Ministry of higher education, science and innovation of the republic of uzbekistan national university of uzbekistan

particular work. The translation should signal the era of the original creation.
There are cases when a translator needs not only knowledge, but also special 
skills. The writer often plays with words, and this game can be difficult to recreate. 
Here's an English joke built on a pun. A man comes to the funeral and asks: I'm 
late? And in response he hears: Not you, sir. She is. The English word late means 
both ‘late’ and ‘deceased’. The hero asks: Am I late? And they answer him: No, 
the deceased is not you, sir, but she. How to be? The game doesn't work in 
26
Venuti L. The Translation Studies. – London: Routledge, 2004. P. 524. 

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28 
Russian. But the translator got out of the situation: Is it over? “Not for you, sir. For 
her.
27
Such traps lie in wait for the translator at every turn. It is especially difficult 
to convey the speech appearance of the characters. It's good when an old-fashioned 
gentleman or an eccentric girl speaks - it's easy to imagine how they would speak 
Russian. It is much more difficult to convey the speech of an Irdand peasant in 
Russian or Odessa jargon in English. Here, losses are inevitable, and the bright 
coloration inevitably has to be muted. It is not for nothing that the folklore, 
dialectal and jargon elements of the language are recognized by many as 
completely untranslatable. Particular difficulties arise when the source and target 
languages are of different cultures. For example, the works of Arab authors are 
replete with quotes from the Koran and allusions to its plots. The Arabic reader 
will recognize them as easily as the educated European would recognize references 
to the Bible or ancient myths. In translation, these quotes remain incomprehensible 
to the European reader. Literary traditions also differ: for a European, the 
comparison of a beautiful woman with a camel seems ridiculous, but in Arabic 
poetry it is quite common. Different cultures are more complex than different 
languages.
The linguistic principle of translation, first of all, presupposes the 
reconstruction of the formal structure of the original. However, the proclamation of 
the linguistic principle as the main one can lead to excessive following in the 
translation of the original text - to a literal, linguistically accurate, but artistically 
weak translation, which in itself would be one of the varieties of formalism, when 
alien linguistic forms are accurately translated, stylization occurs according to the 
laws of a foreign language. In cases where the syntactic structure of the translated 
sentence can be expressed in translation by similar means, the literal translation 
can be considered as the final version of the translation without further literary 
processing.
28
27
Venuti L. The Translation Studies. – London: Routledge, 2004. P. 524. 
28
Larson M. Meaning-based Translation: A Guide to Cross-language Equivalence. – Lanham: University 
Press of America, 1998. P. 586. 

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29 
However, the coincidence of syntactic means in the two languages is 
relatively rare; most often, with a literal translation, one or another violation of the 
syntactic norms of the Russian language occurs. In such cases, we are faced with a 
well-known gap between content and form: the author's thought is clear, but the 
form of its expression is alien to the Russian language. Literally accurate 
translation does not always reproduce the emotional effect of the original; 
therefore, literal accuracy and artistry are in constant conflict with each other. 
29
There is no doubt that translation is based on linguistic material, that literary 
translation cannot exist outside the translation of words and phrases, and the 
translation process itself must also be based on knowledge of the laws of both 
languages and on understanding the laws of their relationship. Compliance with 
language laws is mandatory for both the original and the translation. But literary 
translation is by no means a search for only linguistic correlations. The translation 
technique does not recognize the modernization of the text, based on a simple logic 
of equality of impressions: the perception of the work by the modern reader of the 
original should be similar to the modern reader of the translation. This is not a 
philologically accurate copy of the target language at the time the original was 
written.
A modern translation gives the reader information that the text is not up-to-
date, and, using special techniques, tries to show how ancient it is. “Each era,” 
wrote K. Chukovsky, “has its own style, and it is unacceptable that in a story 
dating back to the thirties of the last century, there were such typical words of the 
decadent nineties as moods, experiences, searches, superman ... solemn verses 
addressed to Psyche, the inappropriate word sister ... Calling Psyche a sister is like 
calling Prometheus a brother, and Juno a mother."
30
Those translation dominants, 
which we have already named, can serve as evidence of the antiquity of the text.
29
Biguenet J., Schulte R. The Craft of Translation. – Chicago: The University of Chicago Press, 1989. P. 
153. 
30
Margot J. C. Traduire sans trahir. La théorie de la traduction et son application aux textes bibliques. – 
Laussane: Age d’Homme, 1979. P. 388. 

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30 
Specificity of syntactic structures features of tropes - all of this has a specific 
connection to the era. But these features convey time only indirectly, because, first 
of all, they are associated with the features of the literary traditions of that time, the 
literary direction and genre. Time is directly reflected in the linguistic historical 
features of the text: lexical, morphological and syntactic archaisms. They are used 
by translators to create archaic stylization. Stylization is not a complete 
assimilation of the target language, the language of a bygone era, but only marking 
the text with the help of archaisms. Translators, like writers, need a varied life 
experience, a tireless supply of impressions. The language of the writer-translator, 
like the language of the original writer, is made up of observations of the language 
of the native people and of observations of the native literary language in its 
historical development.
31
Only those translators can count on success that starts 
working with the consciousness that the language will overcome any difficulties, 
that there are no barriers for it.
National flavor is achieved by accurate reproduction of his portrait painting, 
the entire set of everyday features, way of life, interior decoration, work 
environment, customs, recreation of the landscape of a given country or region in 
all its character, resurrection of folk beliefs and rituals. 
Every writer, if only he is a true artist, has his own vision of the world, and, 
consequently, his own means of representation. The individuality of the translator 
is also manifested in what authors and what works he chooses to recreate in his 
native language. For a translator, the ideal is merging with the author. But merging 
requires searching, invention, and resourcefulness, getting used to, empathy, visual 
acuity, smell, and hearing. Revealing the creative individuality, but in such a way 
that it does not overshadow the originality of the author.
32
Today's 
multicultural 
society 
demands 
effective 
and 
efficient 
communication between cultures and languages, so it is hardly surprising that the 
significance of translation grows every day. Evidently, the translation process is a 
31
Newmark P. A Textbook of Translation. – New York: Prentice Hall, 2009. P. 292. 
32
Nida E., Taber C. The Theory and Practice of Translation. – Leiden: Brill, 2003. P. 218. 

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31 
complex phenomenon. Translation theorists around the world have not arrived at a 
complete agreement about the definition of translation yet. The basic reason of it is 
that the term could not be reduced to a fixed concept.
Various definitions of translation declare that it is not only transferring 
information from one language into another one, and all of them accentuate the 
importance of equivalence. However, strict, word-for-word translation could not 
produce an appropriate version of the original. It could be explained by the fact 
that different (especially unrelated) languages have different rules: for example, the 
word order or idioms in two languages are frequently not compatible, and, of 
course, not every word has a single equivalent in another language
33
. It is 
especially right for translation of literary texts, since «literal translations cannot be 
successful with literary works». 
Literary translation is the translation of creative and dramatic prose and 
poetry into other languages. This includes the translation of literature from ancient 
languages and the translation of modern fiction so that it can reach a wider 
audience.
Why is literary translation important? Literary translation is of huge importance. 
It helps to shape our understanding of the world around us in many ways. Reading 
Homer and Sophocles as part of a classical education in school helps to build an 
understanding of history, politics, philosophy and so much more. Meanwhile, 
reading contemporary translations provides fascinating insights into life in other 
cultures and other countries. In a fast-paced world so rife with misunderstanding 
and confusion, such efforts to share knowledge and experiences across cultural 
boundaries should be applauded. 
An entire history of literary translation is far too big for the scope of a single 
article. Indeed, The Oxford History of Literary Translation in English runs to five 
whole volumes, such is the depth and complexity of the subject. Suffice to say that 
literary translation has been taking place for thousands of years. History has seen 
33
Amorim L. M. Translation and Adaptation: Differences, Intercrossings and Conflicts in Ana Maria 
Machado’s Translation of Alice in Wonderland by Lewis Carroll. – London, 2003. 193–209 pp. 

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32 
countless translators come and go. Many of their names we will never know, but 
some – King Alfred the Great and Geoffrey Chaucer, for example, who both 
translated Boethius from the original Latin – had the power and influence to ensure 
that their translation efforts were not lost to the sands of time. 
What makes literary translation so difficult? The translation of literature 
differs greatly from other forms of translation. The sheer size of the texts involved 
in literary translation sets it apart. Tackling a translation that runs to hundreds of 
thousands of words is not a task for the faint-hearted. Nor is recreating poetry in a 
new language, without losing the beauty and essence of the original work. 
One of the key challenges of literary translation is the need to balance 
staying faithful to the original work with the need to create something unique and 
distinctive that will evoke the same feelings and responses as the original. This can 
be particularly challenging when it comes to translating poetry. 
Poems are written with incredible attention to detail. Not only are the words 
and phrases important, but the number of syllables and the entire rhythm of the 
completed work. It’s a challenging task to complete just in one language, let alone 
when trying to recreate a poet’s work during a translation. Daniel Hahn, director of 
the British Centre for Literary Translation, sums up the issue beautifully: “There’s 
not a single word in any of the languages I translate that can map perfectly onto a 
word in English. So it’s always interpretative, approximate, creative. Anything that 
is, itself, a ‘linguistic’ quality will by definition is anchored in a particular 
language — whether it’s idiom, ambiguity, or assonance. All languages are 
different.”
34
As literary translators will attest, a single word can be extremely 
troublesome. The author of a work of fiction has chosen that word for a good 
reason, so the translator must ensure that it is faithfully delivered in the target 
language. However, what if no direct translation is available? Or what if several 
options exist, each with a slightly different nuance? Urdu language translator 
34
Poplack S., Sankoff D., Miller C. The social correlates and linguistic processes of lexical borrowing 
and assimilation. – London, 1988. 47–104 pp. 

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33 
Fahmida Riaz outlines her approach to such thorny issues: “Every piece you 
translate comes from the pen of an individual, so you have to give it an individual 
treatment. I try to retain the ambience of the original culture, rather than the 
language, as it is reflected in the text.”
35
Translating novels. Translating novels is just as tricky as translating poetry – 
and can often be more so. Best-selling author Patrick Rothfuss explains that it is 
not just the length of the text involved which is problematic: “Names are important 
things. And real names, names that actually exist in the world, don’t make a lot of 
literal sense. This is because real names tend to accrete and evolve over time. I 
work hard to create real-seeming names for things in my world. Names that give a 
strong impression without actually saying anything. Names like Mincet lane, and 
Cricklet, and Downings. These real-seeming (but in reality made-up) names sound 
really good in English, but they’re a huge pain to translate.” 
Then there’s the need to stay true to the original text while not translating it 
literally. It’s about recreating the atmosphere of the original novel without 
translating it word for word. Humor, irony, plays on words and plotlines revealed 
by implication rather than explanation all serve to make this even harder. 
A further complication is the assumed knowledge of the reader. References 
to customs, practices and traditions may be easy to understand when reading a 
novel in one’s own language, but how does a translator deliver that level of built-in 
knowledge to a reader in another country who may be unfamiliar with the original 
language’s cultural quirks? 
What skills does a literary translator need? Clearly, literary translation 
requires a very particular skillset. The translation of literature is a far more creative 
art than many forms of translation. When translating a pharmaceutical product 
information leaflet, for example, it’s essential to deliver text that is a word for 
word interpretation of the original. However, for the translation of prose and 
poetry, creative writing ability is just as important as linguistic prowess. 
35
Vinay J. P., Darbelnet J. Comparative Stylistics of French and English. A methodology for Translation. 
– Philadelphia: John Benjamins Publishing Company, 1995. P. 358. 

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34 
Confidence in one’s ability is also essential. It’s fine to get bogged down 
with how to truly represent the meaning of a sentence – or even a single word – but 
the translator also needs to know when it’s time to make a choice and move on 
(and also when, several pages later, that nagging doubt about going back and 
making changes needs to be listened to!). 
The ability to deliver continuity is also essential –, particularly in long 
novels. Remembering facts (like the minor character mentioned some 30,000 pages 
being the hero’s cousin by marriage rather than blood) will save an awful lot of 
flicking backwards and forward to check things. 
Literary translation - one of illustrative manifestations interliteral (and 
therefore somehow intercultural) interaction. In fact, it is a major part of the 
national literary process. Literary translation is not dealing with the communicative 
function of language, and its aesthetic function, since the word appears as "primary 
element" literature. This requires an interpreter particular diligence and 
scholarship. In the art work displayed not only certain events, but also aesthetic 
and philosophical views of its author, who either are coherent system - or a mixture 
of fragments of different theories. The translator must have, if not profound, at 
least sufficient to transfer knowledge in philosophy, aesthetics, ethnography (as in 
some works display details of everyday life heroes), geography, botany, 
navigation, astronomy, history, arts and others.
Another problem of literary translation - the ratio of the author context and 
the interpreter context. In the literary translation the context of recent is very close 
to the first context. The criterion matches, or, alternatively, differences both 
contexts is a measure of the ratio of data validity and data taken from the literature. 
The writer goes on to reality and his perception of words assigned to the image. In 
other words, if the real data is dominated, then talking about the author's work. 
Translator goes from existing text and playing in the imagination of reality through 
its "secondary," "cited" the perception of the new figurative embodiment, 
embodied in the translated text. That is, if the literary origin data is dominated, it is 
then a context interpreter. 

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35 
It should be noted that literary translation is due not only to objective factors 
(specific historical literary canon, regulatory custom) but also subjective (poetry 
translation). No translation cannot be entirely accurate, since the whole language 
system receiving literature in its objective data cannot perfectly convey the 
meaning of the original, which inevitably leads to the loss of a certain amount of 
information. 
Trying to reach the "golden mean", the translator-practitioner, translating 
poetic work, meets with a number of difficulties that arise on its way and make it 
very difficult to achieve the optimal result. One of them is the non-transferability 
of particular features of a poetic text, while the fundamental translatability of the 
entire text as a whole. Those aspects of the sound (including rhythmic) 
organization of the text that are affected by the structure of the original language, 
which differs in its corresponding sound features from the target language, turn out 
to be intransmissible. In relation to rhythm, this is quite well known. As an 
example, we can cite cases when a poet-translator captures in the original a 
rhythmic pattern that is characteristic of the translator's language, but not the 
original language
36
. 
Translation is always - in one way or another - a window into another world, 
into the world of another people, sometimes - in a different era - a window through 
which we, for example, look at to the West, then to the East. This is the specificity 
of translation within the limits of the literature, on the basis of which the foreign 
original was transferred by means of its language. 
The language in any truly literary translation, no matter how peculiar it is 
neither was - in accordance with the style of the original - is the common thing that 
makes the translation related to the literature that adopted it. And the translator, in 
order to create his own window to another world, and the reader, in order to look 
into it, one needs some knowledge about the reality that opens before him - 
background knowledge, as they are usually called in regional studies and in the 
theory of translation. The correct perception of the picture of life emerging in 
36
Komissarov V. N. Translation theory. – M.: Higher school, 1990. 

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36 
translation largely depends on their very presence and on the degree of their 
breadth
37
. 
The window through which another world is seen can be both narrower and 
wider along with the expansion of background knowledge. We must remember that 
we ourselves background knowledge is by no means a fixed value once and for all. 
They tend to constantly grow along with all the various information received by 
both the translator and the reader about life, life, history, political situation in other 
states, about the life and work of the original author, about other works of the same 
literature, etc. And translations, suggesting for their full understanding the need for 
some preliminary background knowledge, from whatever sources they were 
acquired, themselves later become one of the most important ways for their 
accumulation in the mind of the reader
38
. 
In the literary translation to the above factors add more personality and 
translator who to some extent is also the author of the work. He can produce 
elements of the content, transmit or not transmit all features of the original. Each 
language element works, using a variety of associative connections, influences 
creative thinking the speakers and creates in his mind certain images. Logical that 
during the translation of the work into another language, because of language 
differences, these associative is largely destroyed. To work is not lost its value in 
the new language environment; the interpreter must take over the functions of the 
author and even somewhat replicate the creative process of its creation, a work 
filled with new associative links that would cause new images peculiar to a