Samarkand state institute of foreign languages the faculty of english and philology translation studies the chair of translation theory and practice

partly believe.
But here comes the
morning in a pink cloak
He tramples the dew of the
hills in the east.
It's time to shoot the
patrol. And my advice:
Letting Prin
ce Hamlet
know
About what he saw. I
vouch for life, spirit,
The mute in front of us,
will break the silence in
front of him.
Well, friends, what do
you think? To tell,
How does debt of love and
devotion inspire?

Horatio
I partly believ

e in this.
Take a look,
Here in the scarlet mantle
the morning begins
There, in the dew of the high
eastern mountains,
We can interrupt the guard.
My advice
-
To open everything for
young Hamlet,
What we saw at night. I swear,
That the spirit, mute for us,
will answer him.
Would you agree to tell
him everything,
How does our duty and love
tell us?
Horatio
Yes, I heard it, and I
partly believe it.
But here is Phoebus in
purple clothes
Goes up the hill over pea
rls
of dew.
It's time. Let's leave the
post, let's go, let's go!
And my advice is to see
this night
Tell Hamlet. I swear to
you on my life
The spirit is mute for us,
but it will speak to him!
Would you agree to tell
the prince about this,
How are both our duty and
love told us?

When translated literally into Uzbek, it looks like this:Let us inform the young Hamlet of what we saw at night. The truth of my life is that this ghost, who has
remained silent to us, speaks to him. It is as if our love, our duty, requires us to do so without our consent. The official translations are as follows:

Translation by M.Shaykhzoda:
I had heard that too
Now the sheep.
Ana tong alvon libosda
The dew of the hills falls in the east.
Permission for guards. More advice:
If we tell Prince Hamlet what we have seen,I'm sure it's the ghost that surprised usWhen he encounters Hamlet, he enters the language.Friends, where, what do you say? We all belong to him
We are kind. If not nowLet's tell him everything!
Translation by Jamal Kemal:
I’ve heard it, and I believe it too.
Here, in the morning, dragging the red lightShabnam is coming from the eastern horizonWe can disperse. But there is a tip:What do you say
if we do young Hamlet is
awareFrom the secret sins that took place.A ghost who did not open his mouth to us dumbLet the prince tell his secret.What do you say?
What if we make our friendship clear?

Russet The word means "1) a) home-knitted reddish-brown, gray or faded coarse woolen cloth (fabric used for farmers' clothing) b) a product made of such fabric" mantle, The addition of the word forms a reddish-brown cloak. To preserve the poetic state of the image, Russian and Uzbek translators used words and phrases that were specific and understandable to their native languages. The lexical meaning of the word takes on a new contextual meaning. For Russian and
Uzbek students, the morning cannot be reddish-brown.The author's metaphors are replaced by their proper equivalents “Themorn in russet mantle clad Walkso'er” B.L. In Pasternak's translation "morning in a pink cloak" A.D. In Radlova, however, it appears to be ‘v aloy mantiistupaet utro’, but A.I. In Kroneberg's translation of "Feb v purpurovoy odejde Idet" the
utro is replaced by the word Feb, which does not justify itself here, which is not the case. But the widespread use of characters from Greek and Roman mythology is a phenomenon typical of Shakespeare’s style. Kroneberg, who is well aware of the author’s style, must have been convinced that such a change would not harm the quality of the translation. Most importantly, in translation, he was able to retain metaphor and content [2, 557]. However, this translation
is far from the author's style, because the phrase "Feb idyot", "purpurovoy odejde" itself does not resemble Shakespeare's style at all, and it is devoid of poetic resonance and expressiveness.M. In the Prince’s texts, the translators B.L. Pasternak and A.D. The influence of Radlov's methods is evident. M. The prince "finds dew in the morning in a crimson robe." Alvon-in Russian alyy tsvet, toptaydi -translates into Russian as topchet. The equivalents of the metaphors are preserved in the translation made through the mediating language. It is well known that a translator not only preserves the individual style of the author, but also incorporates his own style of translation into the translation. The last three lines in this passage almost seem to have been copied from a Pasternak translation. M. The prince was able to preserve the metaphor and content, but Jamal Kamal's translation of "Subhidam by dragging the crimson light" preserved both the content and the metaphor, as well as the beauty of Shakespeare's style. However, from the analysis of the passage, it is clear that this translator rerhymed 2,3,4,5 and the last two lines.
Although the piece has a poetic appearance in Uzbek, this is a gross violation of Jamal Kamal's style. As mentioned in the previous paragraph, each character has their own speech and style of speaking. Horace was speaking in prose.
Consider the following passage from the tragedy:
HAMLET
Look here upon this picture, and on this,
The counterfeit presentment of two brothers.
See what a grace was seated on this brow:
Hyperion's curls, the front of Jove himself,
An eye like Mars, to threaten and command,
A station like the herald Mercury
New lighted on a [heaven-]kissing hill,
A combination and a form indeed,
Where every god did seem
to se
t his seal
To give the world assurance of a man.
This was your husband. Look you now what follows:
Here is your husband, like a mildewed ear,
Blasting his wholesome brother.
Have you eyes?
Thus, this original text is rich in the heroes of ancient Roman mythology, but in both the Uzbek and Russian translations, Zeus was used instead of Jupiter, and Apollo was used instead of Hyperion (Hyperion1. Greek myth. Hyperion; Titan). But despite this ambiguity, this aspect of translation does not adversely affect the preservation of the author’s style [3, 531]. As noted earlier, it is common for Shakespeare to confuse GrecoRoman mythology, and their use in his works was a
requirement of that period that revived the classical traditions of the Renaissance (Renaissance)period. In Russian translations, the phrase "Curly Golden Apollo" from ancient mythology is very common, so "Curly Golden Hyperion" does not sound good in the mind of the reader. The comparisons and analogies to the Roman gods have been successfully translated into Uzbek and Russian. Here M. Shaykhzoda's translation is lexically and stylistically close to Pasternak's.

Shakespeare's works are classics in the literature and have many translations. The aim of the work is to study the peculiarities of the translations of William Shakespeare's tragedy "Hamlet" in Uzbek literary criticism. In particular, the history of the creation of translations of this work into the Uzbek language, their quality and personality of the authors, the distinctive features of each of them and the circumstances of their origin have been studied. Particular attention is paid to the personality of Jamal Kamal, the author of the first translation of William Shakespeare directly from the original language. Also, the history of Uzbek indirect and direct transfers is briefly outlined, and a study is made about their extremely important influence in the development of culture. An important source of information here are various scientific works that cover and analyze the work of Uzbek translators with the works of William Shakespeare. A comparative-analysis of the peculiarities of translation of verbal images in the speech of the main characters into Russian and Uzbek languages is analyzed, their correspondence to the original and the used interpreting techniques are analyzed. The conclusion about quality and prospects of development of the Uzbek direct translation are outlined.
Perhaps the most famous soliloquy in Hamlet finds him pondering just what response, what action, to make. This soliloquy is not about suicide. “To be or not to be” does not mean to live or to kill oneself, how we might interpret if we had just that line in isolation. Suicide does come up as an option late in the speech, when he talks about a man “might his quietus make with a bare bodkin,” might stab oneself. The soliloquy is about action. The alternatives proposed are endurance, passive fortitude, and the stoic endurance that Horatio demonstrates and that Hamlet praises him for. That’s “to be.” The alternative is action, taking arms against a sea of troubles, with the probable result that you will die in the course of action—that fighting your troubles means risk and eventually, certain death. Hence, that is “not to be.”To suffer, or to take arms, those are in parallel with each other. It’s that parallelism that is difficult to grasp. The critic Harold Jenkins points out that taking arms will inevitably lead to not being. That Hamlet could possibly mean that by fighting his troubles a man could overcome them, would be a very naïve view. Hamlet believes that troubles are coextensive with life. That is why he has this extraordinary image of taking arms against a sea of troubles—a battle, which inevitably you’re going to lose in the long run. You cannot fight the sea; you might strive against it for a while, but it will overcome you.Action, in other words, leads to death. And death leads to what? “To die, to sleep, perchance to dream,” and there lays the trouble because we don’t know what is going to happen in the afterlife. There is passivity in the form of endurance, or there is active opposition. Hamlet is asking, “Can we act at all? Can we act nobly at all?”He does not fear death; he fears what may happen after death: the consciousness of the soul that has perished, the exposure of the soul that has shucked off the body like a snake shucking off its old skin. The mystery of death is the great unknown in all our equations. Anybody could deal with trouble with a bare bodkin. You can stab your way out of most situations, either by stabbing the person who is bothering you or stabbing yourself. That will end the trouble.But if you kill yourself, you go out of the world with suicide on your soul. You have deserted your point of duty. This is key in a play that begins with soldiers on sentry guard and ends with Hamlet being given a soldier’s funeral by Fortinbras. Or the other option, you commit murder, for which you will probably be punished with execution. In any case, you’ll end up dead. Entrance to the other world with a guilty soul. Action leads to death, which leads to what?Thus, “conscience doth make cowards of us all”—a great line from late in the soliloquy. And “conscience” here means both the moral faculty, the ability to discern right from wrong, and what we now call consciousness: awareness, thinking, thinking of the possibilities, thinking of the possible results, the deep-revolving heart, the far-seeing mind, the very range of vision and feeling. Here Hamlet sees as an inhibition to action.Hamlet is a young man whose father has been murdered, but Hamlet is not the only character in this play whose father is murdered. Old Polonius is murdered by Hamlet, leaving behind two children, Ophelia and Laertes, who are in the same position as the tormented prince, with a murdered father.Ophelia demonstrates what might be called a passive response. There is no doubt that Ophelia is eventually overwhelmed by her circumstances: by Hamlet’s rejection and by the death of her father, she goes mad and she dies. Whether her death is suicide is left uncertain. The priest is dubious and reproving about it. Since she’s mad, it is not a consciously chosen suicide, but it may be unconsciously willed. This is the passive response to the death of a beloved and respected fathe [4, 481].
1.2 To Be or Not to Be—Hamlet’s Soliloquy
"To be, or not to be" is the opening phrase of a speech given by Prince Hamlet in the so-called "nunnery scene" of William Shakespeare's play Hamlet, Act 3, Scene 1. In the speech, Hamlet contemplates death and suicide, weighing the pain and unfairness of life against the alternative, which might be worse. The opening line is one of the most widely known and quoted lines in modern English literature, and the speech has been referenced in many works of theatre, literature, and music. Hamlet is not alone as he speaks because Ophelia is on stage waiting for him to see her and Claudius and Polonius have concealed themselves to hear him. Even so, Hamlet seems to consider himself alone and there is no definite indication that the others hear him before he addresses Ophelia, so the speech is almost universally regarded as a soliloquy [11].
This version preserves most of the First Folio text with updated spelling, punctuation, and five common emendations introduced from the Second ("Good") Quarto (italicised).^[1]
To be, or not to be, that is the question:
Whether 'tis nobler in the mind to suffer
The slings and arrows of outrageous fortune,
Or to take Arms against a Sea of troubles,
And by opposing end them: to die, to sleep
No more; and by a sleep, to say we end
The heart-ache, and the thousand natural shocks
That Flesh is heir to? 'Tis a consummation
Devoutly to be wished. To die, to sleep,
To sleep, perchance to Dream; aye, there's the rub,
For in that sleep of death, what dreams may come,
When we have shuffled off this mortal coil,
Must give us pause. There's the respect
That makes Calamity of so long life:
For who would bear the Whips and Scorns of time,
The Oppressor's wrong, the proud man's Contumely, [F: poore]
The pangs of dispised Love, the Law’s delay, [F: dispriz’d]
The insolence of Office, and the spurns
That patient merit of th'unworthy takes,
When he himself might his Quietus make
With a bare Bodkin? Who would Fardels bear, [F: these Fardels]
To grunt and sweat under a weary life,
But that the dread of something after death,
The undiscovered country, from whose bourn
No traveller returns, puzzles the will,
And makes us rather bear those ills we have,
Than fly to others that we know not of?
Thus conscience does make cowards of us all,
And thus the native hue of Resolution
Is sicklied o'er, with the pale cast of Thought,
And enterprises of great pitch and moment, [F: pith]
With this regard their Currents turn awry, [F: away]
And lose the name of Action. Soft you now,
The fair Ophelia? Nymph, in thy Orisons
Be all my sins remember'd.
The First Quarto is a short early text of Hamlet. Though it was published in 1603, it was lost or not known until a copy was discovered in 1823. It contains a number of unique characteristics and oddities. When it was discovered, it was thought to be an earlier version than the Second Quarto, but is now considered by scholars to be derivative, or pirated and imperfectly remembered.^[2] In the version below, the spelling is updated, along with minor alterations of scansion, capitalization and punctuation [12].
To be, or not to be, Ay there's the point,
To Die, to sleep, is that all? Aye all:
No, to sleep, to dream, aye marry there it goes,
For in that dream of death, when we awake,
And borne before an everlasting Judge,
From whence no passenger ever returned,
The undiscovered country, at whose sight
The happy smile, and the accursed damn'd.
But for this, the joyful hope of this,
Who'd bear the scorns and flattery of the world,
Scorned by the right rich, the rich cursed of the poor?
The widow being oppressed, the orphan wrong'd,
The taste of hunger, or a tyrants reign,
And thousand more calamities besides,
To grunt and sweat under this weary life,
When that he may his full Quietus make,
With a bare bodkin, who would this endure,
But for a hope of something after death?
Which puzzles the brain, and doth confound the sense,
Which makes us rather bear those evils we have,
Than fly to others that we know not of.
Aye that, O this conscience makes cowards of us all,
Lady in thy orizons, be all my sins remembered.