National colourite in the translation

Issues in re-creating national colourite in the Uzbek translations of english words.
Style is a unique feature of each author, which implies that each artist has his personal style - the ideological course of his work, the creative capability used in the text, lexical and phraseological factors and precise components associated to the artistic form. Re-creation of every author's personal "language", ie style, is one of the vital conditions of literary translation and requires awesome inventive ability from the translator.
The stylistic diversity, the allure of structure and meaning is a high-quality treasure of each countrywide literature. Were it not for the range of patterns and colors, there would have been a single stylistic ambiguity, ambiguity, ambiguity. Such a state of affairs would have led to intellectual bluntness, inventive poverty.[4,8]
The translator will be confined within the text of the e book he is reading. He cannot go beyond the scope of the work, he cannot proceed the idea put ahead by the author, nor can he restriction himself to shortening the work. In short, the translator solely translates what is on hand from one language to another. But notwithstanding the truth that the area of translation is so limited, it is phase of the artwork of speech. This is due to the fact the translator is creative in the area of language. The simple constructing block of language is the word. Indicators that are extremely essential for fiction - fiction, imagery and figurativeness, metaphor and allegory - are all hidden in the base of the word, find expression in the word and are realized through the word. Therefore, phrase preference is a phenomenon of main significance in the manner of literary translation.
Material and methods. In literary translation, the fundamental issue is now not solely how the translator translates a word or sentence, but also the cost of each translation is not measured by the way in which positive elements are given. In literary translation, the evaluation criterion is interpretation. The technique of its re-creation takes place in three stages:

1. How the translator perceives (understands) the original.

2. The thinking of the work, the motive of the writer and how to interpret his special style.
3. To be able to locate choice means, measures and solutions for the restoration of the art of speech in their native language.
The primary element in translating a work of artwork is now not to change the dictionary of the unique work with the equivalent dictionary of the language of translation, but to re-express the author's identity, the idea of the work, the art of using the word reflected in the work.[3,7]
It is no longer the "lexical equivalence" however the natural conformity, that is, the contextual compatibility with the aid of the meaning, style, tone, of the "client" of the persona described, that decides which word or sentence is permissible in each case. A translator who is accustomed to translating a word by means of word eats an inevitable pand. The most challenging feature of the scientific description of literary translation is that it is important to carry the which means no longer in words, but in meaning, in tone, in image, in humor.
The nice of translations can't be influenced by way of the find out about of intermediate translations from Western European literature into Uzbek in the ordinary literary-historical plan. What is executed in the slim linguistic thing is to compare more grammatical classes and concepts, and the results of lookup created in this way are now not noticeable. Therefore, this analysis has to take into account the following factors when studying translations.
First, translations from overseas literature into Uzbek and from Uzbek literature into foreign languages have to be viewed as an vital section of these members of the family as a powerful tool for realizing bilateral literary ties.[4,8]
Secondly, in the study of foreign-Uzbek literary relations on the foundation of mutual cultural exchange - literary translations, it is quintessential no longer solely to examine the problem in a one-sided, narrow direction, but additionally to look at the achievements of different sister republics in this area. This requires that the research be primarily based on a literary-short plan.
Third, the learn about of literary translation issues, along with translations made through an intermediate language, on the basis of a one-sided, "pure" literary or "pure" linguistics does no longer usually yield the expected result. In most cases, the work done in the linguistic component of the theory of literary translation is impossible besides taking into account the traits of inventive creation, the specifics of the literary textual content and the laws; on the contrary, the work achieved in the path of literature ought to inevitably take into account the elements of both linguistic traditions in at
least two languages. At the coronary heart of translation reform is the concept of "two languages", language-to-language translation.
Fourth, the most accurate, convenient, and high-quality theoretical foundation for the study of any translation, particularly literary translations, is comparative stylistics. It is a learn about of two language tools, two literary-historical experiences on the foundation of comparative stylistic typology.
Considering literary translation as a hyperlink between literary relations between peoples, its find out about in a comparative-methodological-typological design allows to avoid one-sidedness, to combine literary aesthetic and linguistic problems of literary translation, to make a holistic, systematic analysis.[6,9]
Even at exceptional ranges of the improvement of a language, extraordinary differences, shifts, narrowings, and expansions take place in the methodological meanings expressed thru grammatical units with the identical word content. Broadly speaking, even a linguistic translation does not have the same value as the methodological coefficient of specific linguistic means. Reflection of the author's fashion is a normal and indispensable circumstance for all factors of literary translation. One of the most important theses of the theory of translation is that there is no such element in any language as any different linguistic category that displays it, both a stylistic layer, or a logical concept, or a lexical tool. But this does not suggest that the thinking expressed in one language by the same linguistic peculiarity or desire cannot be conveyed to other languages with the aid of other phonetic, morphological, syntactic or lexical-methodological potential at all.
Each language has its own special artistic faculties. The right reflection of these points in the translation on occasion will become one of the essential factors in finding out the usual creative and aesthetic fee of the identical translation.[3,6]
A work of art can be written in extraordinary rhythms in exceptional styles: melancholy or cheerful, uplifting or flat, rhythmic, resonant or melodious, musical or melodic. Much depends on the period described in the book, the chosen topic, the nature of the events. If such points of the work chosen for translation are no longer identified, the key to its spirit can't be found, and as a result, even if the e book is translated into another language, it does now not divulge its 'enchantment' to the new reader. In this way, the goal of translation is not achieved. The fact that exclusive writers have extraordinary styles, that each writer has his personal man or woman fashion that distinguishes him from others, that exceptional writers have one of a kind fashion trends in their work, that they write their special works in a very one of a kind way - all this from the translator to the original. requires discovering the key. Finding the proper style key in the translation relies upon on the capacity to efficaciously decide the relationship between the fashion and idea of the work and the author's worldview, to correctly decide the rhythm, tone, syntactic fashion and traits of the sequence of images. Unless an most advantageous fashion key is located in the translation of a work, the translation can't be in a nation of equivalence to the original.
Result and discussion. Prose translation has its personal difficulties. In this case, it is essential to healthy the words in terms of which means and methodology, to "replace" each other, to find alternative expressions, to create special syntactic devices, to resolve the problems of melody, rhythm. The depiction of words, class and beauty in a prose play is the predominant means, an essential element of creating a work of art.[4,9]
While the restoration of a work in another language is achieved by way of keeping the team spirit of shape and content, translation looks to be a absolutely not possible endeavor, for in a work created in the original, language is the foremost formal garment, the linguistic arsenal. If translation have been a only linguistic phenomenon, it would probable have emerge as an intractable puzzle. In fact, it is possible to resolve this problem, which appears to be a logical confusion, due to the fact translation is a creation. After all, in it the shape and the content material are restored now not as a whole, but as a whole. The translator ought to recreate the harmony of form and content in a manner comparable to the original.
Color (color, color) is associated to the ideological content material of the work and serves to spotlight the idea and creative photo that the artist desires to express. An artist who pays different interest to pictorial hues in the expression of thoughts, intentions, ideas, meanings, and the embodiment of the photograph is also referred to as a colorist-painter.
Since the most important fabric of fiction is the word, it skill that in the literary translation, too, only the linguistic objects - the shade associated with the words - should be established. The concord of words, music, movement and color Agatha Christie's "The Secret of Fireplaces" is written on a foreign theme and is primarily based on cloth from European mythology. The work is imbued from establishing to give up with lyrical mood, dependent feelings and experiences. We become aware of this work as a work of art, thru the magical energy of the word.[5,8]
In the translation process, a reciprocal relationship is mounted between the original and the translated copy at the ranges noted. Translation devices with the original can be equal in all five tiers or only in some. The primary purpose of translation is to achieve as a good deal choice as viable at all levels. In languages, there is an spectacular degree of commonality, harmony and similarity in the semantics of antonyms and phrases based on the concepts of start - death, hot - cold, huge - small, low -high, dark - light, white - black, open - kiss and many others. It have to continually be borne in mind that the comparative-typological dictionary of phrases and phrases in the languages of the world based on or reflecting these principles and the scientific study of this extremely good linguistic phenomenon on the foundation of comparative grammar have outstanding prospects. Adherence to semantic (spiritual) harmony and logical coherence is of extremely good importance in the mixture of words. Sometimes the way a character chooses a word for a specific compound when expressing his or her opinion reflects his or her attitude towards the same match or concept.
Artistic translation consists of a complex creative process. This complexity is mainly evident in the translation of poetic works. Therefore, we rightfully name the representative of this area a poet-translator. A prose work has a plot, composition, improvement and solution. In this case, according to the phrases of the master writer Asqad Mukhtar, the translator creates like an artist, now not a draftsman, and conveys the author's opinion to the reader thru more than a few strategies of translation, which includes metonymic, transformation, and specific (hidden) meanings. strives to bring more clearly. But to translate the tone and lyrical trip of the four-line poem to the extent that the reader can get a location in the heart requires poetic suggestion and skill.[4,6]
A translator of a poetic work is basically different from a translator working in other areas of translation (scientific-technical, synchronic, informational-analytical translation) who works on the basis of an order. After all, he is the owner of a natural intelligence who can sense poetry from the heart. In this sense, translating poems to order may also not usually supply wonderful results. The reason is that a poetic translation, like a poem, comes into being when idea comes, when the work has a strong affect on the translator. When a translator starts translating an ordered poem, the priority is no longer the pleasure of creativity, however the wish to deliver the order to the proprietor as quickly as possible. Let's attempt to analyze some translated works as proof for our opinion.