Alisher navoiy asarlari badiiyatini ingliz tilida qayta yaratish muammolari
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alisher navoiy asarlari badiiyatini ingliz tilida qayta yaratish muammolari
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65 CHAPTER III. ANTICIPATING PROBLEMS IN TRANSLATING NAVOI”S WORKS INTO ENGLISH 1. Saving genre in the process of translation Translating literary works is, perhaps, always more difficult than translating other types of text because literary works have specific values called the aesthetic and expressive values. The aesthetic function of the work shall emphasize the beauty of the words, figurative language, metaphors, etc. While the expressive functions shall put forwards the writer's thought (or process of thought), emotion, etc. And the translator should try, at his best, to transfer these specific values into the target language. As one genre of literature, poetry has something special compared to the others. In a poem, the beauty is not only achieved with the choice of words and figurative language like in novels and short stories, but also with the creation of rhythm, rhyme, meter, and specific expressions and structures that may not conform to the ones of the daily language. In short, the translation of poetry needs 'something more' than translating other genres of literature. This simple writing will present in brief some considerations in translating poetry. About translating problems, Suryawinata (1982) finds that in general a literary translator faces linguistic, literary and aesthetic, and socio-cultural problems. In translating a poem, one of the literary genres, the translator are also likely to face similar problems. 59 The second point to consider in term of linguistic matters is obscured (non- standard) syntactic structures. Such kinds of structures may be intentionally written in a poem as a part of the expressive function of the text. Hence, such structures should be rendered as closely as possible. The first step to deal with this problem is to find the deep (underlying) structure. According to Newmark (1981: 116), the useful procedure is to find the 59 Alisher Navoi. Complete Works in 20 Volumes 1–18. Tashkent. 1987–2002,p 90-91 66 logical subject first, and then the specific verb. If the two important elements are discovered, the rest will fall into place. After that the translator can reconstruct the structure in the TL as closely as possible to the original structure. Besides, the structure of each phrase or clause should be examined clearly also. The aesthetic values, according to Newmark (1981: 65) are dependent on the structure (or poetic structure), metaphor, and sound. Poetic structure includes the plan of the original poem as a whole, the shape and the balance of individual sentences in each line. Metaphor is related to visual images created with combinations of words, which may also evoke sound, touch, smell, and taste. While sound is anything connected with sound cultivation including rhyme, rhythm, assonance, onomatopoeia, etc. A translator cannot ignore any of them although he may order them depending on the nature of the poem translated. The first factor is structure. It is important to note that structure meant here is the plan of the poem as a whole, the shape and the balance of individual sentence or of each line. So, it does not have to relate directly to the sentential structures or grammar of a language, even in fact it is very much affected by the sentential structure. Thus, maintaining the original structure of the poem may mean maintaining the original structure of each sentence. The translations of the first line both are good in the sense that they put the adverb, "this time" first, but the translation of the main clause in the second translation is better for it tries to maintain the "poetic structure" of the line. The further we read the lines, the better we can catch the importance of maintaining the structure as an attempt to maintain the beauty of the poem. And finally we may agree that the second translation is more successfully in maintaining the poetic structure. Metaphorical expressions, as the second factor, mean any constructions evoking visual, sounds, touch, and taste images, the traditional metaphors, direct comparisons without the words "like' and "as if", and all figurative languages. 67 Intentionally, the writer does not use the term metaphor in the sub-heading since it has different meaning for some people. What is generally known as (traditional) metaphor, for example, is not the same as metaphor meant by Newmark. 60 And the rest of the procedures, translating metaphor (or simile) into simile plus sense, conversing metaphor into sense, deleting unimportant metaphor, and translating metaphor with some metaphors combined with sense, are not considered appropriate for poetry translation. As it is known, there are two kinds of expressions: universal and culturally- bound expressions. Universal expressions are the ones which consist of words having the same semantic field with that of most cultures in the world. 61 The last of literary or aesthetic factors is sound. As stated before, sound is anything connected with sound cultivation including rhyme, rhythm, assonance, onomatopoeia, etc. A translator must try to maintain them in the translation. As Newmark (1981: 67) further states, "In a significant text, semantic truth is cardinal [meaning is not more or less important, it is important!], whilst of the three aesthetic factors, sound (e.g. alliteration or rhyme) is likely to recede importance - - rhyme is perhaps the most likely factor to 'give' -- rhyming is difficult and artificial enough in one language, reproducing line is sometimes doubly so." In short, if the translation is faced with the condition where he should sacrifice one of the three factors, structure, metaphor, and sound, he should sacrifice the sound. On the other hand, the translator should balance where the beauty of a poem really lies. If the beauty lies more on the sounds rather than on the meaning (semantic), the translator cannot ignore the sound factor. 60 Allworth, Edward A. (1990). The Modern Uzbeks: From the Fourteenth Century to the Present: A Cultural History. Hoover Institution Press. p. 229-230. ISBN 978-0817987329. 61 Alisher Navoi. Complete Works in 20 Volumes 1–18. Tashkent. 1987–2002,p 90-91 68 In other cases where sounds is not such important, he should try to maintain them first in the TL before he decides not to transfer the sound into the TL. This means he should try to keep the beauty of the sound where possible. Words or expressions that contain culturally-bound word(s) create certain problems. The socio-cultural problems exist in the phrases, clauses, or sentences containing word(s) related to the four major cultural categories, namely: ideas, behavior, product, and ecology (Said, 1994: 39). The "ideas" includes belief, values, and institution; "behavior" includes customs or habits, "products" includes art, music, and artifacts, and "ecology" includes flora, fauna, plains, winds, and weather. In translating culturally-bound expressions, like in other expressions, a translator may apply one or some of the procedures: Literal translation, transference, naturalization, cultural equivalent, functional equivalent, description equivalent, classifier, componential analysis, deletion, couplets, note, addition, glosses, reduction, and synonymy. In literal translation, a translator does unit-to- unit translation. The translation unit may range from word to larger units such as phrase or clause. In addition, the translator may find the cultural equivalent word or, if he cannot find one, neutralize or generalize the SL word to result 'functional equivalents'. When he modifies word with description of form in the TL, the result is description equivalent. Sometimes a translator provides a generic or general or superordinate term for a TL word and the result in the TL is called classifier. And when he just supplies the near TL equivalent for the word, he uses synonymy. In componential analysis procedure, the translator splits up a lexical unit into its sense components, often one-to-two, one-to-three, or -more translation. Moreover, a translator sometimes adds some information, whether he puts it in a bracket or in other clause or even footnote, or even deletes unimportant SL words in the translation to smooth the result for the reader. These different procedures may be used at the same time. Such a procedure is called couplets. (For further 69 discussion and examples of the procedures, see Said (1994: 25 - 28) and compare it with Newmark (1981: 30-32)) 62 . The writer does not assert that one procedure is superior to the others. It depends on the situation. Considering the aesthetic and expressive functions a poem is carrying, a translator should try to find the cultural equivalent or the nearest equivalent (synonym) first before trying the other procedures. Translation used to be considered an inter-language transfer of meaning, which is the point of departure for research and study. Many earlier definitions demonstrate this, using source language and target language as their technical terms. Moreover, translation theories strictly confined themselves within the sphere of linguistics. For many years the popular trend in the translation circles had been perfect faithfulness to the original both in content and in form and it had been regarded as the iron criterion as if from the holy Bible for translators to observe. The godly status and the impossible idealistic belief were not altered until new thoughts arose with the respect of consideration of target readers, the unavoidable translator subjectivity and the purpose and function of translations. This thesis, starting to look from new angles such as the accommodation to target cultural conventions, the translator's consciousness of linguistic and cultural adaptations to make it easy for readers to understand translated works without too much pain and effort, and translation as a purposeful endeavor. Translation is then understood as a much more complicated activity with a much broader scope. Translation of poetry was, and still is by some, believed as impossibility for any unfaithful elements would have been taken as failure, be it content or form. The arguments include linguistic elements and cultural elements. Most importantly the myth of untranslatability looks upon poetry as beauty itself which is untouchable for once it is touched it is destroyed. But as translation of poetry has 62 Ali Shir Nava'i Muhakamat al-lughatain tr. & ed. Robert Devereaux (Leiden: Brill) 1966,p 45- 47 70 never been stagnant though sometimes vigorous and sometimes not, there is strong evidence in both translation history and present day practice that poetic translation, a literary form as distinguished from fiction, drama, and prose, is translatable. Poetry itself serves a purpose, be it an illusive matter, and aesthetics can be reproduced in another language and culture if accommodation is made. It would be highly likely that the target readers would obtain rather similar if not the same aesthetic pleasure reading the translation as would the source readers reading the original poem. And this is, I believe, the only criterion in evaluating and assessing what is a successful piece of translation. Of course there are other functions of poetry like informative, didactic, cognitive, practical and even entertainment functions. The aesthetic function stays at the top of the list, though. 63 In modern times some scholars have come to realize that something in a language can not be fully translated into another, in other words, there is an inevitable loss of meaning. Catford (1965), a celebrated translation scholar of the linguistic school, raises the issue of untranslatability with a new perspective. He argues that linguistic untranslaltability is due to the difference in the Source Language (SL) and the Target Language (TL), whereas cultural untranslatability is due to the absence in the TL of relevant situational features. Dabeluet and Viney (quoted in Wilss, 2001), in the fruitful book A comparative French and English Stylistics have analyzed in detail the points of linguistic difference between the two languages, differences that constitute areas where translation is impossible. Popovic (quoted in Wilss, 2001) also has attempted to define untranslatability without making a separation between the linguistic and cultural factors. Nida (1984) presents a rich source of information about the problems of loss in translation, in particular about the difficulties encountered by the translators when 63 Erkinov, A. (1998). "The Perception of Works by Classical Authors in the 18th and 19th centuries Central Asia: The Example of the Xamsa of Ali Shir Nawa`i". In Kemper, Michael; Frank, Allen. Muslim Culture in Russia and Central Asia from the 18th to the Early 20th Centuries. Berlin. pp. 513–526.. 71 facing with terms or concepts in that language that do not exist in TL. Newmark (1982) has also once briefly talked about the deviation in translation. In English translation history, in contemporary and modern day translation circles, many experts and scholars have also discussed the problem to some extent in their empirical assertions and research papers. Zhu guangqian says that the reason why poetry translation poses more difficulty than prose translation lies in that poetry stress more on its musical quality while prose emphasizes more on meaning. Translating meaning is apparently easier than translating the musical quality. So phrases and clauses are easily arranged into even number phrases and neat even number couplets, if the need arises for comparison or contrast. However, the western languages have strict grammatical rules, requiring fixed structures that forbids free inversions or disorders. If translating literally according to the Uzbek form, confusion emerges. Poetry can not only be translated into a foreign language nor can it be translated into another style or another historical period of the same language because the sound and meaning of the language change with the times. Modern syllables and rhythms can not replace those needed in ancient language and modern associated meaning can not replace the ancient associated meaning. Chen Shuxin (Chen, 2000) proposes that poetic untranslatability mainly lies in the transference of the beauty of the original sound. If put in order, the transference of sound stays at the top of the list, then form and style, lastly meaning. In summary, I find that those who stick to untranslatbility are but two kinds of people. Some strictly believe the holiness of the original text and others the absoluteness of the unity of meaning and form in a certain language. And they, idealistically, do not allow any addition or loss of meaning in the transferring 72 process as in translation, which is actually inevitable and is a rule rather than an exception. 64 Translation work, in its present form, dates back more than a thousand years in England and in Western countries. The ever-lasting practice of translation itself manifests the translatability of languages. Therefore, it stands to reason that a language can be translated from one language into another. Under the guide of this perception, former scholars usually probe into the problem of translation from an instinctive and empirical point of view. Not all words need to be translated. Some cannot. Some can be transcribable, but if there is no cultural equivalent, whether it is translatable or not it still needs to be explained, just like a jargon needs to be explained to the non- specialist in a footnote. Words, expressions or interjections that are exclusive to a culture, a religion or a jargon cannot always be translated in a satisfactory way because the same thing does not exist in the other language's culture. In many cases such words with no perfect equivalent are the words that end up being borrowed by the other language, sometimes with a possible spelling adaptation to ease pronunciation in the other language. Jacobson ( 1966: 238) (quoted in Wolfram Wilss, 2001) comes to the conclusion that poetry by definition is untranslatable. Only creative transposition is possible. With this as a prerequisite, translation of poetry should and must be translatable. Historically speaking, the activity of poetic translation has always been there, popular at one time and losing momentum at another, though always being practiced. In other words, whenever human communication is necessary, translation will live on and maintain a firm and fast stronghold. The reason is simple but unavoidable—we, as a nation or a country, are not living alone. As long as we do not lock ourselves up, translation will be translatable, be it scientific 64 Allworth, Edward A. (1990). The Modern Uzbeks: From the Fourteenth Century to the Present: A Cultural History. Hoover Institution Press. p. 229-230. ISBN 978-0817987329. 73 translation or poetic translation. All these people do not only support the idea that translation of poetry is possible but provide living proof by their many well- received and highly-acclaimed translated works. Let's see what specialists say, to begin with, about the nature and essence of translation. Ebel (1969: 50) (quoted in Wolfram Wilss, 2001) says that indeed, modern translation theory denies the very existence of translation as it has previously been understood, i.e. as the replacement of an utterance in one language by another, so that the two are interchangeable. The dream of ―literal‖ or ―close‖ translation, which culminated in the attempt to computerize translation, has given way in turn to what might be termed a higher subjectivity. Since ―there are connections but not correlations or diagnostic correspondences between cultural norms and linguistic patterns‖, no language is ever a valid substitute for another; ―faithfulness‖ in translation is thus impossible. Gipper believes that translation is and will continue to be a relative concept. It could be said that every translation represents a transposition from the perspectives of one linguistic view of the world to those of another and that this cannot take place entirely without changes or metamorphoses (change of form or character). Durbeck (1975: 8) (quoted in Wolfram Wilss, 2001: 42) holds that the world view of one's native tongue is dominant, thus making man a ‗prisoner of his language‖. Wolfram Wilss (Ibid: 49) says, ―The translatability of a text can thus be measured in terms of the degree to which it can be re-contextualized in TL, taking into account all linguistic and extra-linguistic factors. …The translatability of a text is thus guaranteed by the existence of universal categories in syntax, semantics, and the (natural) logic of experience. …Linguistic untranslatability occurs when the linguistic form has a function beyond that of conveying factual relationships and is therefore a constituent part of the functional equivalence to be achieved. This, for 74 example, is true of play on words, which can usually be adequately translated semantically but not stylistically. 65 ‖ Catford (1965: 99) believes that Cultural untranslatability is usually less ―absolute‖ than linguistic untranslatability. Nida (1969: 483) holds that relative adequacy of inter-lingual communication are based on two fundamental factors: 1) semantic similarities between languages, due no doubt in large measure to the common core of human experience; and 2) fundamental similarities in the syntactic structures of languages, especially at the so-called kernel, or core, level. Levy (1967: 58) (as quoted in Wilss, 2001: 124) thinks that the translator frequently finds himself in a conflict-and-decision-marked situation during the translation process, a situation which becomes all the more difficult to master, the more complex the textual segment to be translated is in terms of syntax, semantics and stylistics. In recent years the scope of linguistics has widened beyond the confines of the individual sentence. If we accept that meaning is something that is negotiated between producers and receivers to texts, it follows that the translator, as a special kind of text user, intervenes in this process of negotiation, to relay it across linguistic and cultural boundaries. In doing so, the translator is necessarily handling such matters as intended meaning, implied meaning, presupposed meaning, all on the basis of the evidence which the text supplies. Download 0.73 Mb. Do'stlaringiz bilan baham: 
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