz tiliga I.To’xtasinov tarjimasi: “Mirzaboshi entered the hall and greeted Musulmonkul who got frustrated again and shouted-“Kalian”, then said to Mirzaboshi: -Right now send a letter to the governor of Margilon, to Otabboy, with the courier. Ask him to bring Otabek, the son of Yusufbek Khoji, immediately! Yuqorida berilgan parchalarni tahlil qiladigan bo’lsak, tarixda xon saroyida mirzaboshi degan lavozim ham bo’lib, u yozuv ishlarini olib bosrgan. Har ikkala tarjima variantida ham ushbu lavozim “Mирза-баши” “Mirza-bashi”, “Mirzaboshi” shaklida o’z holicha berilgan. Bundan asosiy maqsad albatta, o’sha davrning o’ziga xosligini kitobxon ko’z o’ngida bevosita jonlantirishdan iboratdir. Bundan tashqari asardagi “chilim” so’ziga e’tibor beradigan bo’lsak, K.Ermakova ushbu so’zni o’z holicha qo’llagan bo’lsa, I.To’xtasinovning tarjimasida uning zamonaviy variantini ko’rishimiz mumkin. Ya’ni uning tarjimasida “chilim” so’zi o’rnida “kalian” so’zi qo’llanilgan. Shuni alohida ta’kidlash joizki, asl nusxa bilan tarjima tili bevosita bir-biriga teng emas. Har ikki tilning lisoniy imkoniyatlari bir-biriga “ekvivalentlik holatida bo’lmaydi. Shuning uchun ham ko’r-ko’rona tarjima qilish mumkin emas. So’zlarning aniq mazmuni bilan estetik sifatlari o’zaro bir-birining o’rnini qoplay olmaydi. Shu sababli matnning tili qanchalik serma’no, badiiy tarafidan serjilo bo’lsa, tarjima shunchalik qiyinlashadi.” Bu holatlarda asl nusxa bilan tarjima o’rtasidagi tafovutlar yuzaga keladi. Shundan qilib, har bir badiiy yodgorlik muayyan davr va xususiyat tasviriga bag’ishlanar ekan, tarjimon zimmasiga o’sha ruhni asliymonand tarzda aks ettirish mas’uliyati yuklanadi. Tarjima jarayonida ushbu talabga rioya qilmasdan, iste’moldagi lug’atlarga tayanib ish ko’rish adekvat tarjima yaratish tamoyiliga zid holda, muallif matnini zamonaviylashtirib qo’yishga olib kelsa, milliy xususiyatli lisoniy vositalarni beasos shunday xususiyatdan xoli bo’lgan birliklar yoki tarjima tili sohiblariga xos lisoniy vositalar bilan almashtirib talqin etish muallif matnini milliy asosdan mahkum etadi. REFERENCES 1. Abdulla Qodiriy. O’tkan kunlar. “Sharq” nashriyoti. Toshkent. 2. Abdulla Qodiriy. The Days Gone By. Translaters:I.M.Tukhtasinov, O.M.Muminov, A.A.Khamidov. Toshkent:”Mashhur -press”, 2017 Choriyeva Muxlisa (munozara) 09:25, 22-Sentabr 2022 (UTC)
ABDULLA QODIRIYNING "O'TKAN KUNLAR" ROMANIDAGI TABIAT TASVIRINING TARJIMADAGI IN'IKOSI
tahrirANNOTATSIYA Ushbu tadqiqot Abdulla Qodiriyning “O’tkan kunlar” romanining tarjima variantlarini o’rganishga qaratilgan. Tadqiqot ishining asosiy maqsadi romanda ifodalangan tabiat tasvirini tarjimada milliylik asosida o’rganish hamda tarjima variantlari orasidagi o’zaro o’xshashlik va tafovvutlarni ifodalash. Kalit so’zlar: O’tkan kunlar, The days gone by, milliylik, tabiat tasviri, o’shashlik, tafovvut. ABSTRACT This current study aims to investigate translated version of “Utkan kunlar” by Abdulla Kodiri. The main purpose of the research is to study the image of nature expressed in the novel on the basis of nationality in translation and to express similarities and differences between the translation versions. Keywords: Utkan kunlar, The days gone by, nationality, image of nature, similarity, difference. АННОТАЦИЯ Настоящее исследование направлено на изучение переведенной версии «Уткан кунлар» Абдуллы Кодири. Основная цель исследования - изучить выраженный в романе образ природы на основе национальной принадлежности в переводе и выявить сходства и различия между вариантами перевода. Ключевые слова: Уткан кунлар, Минувшие времена, национальность, образ природы, сходство, различие. KIRISH Barchamiz badiiy asarlarda tabiat manzaralari tasviriga duch kelganmiz, albatta. Bu esa ijodkor mahoratining ne chog'lik boy ekanligini ko'rsatadi. Chunki tabiat manzaralari tasvirida ijodkorning o'zi qalamga olayotgan makonga munosabati, u joyni qanchalik bilishi, qahramonlar dunyosi va ular yashayotgan muhitni naqadar chuqur his qilishi bilinadi. Shuning uchun ham badiiy asarlarda tabiat manzaralari tasviri asarning asosiy tarkibiy qismi sanaladi.1 Badiiy asarda muallif o'z maqsadini ro'yobga chiqarish uchun tasviriy va ifodaviy vositalardan foydalanadi. Asardagi tabiat manzaralari kitobxonning biror narsa haqida tasavvur hozil qilishi, muayyan tuyg'uni his etishi, ko'rish, eshitish mumkin bo'lgan narsa va obrazlarni inson ongida hosil qiluvchi unsurlar tasviriy vositalar hisoblansa, asarda so'z va iboralarning turli ma'no tovlanishlari, majoziy xususiyatlari, voqea-hodisalarni turli yo'llar bilan ifodalash usulllari - ifodaviy vositalar hisoblanadi. Badiiy tarjimada tabiat tasvirini qayta jonlantirish va bunda so'z tanlash muammosi muallifdan katta mahorat talab etadi. "Tarjimon - asarni boshqa tilda, ya'ni ona tilida qayta yaratish uchun muallif fikrini ancha pishitadi, o'ziga singdirib oladi, keyin matn xarakteriga qarab muqobil so'z tanlaydi, bu so'zlar ma'nosi, jarangdorligi, shakli, uslubiy muqobilligi, asl nusxadagi fikrni iloji boricha to'laroq ifodalash tashvishida yonadi"2 - deb yozadi G'aybulla Salomov. Shuni ta'kidlash lozimki, asar yaratishda qo'llanilgan badiiy tasvir va ifoda vositalari orqali muallif mahoratining qirralari aniqlanadi. Ana shunday vositalardan biri badiiy asardagi tabiat tasviridir. Tabiatning betakrorligi, albatta, insonda va uning ruhiyatida aks etadi. Inson tug'ilganidan vafot etganiga qadar tabiat bilan hamnafas bo'lib, uning go'zalliklaridan bahramand bo'lib yashaydi. Tabiatdan shaydolik, undan ilhomlanish nafaqat insoniyatga balki butun olam jonzotlariga xosdir. Barcha insonlar tabiat inom etgan go'zalliklardan o'ziga xos taassurotlar hosil qilishi mumkin lekin faqatgina san'at sohiblari shu jumladan, yozuvchi va shoir badiiy so'z vositalaridan, rassom xilma-xil bo'yoqlardan foydalangan holda ana shu taassurotlarni asarlarda aks ettira oladi. MUHOKAMA VA NATIJALAR Qaysi bir asarni mutoola qilmaylik, unda tabiat tasviriga duch kelamiz, albatta. Haqiqiy ijodkor esa insonni ona tabiat bilan birga, doimiy uyg'unlikda tasvirlaydi. Har bir ijodkor san'at asari yaratayotganda, har bir voqea, tabiat manzarasi, umuman, voqelikka o'z nazari bilan qaraydi. U asarning umumiy g'oyasida kelib chiqib, mos detal tanlaydi va o'sha tanlagan detal orqali asar mazmunida salmoqli o'rin tutgan fikrni ifodalaydi. Badiiy asarlar ko'p uchraydigan "bahor" tasvirini misol qilib oladigan bo'lsak, uni har kim o'zgacha talqin qiladi: "beg'ubor va yoqimli bahor", "go'zallik va yosharish fasli", "bahor tarovati" va shunga o'xshash tabiat hodisalari inson ruhiy holatining ijobiy tomonlar, hayotning go'zalligi, mazmuni ko'klam tarovatini ifodalasa, "sovuq yomg'ir tomchilari", "qora bulut" kabi tasvirlar inson ruhiyatidagi salbiy holatlar, qo'rquv, ichki g'alayon, xavf-xatar yoki tushkunliklardan darak beradi. Bunday tasvirlarda yozuvchi tabiatning bir qismi bo'lgan bahor faslini asar ixtiyoriga bo'ysundiradi, asar qahramonlarining ichki kechinmalari, voqelikka munosabatini shu tasvir vositasida ifodalaydi va bunda ijodkorning o'ziga xos uslubi namoyon bo'ladi. Tarjimon asarni tarjima qilishdan oldin shu jihatlarni aniqlab olmasa, muallif muddaosini tarjimada o'quvchilarga yetkazib berolmaydi. Buning natijasida muallif uslubiga tarjimada putur yetishi mumkin.3 Abdulla Qodiriy tabiat tasviriga qo'l urar ekan, unda jonlantirish, o'xshatishlar, sifatlashlarni ko'p qo'llaydi. Masalan, romanning "Jonso'z bir xabar va qo'rqinch bir kech" nomli bobidan bir parcha:4 "Oyning o'n beshlari bo'lsa-da, havoning bulutlig'i bilan oy ko'rinmas, chin ma'nosi bilan qorong'i kuzning qorong'i bir tuni edi. Bir necha yuz yillardan beri yashab favqulodda zo'rayib ketgan "Xo'ja Maoz" mozorining chakalagi bu qorong'iliqqa bir manba' kabi edi. Kuchlik bir yel turg'an, qandaydir bir ishga hozirlang'an kabi to'rt tomong'a yugurib yurar edi. Mozor chakalagining bir burchagida tutab yotg'an to'nka yonida sochlari o'sib soqolig'a qo'shilib ketgan bir devona bu mudhish qorong'iliqqa qarshi kurashkan kabi gulxanni yondirishg'a tirishar, gulxan tavaragidan aylanib qo'lidag'i kasavi bilan to'rt tomonidan kavlar edi. Yel borg'an sari kuchlana bordi, chakalak tartibsiz holg'a kirib ketdi, bitta-yarimta to'kilmay qolg'an yaproqlar shitir-shitir to'kilishka oldilar, qarg'a va zog'chalar ayni uyqu zamonida tinchsizlangani uchun yelga qarshi namoyish qilg'andek g'o-g'u bila chakalak ustidan aylana boshladilar. Yel kuchaygandan kuchayib borar va shu nusbatda mozor ichi ham yana bir qat qo'rqunch holg'a kirar edi, yel ketma-ket bo'kurar, bunga chiday olmag'an shox-shabbalar qars-qurs sinar, keksa yog'ochlar g'iyq-g'iyq etib yolborish tovshi chiqarar edilar. Yel ortiqcha bir g'azab ustida edi, yer yuzidagi tikkaygan narsani bukib-yanchib tashlamoqchi bo'lgandek pishqirar edi..." Ushbu lavha tarjimasini asl nusxa bilan qiyoslab ko'raylik: "Although it was the fifteenth of the month, the moon was invisible with the clouds of the sky, it was a dark night of dark autumn. The clutter of Khoja Maoz's tomb, which had been in existence for hundreds of years, was like a source of darkness. The force was running in all directions, as if a wind was blowing, as if preparing for something. A madman with long hair and a beard was sitting in a corner of the tomb, trying to light a fire as if he were fighting against this terrible darkness. The campfire was swaying from side to side with a bowl in his hand. The wind grew stronger and stronger, the bushes became chaotic, one and a half of the fallen leaves z rustled, and the crows and ravens became restless during the same sleep. They began to roll over the bush with a roar. The wind grew stronger and stronger, and the tomb became even more terrifying. The wind blew one after another, and the branches that could not stand it cracked, and the old trees shrieked. They cried out in supplication. The wind was overflowing with rage, squealing as if trying to crush what was standing on the ground ... "5 Ushbu parchada tarjimonning yutuqlari shundan iboratki, "Bir necha yuz yillardan beri yashab favqulodda zo'rayib ketgan "Xo'ja Maoz" mozorining chakalagi bu qorong'iliqqa bir manba' kabi edi" jumlasi "The clutter of Khoja Maoz's tomb, which had been in existence for hundreds of years, was like a source of darkness"- bir necha yillardan beri mavjud bo'lgan "Xo'ja Maoz" mozori qorong'ulikka bir manba kabi ko'rinardi" shaklida o'girilgan. Demak, bu holda "favqulodda zo'rayib ketgan "Xo'ja Maoz" mozorining chakalagi" jumlasi ma'no nuqtai nazaridan asl matnda nazarda tutilgan mazmun tarjima nusxada to'la qamrab olingan. "...yel ketma-ket bo'kurar, bunga chiday olmag'an shox-shabbalar qars-qurs sinar, keksa yog'ochlar g'iyq-g'iyq etib yolborish tovshi chiqarar edilar..." jumlasi "...The wind blew one after another, and the branches that could not stand it cracked, and the old trees shrieke as they cried out in supplication..." tarzida tarjima qilinib, bu o'rinda ham ma'no to'la qamrab olingan, lekin ba'zi so'zlar tushirib qoldirilgan. Masalan, shox-shabbalar qars-qurs sinar birikmasi to'lig'icha the branches that could not stand it cracked deb o'girilgan, keksa yog'ochar g'iyq-g'iyq etib yolborish tovshi chiqarar edilar birikmasida esa keksa yog'ochlar jumlasiga tegishli bo'lgan yolborish tovshi chiqarar edilar birikmasida so'zlar tushirilib qoldirilgan holda tarjima qilingan. XULOSA Parchada keltirilgan ayrim lavhalar tarjimasida kamchiliklar kuzatiladi. Masalan, asl matnda "Oyning o'n beshlari bo'lsa-da, havoning bulutlig'i bilan oy ko'rinmas, chin ma'nosi bilan qorong'i kuzning qorong'i bir tuni edi" jumlasi "Although it was the fifteenth of the month, the moon was invisible with the clouds of the sky, it was literally a dark night of dark autumn" shaklida ifodalangan. Bu yerda muallif oy yuzini bulut to'sgan zim-ziyo kuz tunini ta'riflagan bo'lib, tarjimada esa "chin ma'nosi bilan qorong'i kuzning qorong'i bir tuni edi" birikmasi "it was a dark night of dark autumn"- "qorong'i kuzning qorong'i bir tuni edi" tarzida o'girilgan. Bu o'rinda muallif urg'u bermoqchi bo'lgan chin ma'nosi bilan nazardan chetda qolgan. Tahlilni davom ettiramiz: "Yel ortiqcha bir g'azab ustida edi, yer yuzidagi tikkaygan narsani bukib-yanchib tashlamoqchi bo'lgandek pishqirar edi" jumlasi ingliz tilida "The wind was overflowing with rage, squealing as if trying to crush what was standing on the ground"- yaxshigina g'azablangan shamol oldidan chiqqanini yerga urayotgandi, havoga sovurayotgandi" tarzida tarjima qilgan. Bundan ko'rishimiz mumkinki, tarjimon bu yerda so'zma-so'z tarjimadan qochgan holda mazmunan jumlani ifoda etishga uringan va buni uddalay olgan. REFERENCES 1. Qodiriy A. “O’tkan kunlar”, Toshkent, G’.G’ulom nashr.,1992. 2. Karimov B. “Abdulla Qodiriy”.-T.:”Fan”.2006. 3. Aminova L. Turk yozuvchisi Yashar Kamol asarlarida badiiy mahorat masalalari,- fil.fan.nom.ilmiy darajasini olish uchun yozilgan dissertatsiya, T.:2003 4. Salomov G’., Tarjima san’ati, Toshkent, 1973, 57-b. 5. Hamidov X. “Badiiy asar tarjimasida tabiat tasvirining berilishi”, Tarjima masalalari(Ilmiy maqolalar to’plami, 2012-yil 26-aprel) 75-77-b Choriyeva Muxlisa (munozara) 09:28, 22-Sentabr 2022 (UTC)
ABDULLA QODIRIY'S NOVEL THE DAYS GONE BY AND THE ISSUE OF TRANSLATION
tahrirABSTRACT The article is devoted to study the work of Abdulla Qodiriy, “The days gone by” and its translation. To clarify the use of national words and phrases as well as national and international coloring. Keywords: the days gone by, nation, tradition, literary translation, Uzbek people. INTRODUCTION "The days gone by" by Abdulla Qodiriy: Translated first novel writtin by a Jadid writer in the Uzbek language. The novel is set on the eve of the Tsarist Russia's invasion of Tashkent and is long considered an attempt to reform Central Asian society in the face of colonial encounter. “The days gone by” has long been considered the national novel of Uzbekistan and is highly regarded by all levels of Central Asian society. It is clear that most nations appreciate the work. It is noted that it was the first novel and that it had been translated into English, and that “The days gone by” was a national novel and was of great importance in all aspects of Central Asian society. METHODOLOGY In this article, the English translation of Abdulla Qodiriy’s novel “The days gone by” is studied in comparison with the Uzbek language, and additional comments on the reconstruction are given in the translation. RESULTS AND DISCUSSION One of the most difficult issues in literary translation is the expression of the features of a living vernacular, namely a vernacular language. Abdulla Qodiriy’s novel “The days gone by”, one of the rich legacies of the Uzbek people, not only reflects the national traditions of the Uzbek people, but also describes the hardships and injustices experienced by the people at that time. The play vividly describes the struggle for the throne between the khanates and the lives of ordinary people who suffered as a result of these struggles: After 70 days of battle, Nurmuhammad's 3000 soldiers were diminished for 1500. The lives of military men were sacrificed under the ruins of Tashkent, that's why Nurmuhammad had to come back without any result. During seventy days of fight, some faithful and true dwellers of Tashkent showed their loyalty to Azizbek and serviced him with ardor and sincerely, that's why he managed to stand against their enemy but now they were in terrible condition as well. During seventy days of war they decisively were pulled apart from the relationship with other villages that's why financial position of their life was under bad situation. All grains, seeds and sowing areas were on the enemy's hands, because of the 70 days of battle Tashkent's citizens couldn't manage to harvest. The state of shoemakers, artisans and poor people were without grain, flat-bread, and clothes. But despite the difficulties they didn't keep much attention to them because the spirit of victory, victory over the enemy. So they again were about to start farming. But... " Through this passage, we can recognize that the play reflects the suffering and power of the people in history. The suffering of the people from the siege, their loyalty to their country, as well as their loyalty to Azizbek, even if it is bad, and as a result, Azizbek’s powerful blow against the oppression, are very clearly expressed. It should be noted that the readiness of Yusufbek Haji, a symbol of greatness, to give his life for the people, for the country where he was born and grew up, once again increases the student’s love for his homeland. The work fully covers the events of the past. We have already proved this by quoting the author’s own words in this regard: "It's clear, we took a step for new age we should follow this new age's novelties any way and also we feel the responsibility to create new works, novels and narrations while we introduce nowadays "Tohir and Zuhra", "Chor Derwesh"(Four Dervishes), "Farhod and Shirin" and "Bahromgor" for today's people. My intention on writing "O'tkan kunlar" (The Days Gone By) was a small experiment in the way of romanticism. Actually it was a desire on the way of getting acquainted with the new era's novels. It is natural that each work comes out with lots of shortages in primitive and modern period of life and it corrects gradually with growing intellectual men and get into fruition. I took the initiative with the help of that encouragement and I didn't afraid of blame and mistakes on my work. They say: "It is better to make an arrangement keeping in mind the history". That's why I began the matter from the history, from our recently past, darkest and fifty history after the "Khans age". Abdulla Qodiriy (Julqunboy)".It is also clear from the opinion of the author that the work serves to reveal all the details of the khanate period. Of course, every nation has its own history, its own experiences. In expressing this history, experiences, customs, rituals, of course, the writer-creator shakes the pen, relying on our national traditions. It should be noted that the play uses a lot of national words and phrases, which are a small factor in expressing the identity of the Uzbek people, their special traditions. We know that the novel “The days gone by” was also recreated in a foreign language in foreign countries, that is, translated into German and English. Of course, translating such an original work from one language to another requires a great deal of knowledge and translation skills from the translator so that the translated work does not lose its charm. This is because many national words used in the play may not have equal equivalents in other languages, but the translator must be able to choose the right way out of this. We also know from the rules of “translation theory” that it is possible to explain non-equivalent terms from one language to another, but devoting oneself to this thing also bores the reader, making it a little difficult to read the work. The solution to such problems can be achieved through a lot of research, which requires real work. The following is an excerpt from the work, which brings to your attention the Uzbek national traditions, national expressions. "Uzbek oyim was about fifty-five years-old woman. She was incompetent but very strict to her husband. She was not strict only to her husband but to the women of Tashkent as well. The other women couldn't do anything without Uzbek oyim in their feasts, funerals and in other ceremonies. Their doors were always open every time for her, the women who were about to marry their daughters, to choose a bride for their sons or who wanted to held circumcision ceremony just couldn't do anything without Uzbek oyim's advice. All women's wishes in their marry-making days, in their feasts were carried out without a word by their husbands; if Uzbek oyim participated. They could say their husbands that it was Uzbek oyim's order. Even women's husbands obeyed her. So, we can say that she had a great impact on everybody, both women and men. Uzbek oyim didn't want to go to all wedding ceremonies". If we look at the passage from the work, in this small passage we can find many national words and phrases that are typical of the Uzbek nation, but there are words that are in the Uzbek language itself also need to be explained. As we become acquainted with the interpretations of certain words taken from the work, it takes a great deal of knowledge and skill on the part of the translator, as we have said to translate such nationalist words and phrases from one language to another. In addition to the knowledge of translation studies, the knowledge required of a translator is to be fully acquainted with the language, customs and national traditions of the people he is translating from. Along with the description of Uzbek national traditions and customs, the play beautifully depicts the loyalty, courage, bravery, as well as wisdom of the Uzbek woman through the image of Kumush: "In ten minutes qorboshi, who was listening to qushbegi's story impatiently, stood up and: - Permit me to leave and attend the execution of verdict? - asked he. Nearly he could finish his words; Pirmat appeared and bowed to qushbegi: -One woman is asking permission to come in, will she be permitted? Qushbegi let qorboshi leave and told Pirmat to lead the woman inside. Qorboshi was in doubt, because of that unexpected visit of a woman. He was eager to know about the complain of that strange woman, but he had already asked permission to leave, thats why he had to leave. While he was leaving, a woman in old vein entered the room and bowed to qushbegi. The woman was excited and worried. Qorboshis doubt became stronger and he decided to stand behind the door. The woman took off her shoes in a hurry, and looked for something, being inside the vain. Qushbegi was surprised and said:-Sister, come in and tell us your complain. The woman came in, came up to qushbegi, handed him something and returned to the door. The thing, handed by woman was a sheet of folded paper. Qushbegi started opening paper slowly -May God bless you, please be quickotherwise you will be guilty for two innocent mens death! After these words of the woman, officials looked at each other. Qushbegi quickly opened the letter and started reading a long letter written with thick pencil. He read the letter for a long time and everybody became impatient. Approaching the end of the letter Qushbegi called Pirmat. - Pirmat, Pirmat! Pirmat ran up to him. - Yes, my lord! Qushbegi’s voice sounded very strange: - Be quick and bring back those two sentenced men. Tell my order to qorboshi. Pirmat bowed and informed about qorboshi’s presence. Qorboshi entered and bowed. -It is good, that you didn’t leave. Go with Pirmat and bring back those two men, as soon as possible. Qorboshi felt that his doubt was reasonable, looked at the woman and asked: - Why, my lord? - It isn’t time for discussing the reason now, be quick! Qorboshi bowed and went out with Pirmat. After him qushbegi cursed and looked at his officials. Now the woman calmed down a little. Qushbegi began reading the letter again. Officials were still staring at the letter and the woman. Qushbegi read the letter twice and looked at the woman. - Sit down, sister,-he said. While she was sitting, her silk dress atlas and gentle hands were seen from the inside of the paranja. Qushbegi looked through the letter .The letter was baggy. The letters were partially effaced. Then he asked the woman. - Sister, who are you for Qutidor and Otabek? - I’m Qutidor’s daughter and Otabek’s wife. After her words officials looked at each other. - Why didn’t you bring it earlier? Kumushbibi became afraid of his question; she thought that it was late. That’s why she asked in trembling voice. - Is it too late? - No, no, daughter - said qushbegi - I mean, why didn’t you bring it yesterday or the day before yesterday. Kumushbibi sighed with relief and said: I’ve found it only today - Didn’t you see the letter before you mean, did you? - No, I didn’t. - Where did you find it? - It was in his old kamzol’s pocket. Then qushbegi handed the letter to Azim ponsadboshi, who was sitting next to him saying to him to read it, as well He addressed to Kumush. - Are you educated? - Yes, I am. - Did you know before your husbands action against the government? - For example, those actions for which we were going to hang your father and husband - Thats wrong, they are innocent. - Who told you that this letter would save your husband from the death? - I have guessed it myself. - Then you knew about your husbands illegal actions? - No, sir-said Kumush..." This passage from the work depicts the wisdom, courage and devotion of the Uzbek woman Kumush. Moreover, the injustices of that time, as well as the ugly people who do not shy away from anything for their own benefit, are beautifully expressed through the images of “Homid” and “Korboshi”. If we read the passage better, we can see the phrases typical of the Uzbek nationality- “kamzul”, “taqsir”, “Kushbegi”, “Korboshi”, “paranji”, “ponsad” have been used a lot, and translating these words and phrases into another vernacular poses some difficulties. CONCLUSIONS In conclusion, Abdulla Qodiriy’s novel “The days gone by”, one of the rich legacies of the Uzbek people, not only fully reflects the national traditions of the Uzbek people, but also describes the hardships and injustices experienced by the people at that time. The play vividly reveals the struggles for the throne between the khanates and the lives of ordinary people who suffered as a result of these struggles. As we know every nation is proud of its history, traditions and it would consider an offence if the translator does not manage to convey the national coloring or if he conveys it wrong. That’s why the translator must be very attentive and careful with any kind of literary work. REFERENCES 1. Jackson K.Kellogg. Indian University, Dept.of Central Eurasian Studies, 2009. 2. Soviet Uzbekistan, 1990, № 9-son 3. Qodiriy A. “The days gone by” translators:I.M.Tukhtasinov, O.M.Muminov, A.A.Khamidov.-T.:mashhur press,2017 4. www.google.com.Qodiriy.html Choriyeva Muxlisa (munozara) 09:34, 22-Sentabr 2022 (UTC)