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ANTICIPATING PROBLEMS IN TRANSLATING NAVOI'S WORKS INTO
ENGLISH
The article analyzes the problems and solutions of translating Navoi ghazals into English.
Keywords: ghazal, translation problems, couplet, comments to ghazal.
INTRODUCTION
"Translation of a work is the search and use of suitable words and phrases, taking into account the unique style of the author, the nature of the story being told, the age and sex of the image and the character, gender, task, specialty, qualifications, nationality, faith and other characteristics, as well as the genre and type of work. It means to know."[1] It is clear that the translation of a work requires taking into account many factors. Now think about how difficult the task of translating a poetic work is.
MAIN PART
In December 2016, Cervena Barva Press published Alisher Navoi's Twenty One Ghazals, translated by Dennis Daly, a literary critic, writer and poet living in Salem, Massachusetts, USA. This small collection is the fifth book of the author, and Dennis Daly, who has edited many prestigious newspapers and publishers, now publishes works of art and translations as creator and translator. The collection aroused great interest among foreigners. The book is currently being referenced by foreigners through Amazon and other sites.
With the release of the book, reviews of foreign experts began to appear one after another in Internet publications. One of them is a review of a book by Somerville Times, a political scientist from Massachusetts, published on February 15, 2017 in the USA by Somerville Times: "This will be a revelation to you. You will discover a new world. This book looks like a jewelry box. I have a big question, who is this poet? Why haven't I heard of him before? Like other people my age, I studied the Western world more. But rarities written on the other side of the world can reach us through translation. The poetry of Rumi, who lived and wrote in the East in the 13 th century in the service of Soleman Barks, is also well read by us. But who has heard of Navoi? "He talks excitedly about the struggle, like the elector of his language. The extraordinary beauty
Barno Umidullo qizi Abdullayeva
English teacher of Namangan State of University
ABSTRACT
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of Navoi's work, who is not so well known in the West for his works in Turkey, the musicality and Sufi content of the ghazal structure, as well as the example of Petrarch's sonnets, captivate the reader. In short, although foreign translators who translated Alisher Navoi's work the way they understand it and refer to their contemporaries did not find even a tenth of the word games hidden behind ghazals, these translations amaze readers.
Azam Obidov, Qosimjon Mamurov, Dinara Sultanova, Aida Bumatova and Olimjon Dadaboev are joining the ranks of brave Uzbek translators translating Alisher Navoi's ghazals into English. However, translations already made must be edited by a foreign editor and published as a collection, and, most importantly, they must be promoted abroad. Indeed, Uzbek translators can assess whether the meaning and art of the ghazal has been recreated in translation, but only the owner of a foreign language can give the fairest assessment of the fluency of the translated language and its readability for a foreign receptor.
When translating ghazals written in the weight of Aruz into English, if it is impossible to use syllabic-tonic weight, you can recreate the rhyming words in verses using syllabic writing, that is, the weight of the hija, keeping or slightly changing the number of verses, the number of syllables. For example, let us compare the famous ghazal of Alisher Navoi "Kelmadi" and its translations: Кеча келгумдур дебон ул сарви гулру келмади, Кузларимга кеча тонг отгунча ужу келмади. Лауза-лауза чицтиму, чектим йулида интизор, Келди жон огзимгаю ул шухи бадху келмади. Оразидек ойдин эрканда гар этти эхтиёт, Руззоримдек уам улзонда цоронгу келмади. Ул парвариш уажридинким йизладим девонавор, Кимса бормуким, анга курганда кулгу келмади. Кузларингдин неча су келгай деб, ултурманг мени, Ким, бори крн эрди келган, бу кеча су келмади. Толиби содик топилмас, йукса ким куйди кадам, Йулга ким аввал кадам маъшуки утру келмади. Эй Навоий, бода бирла хуррам эт кунглунг уйин, Не учунким бода келган уйга кайзу келмади. In the translation of D.Sultanova:
Having shown her will to come, my mistress that flower fail'd to come And for my longing eyes that night, a sleep till all hours fail'd to come. And long and long grieved I, stared at the road she used to walk along
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Methought in love of hers would die, as my joyful liar fail'd to come.
For moonlit face of hers she cared, making it match the Moon in night
Tho' my sky was dark as mine soul, my moon didn't appear, fail'd to come.
Still been severed from my fairy, made my rains furiously fall
And they all laughed at woe of mine, tho' sense of humour shouldn't have come.
And 'tis not me who's to be blamed for heavy rains pour'd from sore eyes
As they were not tears, but blood of mine, that night tears fail'd to come.
And could I see on doorway of mine any trace of trusty ones
If the one, who's said to be ever true to her lover, fail'd to come.
O, Navoiy with sweetest wine enjoy that manhood into thee
For, where a cup of joy appears, a woe there never tries to come. [2]
Now, let's consider the translation done by Q.Mamurov:
Though she had promised, that night my willowy beauty did not come,
That night, till the very dawn, sleep did not come.
My suffering drove me to scan the road again and again,
But though my heart was about to break the frolicsome one did not come.
Perhaps it was the light of the moon she resembles that made her wary,
But then, on another night that was dark as my life, again she did not come.
Hardly a man could refrain from smiling
At the sight of my weeping because my love had not come.
Don't humiliate me by saying my eyes shed much water...
All that I shed was blood, but that night, even tears did not come.
There is not a man in love who can say
His sweetheart was the first to come.
O Navoiy, regale your heart with wine
For to a home where wine is poured, sadness cannot come. [3] The phrase "Ul sarvi gulro'" translated by D. Sultanova is somewhat incorrect. Indeed, in the explanatory dictionary of the language of Navoi's works, this phrase is given in the sense of "beautiful, beloved mistress" [4], and the phrase "my mistress, that flower" does not fully convey this meaning. The phrase "sleep until all hours" in the translation of the second verse also seems a little confusing to us, because in fact it is given in the form "sleep did not come before dawn." This combination is given in Q. Mamurov's translation in the form "until dawn sleep did not come" close to the original. In addition, this ghazal of Alisher Navoi is a radif ghazal, and it would be nice if this feature was preserved during the translation process. However, this feature has not been preserved in the translations of both translators.
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In Q. Mamurov's translation, the number of syllables in verses is different - the first verse of the first byte consists of 16 syllables, the next verse becomes 11 syllables.
This poem is one of Alisher Navoi's romantic love poems. According to the artistic method (lyrical composition), the ghazal belongs to the series of voqeaband (eventful) ghazals. It is also eventful, because it is created under the influence and motivation of a particular life event. The lyrical plot of the ghazal is based on the image of the longing of the beloved's expectation, which the lyrical protagonist promises to the beloved. The work consists of seven bytes, each of which is used to consistently illuminate the subject of the text to praise.
The Matla couplet covers the topic of the parting complaint. This shows that his beloved, who promised to meet yesterday, will not arrive on time. That is, she does not fulfill her promise. In the eyes of a lover hoping for a date, sleep does not come until dawn. He waits hopefully until dawn. But she doesn't come till the morning. Because of the different interpretations of the word "night" in these commentaries on the ghazal, it is interpreted as the evening before the event or the day before it (the day before), which expresses the poet's longing. However, from the content of the ghazal, especially the third couplet, it is clear that the promise and the expectation of its fulfillment are the reality of the day before the writing of the ghazal. The text reflects all the content of the lyrical plot of the ghazal. The following verses describe in detail the heartache of a lover from the day of the promised month until the morning. Judging by the image in the second couplet, the lyrical hero occasionally goes out on the road and waits for her. He is impatient again and takes care of her. But the process is still unclear. While the lover eagerly awaits his wound with deep pain, his soul approaches his mouth.
Noteworthy is the phrase "shokhi badho" in the couplet. In the dictionaries and commentaries of ghazal observers, the word "badho" means "bad habit", "bad verb", "bad deed." Indeed, this word comes from Persian and means "bad" - "bad", "ho" -"behavior." However, the quality of "evil" in relation to a lover's love seems very harsh. If she had a bad behaviour, the lyrical hero of Navoi would not love him. You cannot ignore the poet's word "shoh". In our opinion, the poet used this phrase in the sense of a humorous mixture of humor. After all, it is a vital trait for every girl to test a lover's patience, will, and dedication by promising a vision and not arriving in time. Therefore, his "bad qualities" are that he promises and does not fulfill his promises.
The content of the next couplet is based on the art of "tajokhuli orif'. He explains why she did not come at the promised time, and expresses his surprise: if she didn't come because she was ashamed someone could see her, she didn't come even when the night was as dark as my life, covered in pain of separation. In the verse, the art of tazad
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is again created: the face of the beloved (orazi) is bright, and the life (livelihood) of the beloved is dark.
The fourth couplet exaggerates the state of the lyrical protagonist. He waits patiently and goes mad. I cried so madly, missing her, - says the beloved, - is there anyone who does not want to laugh when he sees my condition? Another artistic skill of the poet in expressing the content of this verse is that he refers to a typical detail found in the life of the people. Usually people unwittingly laugh at a crazy palmist on the street. Also, the art of tazad, expressed in poetry based on cases of crying and laughter, strengthened the art.
In the fifth couplet, the depiction of the state of mind of the lyrical protagonist continues in an exaggerated form. To those who are amazed by his condition, the lyric hero begs: "Do not reproach me for shedding so many tears," he pleads. Exaggeration aside, bleeding from the eyes instead of water also forms the art of tazod.
The sixth couplet is a little more complicated for the average reader. But anyone who knows the unique grammatical structure of the Uzbek language and the language of poetry of the Navoi period will easily understand it. Usually, in the penultimate couplet, the poet expresses a philosophical conclusion, a deep generalization in the form of a lyrical digression. But this does not break the consistency of the ghazal couplet content. It will be logically related to the previous couplets. In such a byte, a conclusion is made on a topic that is consistently covered. A philosophical solution to the problem is described. A similar phenomenon can be observed in this couplet. It is known that in the previous verses, the lyrical protagonist, that is, the lover, complained about parting. He is in a weak and helpless state. In poetry, the poet is critical of this position of a lover. The poet believes that there is no such thing as a "loyal disciple." A true lover should not be content with sighing over the oppression of an unfaithful lover. A candidate who is loyal to his love must be brave and courageous. This is the nature of true love! Love takes courage, dedication and, if necessary, sacrifice.
In the last couplet, the poet refers to the image of "May". The lyrical protagonist invites the soul to rejoice with the "boda" in the house of the soul in parting. As while the house of the soul is replete with joy, sorrow cannot approach it. Here, of course, "boda" does not mean drunkenness. It was used as a symbol of joy versus sadness, as an element of contrast.
CONCLUSION
Both translators translate the word "may" into English as wine. Here, of course, "boda" does not mean drunkenness. It was used as a symbol of joy versus sadness, as an element of contrast. This purpose is difficult to understand in both translations.
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Therefore, in our opinion, there is lexical mistakes in translation of Alisher Navoi's ghazals into English. After all, it is impossible to translate the various verbal arts used in his ghazals, as well as philosophical, religious and sectarian views. So, in our opinion, it is necessary to translate Alisher Navoi's ghazals and comments to them.
REFERENCES
1. Саломов F. Таржима назарияси асослари. Т.: Укитувчи. 1983 й., 94 -бет
2. Султанова Д.А., Халимова Ф.Р. Шеър ва таржима. Самарканд, 2009. 109-бет
3. А. Навоий «Уммондан дурлар» Т. : - 2000. 104 бет.
4. Алишер Навоий асарлари тилининг изошли лугати. 3-жилд. "Фан" нашриёти. Тошкент, 1984. 46 бет.
5. Алишер Навоий асарлари тилининг изохли лугати. 3-жилд. "Фан" нашриёти. Тошкент, 1984.
6. Навоий А. «Уммондан дурлар» Т. : - 2000.
7. Саломов F. Таржима назарияси асослари. Т.: Укитувчи. 1983.
8. Султанова Д.А., Халимова Ф.Р. Шеър ва таржима. Самарканд, 2009.
