Shu tildagina paydo bo’lgan va ularni alohida holda nima ekanligini izoh berib ketish mumkin. {tarjimadagi holatlarni ko’rsatish} Tana-manasi

Asarni tarjima qilishda o’z mohiyatini saqlab qolish uchun o’sha davrda ishlatilgan iboralarni hozirgi vaqtga nisbatam to’g’ri tahlil qilib uni o’quvchida ma’no jihatini yuqotmasdan saqlab qolgan holda yetqazish asosiy muammolardan biri.
Yuqoridagi asarning qand qurs, bozor o’char so’zlarini tarjima qilishda faqat bir so’zni asosiy ma’nosini saqlab qolgib tarjima qilish mumkin. Ba’zi so’zlar esa sang’ib , xipcha , quldiratib kabi so’zlarni esa asarda yozuvchi burtirib ko’rsatganligini va ularni o’quvchi aniq tasvirlab olishi uchun tarjimada ma’nosini yuqolmasligi esa yana bir ahamiyat kasb etadi.

Asar hajviy bo’lganligi uchun ba’zi joylarda , muallifning sarkazm bilan yozilgan gaplarini ma’nosini aniq tushunib uni tarjima qilish juda muhimdir. Tahlil yaxshi qilinmasa ikkinchi tilda ma’nosi muallif yoritgandek yoritilmaydi. Yuqorida masalan Zirapchani nina bilan olgandek, tutini qafasda turishini tarjima qilishda shunday muammolarga duch kelish mumkin.


Ba’zi so’zlar “joniga tegib”, “kampirlardan qarg’ish eshitib”, “soqqa” kabi so’zlarni tarjima qilishda ikkinchi tilda o’quvchi bu so’zlarni to’g’ridan to’gri tarjimasini tushunmasligi mumkin. Chunki bu so’zlar shu tildagina paydo bo’lgan va ularni alohida holda nima ekanligini izoh berib ketish mumkin. {tarjimadagi holatlarni ko’rsatish}

Tana-manasi degan so’z asarda uchraydi. Bu so’zni faqatgina tana so’zi tilimizda mavjudligi aniq. Lekin manasi degan so’z aslida tub ma’noga ega emas. Tana-manasi degan so’z faqat og’izaki nutqda uchrashi mumkin. Muallif , bu so’zni aynan asarda og’izaki nutq bo’yicha yozib qahramonni va asardagi holatni ayni tabiy chiqishini nazarda tutib yozgan bo’lishi mumkin. Albatta asarni o’z holatida o’qish o’quvchiga ancha zavq beradi va o’sha paytni tasavvur qilishni ko’rsatib bera oladi. Bunga o’xshash so’zlar asarda juda ko’p uchraydi masalan: choy-poy va boshqalar. Bu so’zni to’gri tarjima qilish uchun o’zak ma’nosiga qo’shimcha qo’shilishi ko’paytirib yoki burtirib sifat berishdir. Tana-manasi so’zida tananing hamma joyi tegishli ekanligini ya’ni “butun tana” ma’nosi anglatadi. Albatta ikkinchi tilda huddi shu ma’noni saqlagan holda tarjima qilish mumkindir.
Asarda quydagi so’zlar kelishini kuzatish mumkin: Topgan tomon topmagan tomonni bitta bitta minib oladi. Xammasi baravar “xix eshagim” deb ma’lum joygacha opichib oladi. Bu so’zlar albatta asardagi o’yinga tegishligi va buni ikkinchi tilda o’quvchi tushunadi lekin aynan qanday ta’surot qilib tushunishi qiyinroq tuyuladi. Bu holatda tarjima qiladigan tarjimon bu o’yinni ham bilishi kerak, shunda tarjima qilishda muallif nimani ko’rsatmoqchiligini tarjima qilib bera oladi. Ba’zi asarlarda holatni tushuntirish yoki tasavur qilishda rasmlardan foydalaniladi. Bu o’z navbatida o’quvchi uchun ko’proq tasurotga ega bo’lishiga yordam beradi. Aynan shu yuqoridagi holatda ham rasm orqali tarjimani yetkazib berish mumkin va bu albatta juda ta’surotli bo’ladi. Keling shu o’yin holatini tahlil qilsak. O’yinda bir guruh bolalar ikkinchi yutqazgan bolalarni ustiga eshak qilib minishi muallif tomonidan nazarda tutilgan. Albatta bu o’yin mavjud bo’lgan. Demak buni tarjima qilishda yutgan bolalar yutqizgan bolalarni eshakga mingandek minib olishni tarjima qilishimiz mumkin. (Children found the right answer ride as a donkey over children lost the game)
Rasm bilan esa yanada yorqin bo’lishi mumkin.

Asarlarda uchrashi mumkin bo’lgan sherlarni tarjima qilish esa yana bir qiyin jarayonlardandir. Oʻzbek tiliga tarjima qilingan koʻpchilik asarlar bilvosita (koʻpincha rus tili orqali) tarjima qilingan. Bunda asliyatdagi ma’no va mazmun yoʻqolish ehtimoli mavjud. Bugungi kunda she’riyat tarjimasi va unda uchraydigan elementlar : qofiya, radif, raviy, turoqlar, hojib va boshqa unsurlarni tarjima tiliga oʻtkazish juda ham qiyin masala hisoblanadi. Ularni tarjima jarayonida qanday berish kerakligi, asliyatdagi qofiya, ma’no va mazmunni qanday saqlash kerakligi juda ham muammoli vaziyatni yuzaga keltiradi. Masalan, milliylikka xos soʻzlar kelib qolganida qanday qilib uni she’riy tarjimada aks ettirish tarjimonni biroz chuqur oʻyga toldiradi. Shuningdek, tanlangan mavzuning dolzarbligi, bir tomondan, tarjima qilinayotgan tilning, xususan, u tilda yaratilayotgan turli badiiy asarlarning ijtimoiy hayotimizga kirib kelishi, axborot almashinuvida tutgan oʻrni, fan va taxnika, adabiyot va san’at rivojidagi salmoqli hissasi bilan belgilansa, ikkinchi tomondan esa oʻzbek tilining mavjud imkoniyatlarini ishga solish, bu asosda toʻgʻridan toʻgʻri asl nusxadan tarjimani amalga oshirish va vositachi til xizmati harakatini oʻzbek tili doirasida minimal darajaga tushirish, vazn, qofiya, ritm, turoq, raviy va hokazolarni ta’minlanishini yuzaga kelishi bilan izohlanadi. She'r tarjimasi, ehtimol, tarjimashunoslikda eng kuchli polemikalarni keltirib chiqaradigan mavzudir.
Translating poems and other literary works in general is difficult. This is true relative to the difficulty in translating other types of texts. Specifically, poems are even harder to translate for so many reasons. There are a lot of factors to be considered including the choices of words, figurative languages used and metaphors. At the same time, the translator must also be able to transfer the emotions and thoughts of the poet.

To add up more to the difficulty of translating poems, there are other characteristics that are unique to a poem such as rhymes, meter, rhythm and expressions that are not found in other literary pieces. Most words are not even used in daily conversations. Hence, this poses an even bigger challenge to anyone who dares to translate poems.

Potential Challenges to Consider in Translating Poems

Linguistic issues. When translating certain words from one language to another, there might be some issues with regards to the appropriate words to be used. In some cases, there are words that have no literal translation to another language. There are even some languages in which one short word in English is equivalent to 3 or more words in another language. It could be the other way around. An entire verse in an English poem could be just a single word in another language. The differences in the choice of words not only make it difficult for the poem to be translated, it could also destroy the other elements in a poem.

Literal versus figurative translation. Poems contain deeper meanings. There are words used but they serve as symbolisms or metaphors only. The underlying thought behind those words is what makes the entire poem beautiful. Thus, translators now have the dilemma of whether or not they are to translate the verse literally and make everything sound or awkward, or translate the figurative meaning and limit the readers’ opportunity to be more critical in reading the verses.
Socio-cultural issues. There are also some words in a poem that may not sound good when translated to another language. The words could also be very offensive or inappropriate. They might be seen as vulgar even if in the original language, the word used is just right. Thus, the translator now has to choose the more appropriate word to use or find a more culturally sensitive equivalent of the word used in the original text.
Sound. This is another element of poetry that makes it beautiful and engaging. Due to these rhyming words or attractive sounds, readers are glued to the poem. Sadly, there might be no word in another language that could retain these sounds. The translation of the words might have extremely different sounds that don’t make sense when forced to sound alike.
In short, there are a lot of things to be considered when translating poems. They might just be a few lines or stanzas, but it could take an even longer time for poems to be translated. It also helps a lot that the translator understands the thoughts of the poet and the cultural background of the people in which the poem will be translated for.
A good translation is that in which the text in the target language accurately expresses the meaning, sense and intention of the writer of the source text in such a way that it sounds natural to the reader.
Asarlarda tanqidiy hajviy gaplar uchraydi. Shum bola asarida bu kabi so’zlar juda ko’pdir. Tanqidiy hajviy gaplarni tarjima qilish tarjimondan mahorat talab qiladi. Hajviy gap to’gridan to’gri bo’lishi mumkin lekin tanqidiy haviy gapni tushinish hatto o’z tilida qiyin kechadi. Tanqidiy hajviy gaplarni tarjima qilishda juda ehtiyot bo’lish kerak. Chunki oddiy etiborsizlik bilan bu gap noto’g’ri ma’noga ega yoki umuman ma’nosiz bo’lib qolishi mumkin. Keeling shum bola asaridan bir gapni ko’raylik.