National colourite in the translation

Methodical recommendations on translating mastery of poems into Uzbek.
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.[2,7]
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.[3,7]
A translator of a poetic work is fundamentally exclusive from a translator working in other areas of translation (scientific-technical, synchronic, informational-analytical translation) who works on the groundwork of an order. After all, he is the owner of a herbal talent who can sense poetry from the heart. In this sense, translating poems to order may no longer always provide tremendous results. The cause is that a poetic translation, like a poem, comes into being when thought comes, when the work has a sturdy impact on the translator. When a translator starts translating an ordered poem, the precedence is no longer the pleasure of creativity, but the want to supply the order to the owner as quickly as possible. Let's attempt to analyze some translated works as proof for our opinion.[4,7]
Lovers of translation from Uzbek literature into English can get acquainted with the innovative works of the translator Kasim Ma'murov on his non-public weblog on the Internet. Every time we meet, the grasp translator palms me new works of art and asks me to study them and supply my opinion. These are in most cases customized translations. It is suitable that our poets are keen to promote their works abroad. But it is not possible no longer to admit that the translation of poetry is a work of the soul. After all, the translator re-creates with notion solely the poem that suits his coronary heart and touches his soul. On the contrary, it is possible that the translator will now not be affected at all via the poetic translation, which is taken as a situation to be finished inside the designated period. As a result, the translation comes out dry and lackluster. In the translations of Q. Ma'murov, along with expert works that have preserved the tone and spirit of the original, there are also poetic translations that have surely been translated. However, in his English translations of Hazrat Alisher Navoi's Rubaiyats, the oriental tone, rhythm and rhyming, punctuation characteristic of the awesome poet's work are truely reflected. Here is an example:

Ko‘z birla qoshing yaxshi, qabog‘ing yaxshi,

Yuz birla so‘zing yaxshi, dudog‘ing yaxshi.
Eng birla menging yaxshi, saqog‘ing yaxshi,
Bir-bir ne deyin, boshdin-ayog‘ing yaxshi.

Your eyes and brows are good, eyelids are good,

Your appearance and words are good, your lips are good,
Your cheeks with marks are good, chins are good,
Shall I name one by one, you are good from head to foot.
The conjugation of nouns in the authentic has additionally been transferred to the translation. The translator tried to create mutual harmony via giving the rhyming phrases "forehead", "lip", "jaw", "foot" in English with "eyelids", "lips", "chins". The rubai's tone is definitely preserved in the translation. Just as there is no aruz in English poetry, there is no iamb in Uzbek poetry either. In this way, there is a difference between yamb and aruz. The translator dared to combine two poetic systems and traditions that are far from each other. He added a radix rhyme that offers a new tone to the English yambic, which preserves the conciseness and emotionality of the original. As a result, there used to be a 0.33 poetic commonality consisting of the mixture of native language and foreign language poetic elements.[4,5]
In terms of tone and sonority, the translation of the rubai with the radif "O'pay" can be stated to be a Western slang of the Eastern style:
Dedim zaqaning tutub, saqog‘ingni o‘pay,
Ko‘z-qoshingga surtubon qabog‘ingni o‘pay,
Guldek yuzung islabon dudog‘ingni o‘pay,
Yo‘q, yo‘q, yo‘q, agar desang ayog‘ingni o‘pay.
Inglizcha tarjimasi:

I said, holding by your chin your cheeks I kiss,

Licking your eyes with eyelids your brows I kiss,
Smelling your rosy cheeks your lips I kiss,
If you say: No, No, No, your foot I kiss.

The translation is so clear and comprehensible that Navoi's tone is important right from the English text. The lover's dream of kissing the lover's lips, cheeks, and eyebrows, and if this dream can't be achieved, at least kissing the toes and falling on the lover's toes is a divine and metaphorical salve for the pain of the love transaction in both texts (literally, also in translation) is equally clear and beautifully expressed. The question-and-answer artwork used in the Ruba'i is additionally recreated in the translation.[6,9]

When I asked Kasim brother how he was in a position to translate Rubai's rhythms in such an elegant way, he said that he used to be extraordinarily impressed by using Navoi's Rubai's. Also, Q. Ma'murov has a small secret in translating a poetic work. "When translating Nawai's rubai into English," says the translator, "I flip to people who study the rubai in a beautiful tone." When the eloquent next to me reads over and over again, I involuntarily start translating."
At this point, I remembered the story of the German translator Alfred Kurilla, who translated Alisher Navoi's ghazals into German, went to Ghafur Ghulam and asked him to recite the ghazals in his own voice. It is no longer shocking that Alisher Navoi, the Sultan of words, invited to translate the ghazals of that German translator into German.
In the series "Tasbeh" ("Chetki" "Tasbeh"), published in 2007 by using "Sharq" publishing house, the famous poet Farida Afro'z's triptychs in Uzbek language were published together with translations in English and Russian languages. In her interview, Farida Afroz said that she spent hours communicating with Valentina Lee, who translated the triplets into English, and Ravilya Ablyuk, who translated them into Russian, and tried to provide an explanation for her thoughts extra clearly. Nevertheless, along with the achievements in the translation of the brochure by way of the translators working on the order, one can see serious shortcomings. Here is an example:
Sichqonku, iniga sig‘maydi, aniq,
Qiziq, unga g‘alvir ne kerak!?
Nahot, elab yeydi harom donini.

This mouse will not fit into the burrow,

Interesting, why does it have a siyeve?
Probably it siyeves and eats something stolen.
(So‘zma-so‘z tarjimasi:
Bu sichqon iniga sig‘maydi
Qiziqarli, nega unda g‘alvir bor?
Balkim u elaydi va o‘g‘irlangan nimanidir yeydi.)

In order to completely understand the meaning of the three, the English reader have to be familiar with the meaning of the proverb "The mouse does not match in the nest, the backyard is in the tail". In our country, this proverb applies to those who are grasping and short-sighted. There is no analogue of this phrasing in English. In translation, this scenario is referred to as whole inconsistency. In this case, the which means of phraseologism is given or translated literally. Therefore, if the plot of this proverb is used in a work of art, its translation will be rather difficult. The only way to do this is to add a proverbial comment to the word "mouse" in the quote. But the English and Russian translators, like "find it yourself", ignored this clarification from their readers. The phrase haram in Uzbek has two meanings. That is, is it crucial for a mouse to sift out "unclean" - contaminated grain? Even if that happens, will his grain be clean, after all, the grain was once stolen!? If the translator gives this word in English as "dirty", then the essential that means of the phrase "haram" would be lost. That is why the translator chooses the phrase "stolen". But even this compensation ought to now not fully disclose the genuine wordplay. Also, in this translation, the word "Interesting" is given as "Interesting", and this phrase does not suit the that means of the verse. Because "Interesting" is translated as interesting. By "interesting", the poet does not suggest exactly interesting, on the contrary, she is asking herself a question, as if she is amazed via the "behavior" of the mouse. At the core of the phrase "interesting" is hidden the query "Interesting, why is it so?". At this point, when the phrase "I wonder" is used in English, the fashion and spirit of the authentic was once recreated in the translation. A lack of perception of the artistry of the poet's fashion is evident in the work of the translators.[3,5]

In brand new translations of works of Uzbek poets into English by means of the poetess Begoyim Holbekova, it is truely important that the translator is no longer an specialist linguist, however a poet-translator who can deeply sense the intricacies of poetry.
Let's analyze one poem blanketed in his collection of poetic translations referred to as "My soul strives you" ("My soul strives you", 2011). The translation of this poem, written with the aid of poetess Khurshidabanu, is so elegant that, in my opinion, it is felt that the original of this poem inspired the translator:

Ayo dil qushlarim, qaytingiz yo‘ldan,

Va yo olib keting umidim dildan!
Bino bo‘lganman-ku, bor-yo‘g‘i gildan,
Samo quchog‘ingda nima bor menga?
Dunyo kulaverma hadeb holimga,
Biryon etma quloq tutmay nolamga —
O‘t qo‘yib ketaman butun olamga,
Cho‘g‘siz o‘chog‘ingda nima bor menga?
Begoyim Xolbekova tarjimasi:

Oh, my soul birds, return back please

Or take my hopes off my heart!
I was made of soil, I’m it’s piece,
What do I do, the sky tell, in your heart?
The world, listen to my mournful song,
Do not laugh at me –
Or shall I bind my singing tongue?
How can I live without love?
(So‘zma-so‘z tarjimasi:

Oh qalbim qushlari, qayting iltimos

Yoki umidlarimni yuragimdan olib keting!
Men tuproqdan yaralganman, men uning bo‘lagiman,
Men nima qilay samo ayt, sening yuragingda?
Dunyo tingla mening g‘amgin qo‘shig‘imni,
Mening ustimdan kulma —
Kuylayotgan tilimni bog‘laymi?
Sevgisiz qanday yashay olaman?)

The rhyming in the shape of a-a-a-b in the original used to be transferred to the translation in the shape of a-b-a-b. The translator B. Kholbekova managed to in reality express the lyrical experiences of the poetess Khurshida in the translation. The essential intention of the translator is to preserve the poetic impact of equivalence. For example, in the translation of the verse "Bino bolganman-ku, bor-yo-gi gildan", the translator gives the phrase "only", which is the essential emphasis of the verse, as "only" in English. could. Then this word would now not rhyme with the word "please" in the first verse. For this purpose, the translator translates this verse as "I used to be made of soil, I'm it is piece". Through this method, now not only the rhyming is preserved, however the poetic effect associated with the word "only" is transferred to the translation.[5,9]

While translating the verses of the 2d quatrain: "Dunyo kulaverma hadeb holimga, Biryon etma kulak tutmai nolamma" (The world doesn't hurt me, Biryon etma kulak tutmai nolamma), the translator skillfully makes use of the "antonymous translation" transformation of literary translation:
The world, listen to my mournful song,
Do not laugh at me.
(So‘zma-so‘z tarjimasi:
Dunyo mening dardli qo‘shig‘imni tingla,
Mening ustimdan kulma.)
The antonymic translation of the Uzbek construction "dunyo kulaverma" as "The world, hear to my mournful song" is readable and fantastic in English. Also, the phraseological persona "What is there for me in your fire without coal?" "How can I stay besides love?" (How can I stay except love)? For the English reader, this answer is acceptable, of course.[4,7]
Translation of a poem is a work of the heart. Sometimes at the Young Translators' School, which I lead, college students who are passionate about poetry translation ask me whose poems from Uzbek poetry I must translate into English. I inform them: flip over the poem that your coronary heart dictates, that moves you. The motive is that poetic translation is related to inspiration. Inspiration comes when you experience like it.