7Chirchik State Pedagogical University Current Issues of Modern Philology and Linguodidactics
Staatliche Pädagogische Universität Chirchik Aktuelle Fragen der modernen Philologie und Linguodidaktik
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THE IMPACT OF THE EAST AND WEST IN SHAKESPEARE'S
TRAGEDIES
Dilnavoz Shavkat kizi Tojiboyeva
Chirchik State Pedagogical University, Faculty of Tourism, Department of Foreign Language and literature (English), Bachelor degree student Scientific advisor: Akmalxonov Saidfozil
ABSTRACT
The people and societies that lived in Europe, America, Africa and Australia had their own religions before adopting the Asian religions. However, they have either disappeared or become ineffective in the face of strong Asian confidence movements. It is important to remember the aforementioned history when thinking about the relation of the great artists in the West with the East, or the influence of Oriental science and literature. Cause until the West has strengthened its philosophical processes, mental theories, and scientific activities it has approached the East with specific needs and expectations. When comparative literature begins to explore the root of the problem the East or West narrows downward. From this point of view, the role of the Orient is also important in Shakespeare's creation, and we can observe many Oriental similarities.
Keywords: world literature, world dramaturgy, translations of Shakespeare's tragedies, Shakespeare's characters.
Introduction
William Shakespeare, often regarded as the greatest playwright in the English language, left an indelible mark on Western literature and culture. His works, particularly his tragedies, have transcended time and continue to influence writers, artists, and thinkers across the globe. In this essay, we will delve into the profound impact of Shakespearean tragedies on Western literature and culture, exploring their themes, characters, and enduring relevance. William Shakespeare is a great figure of world literature, world dramaturgy. The legacy of William Shakespeare, a prominent figure in English literature and theatrical art, has fascinated nations throughout the fourteenth century. There is no language on earth that has not been translated into Shakespeare's works, nor is there any theater that has not been played. As the writer and playwright Ben Johnson predicted, "Shakespeare's legacy will remain relevant and important for both his time and his future". It is well known that since ancient
April 23-24, 2024
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Chirchik State Pedagogical University Current Issues of Modern Philology and Linguodidactics
Staatliche Pädagogische Universität Chirchik Aktuelle Fragen der modernen Philologie und Linguodidaktik
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times it has been a common custom and a habit to divide the world between the East and the West in terms of belief, culture and beliefs. According to this distinction, the East creates trust, and the West creates a world of understanding. Indeed, the beliefs that dominate the hearts of people all over the world today were born first in the East and then spread across the world. Shakespeare is also famous in Uzbekistan, and his works are well-known and popular, deeply rooted in the hearts of readers and viewers. To be honest, it is hard to imagine the Uzbek drama and theatrical art without Shakespeare's legacy. The famous Hamlet tragedy of the literary pen was first translated into Uzbek in 1934 by our famous poet Chulpon. Among those who introduced Shakespeare to the world are his countrymen S. Johnson, S, Colridge, A. Bradley, John Dover Wilson, and many writers, poets and historians. Today's Shakespeare studies are continuing in the world languages and in many fields. In this work, Russian experts have made a great contribution to the study of Shakespeare's works not only in Russia but also in the former Soviet republics. In particular, A.A. Anikst, M.M. Morozov, F.M. Samarin, Yu.Levin and many others have made valuable research. The merits of Joseph and many other international experts in this regard are also remarkable. Famous writers Gafur Gulyam, Chulpon, Maqsud Sheikhzoda have played a great role in promoting Shakespeare's works in Uzbekistan. Later Shakespeare's works were translated by Asqad Mukhtor, Turob Tola, Jamal Kamal, Sadullah Ahmad and Yusuf Shomansur. In Shakespeare's tragedies, tragedy is not confined to the individual, whose content is a tragedy of life in general. Shakespeare's tragedies encompass various aspects of friendship and love between individuals, society, the state, international relations and life in general. The wealth of life experience of a playwright is astonishing, as we watch or read his plays on the stage, and the Renaissance England is fully embodied in our eyes. There is hardly a sphere that the playwright did not know and did not properly reflect in his works: it is no accident that he is a lawyer, a geographer, a philosopher and a naturalist. But the essence of Shakespeare's tragedies is not only the actual portrayal of the era. The playwright reveals how the most complex dialect of the human spirit and the tragedy of life affected him. His works are not passive figures, crushed by external factors, and even in the drama there is no mechanistic "environment". In Shakespeare's dramas, the only factor is man and his relationship to other people, nature, society and state. But the state and the strata have their own characteristics and power, they are described in a certain way, and even the forces of society and nature are portrayed as human beings. Therefore, Shakespeare humanism is not the basis of abstract understanding, but the core of his work. The great achievements of the great scholars and philosophers of the Renaissance, such as Monten, Bacon,
April 23-24, 2024
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Chirchik State Pedagogical University Current Issues of Modern Philology and Linguodidactics
Staatliche Pädagogische Universität Chirchik Aktuelle Fragen der modernen Philologie und Linguodidaktik
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Bruno, and the science and philosophy of the time, of course, are all about Shakespeare's view of life. Shakespeare, as a representative of the Renaissance era, witnessed the failure of humanists on the one hand, and, on the other, his optimism and belief in the value of humanism. That is why his works contain both tragedy and bravery. Confidence in human power and the future was heroic and allowed to make philosophical and artistic generalizations that prevented tragedy, pessimism and never encountered in world literature. Shakespeare described the most difficult period in European history and created a new type of tragedy that has never been seen in English dramatics in terms of problem, style. The wide range of Shakespeare tragedies were that the causes that led to this genre were European, and that the transition from one social form to another, from one epoch to another, was the product of a period of high spiritual and cultural development. However, this rich culture could only be enjoyed by certain people. Due to the ignorance of the mainstream, the spiritual riches gained by the Renaissance, new ideas that were in harmony with the world view, reached the masses only through theater. That is why it was the greatest achievement of the Renaissance that was associated with the truly great folk art - theater. The elements of tragedy and tragedy existed in ancient myths, where Goodness died in a conflict with Evil. Only the ancient Greeks elevated the tragedy to a literary genre, showing the complex, frightening aspects of the tragedy and creating excellent examples of tragedy in the works of Eschyl, Sophocle, and Euripid. But in the Greek tragedy there is a certain religious influence, that is, they believe that the tragic mistake was made by man, not by his own choice, but by the presence of the gods, in his destiny (King Edip). However, Greek trades taught to recognize destiny, not passivity, and disobedience to destiny ("Prometheus"). In the Seneca tragedy, which flourished at the time of the collapse of the slave society in Rome, Greeks did not have the greatness of humanity, nor the great human problems, but only the tragedy of the destruction of great people, and the superficiality. Later, the European tragedy (the Italian tragedy and the English tragedy before Marlo) developed on the basis of the same Roman tragedy. Only in the Renaissance, when the spiritual dictatorship of the church was disintegrated, religion, the deity lost its power, and the high awareness of human attention was restored. Hegel said, "In order for a truly tragic event to occur, the principle of individual liberty and independence must be awakened, or at least that one should freely understand its own actions and its consequences." If the Greek tragedies were largely associated with society, the Renaissance and the Shakespeare tragedy were largely related to the individual, the individual character, but not his physical suffer, even death was not considered a tragic fact.
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Chirchik State Pedagogical University Current Issues of Modern Philology and Linguodidactics
Staatliche Pädagogische Universität Chirchik Aktuelle Fragen der modernen Philologie und Linguodidaktik
Shakespeare, the unparalleled literary genius of the English Renaissance, crafted timeless tragedies that continue to captivate audiences across the globe. Amidst the intricate tapestry of his works lies a subtle yet profound interplay between the Eastern and Western worlds. In this article, we delve into the impact of these contrasting cultural spheres on Shakespeare's tragedies, exploring how the meeting of East and West within his narratives enriches the thematic depth and complexity of his plays.
Shakespeare's keen awareness of the world beyond his own shores is evident in his writings, where glimpses of exotic lands, foreign customs, and diverse beliefs color the backdrop of his stories. Whether it be the mystical allure of the Orient in "Othello" or the clash of civilizations in "Antony and Cleopatra," Shakespeare masterfully weaves Eastern and Western elements together to create narratives that resonate with universal truths while celebrating the unique characteristics of each cultural sphere.
Through an analysis of select tragedies such as "Hamlet," "Macbeth," and "The Merchant of Venice," we shall unravel the layers of influence exerted by the East and West on Shakespeare's characters, plots, and overarching themes. By examining how notions of honor, power, love, and fate are interpreted through the lens of cultural difference, we aim to shed light on the intricate dynamics at play in Shakespeare's theatrical world.
Literature review
The exploration of the East and West in Shakespearean studies has been an intriguing and evolving field of research, shedding light on the intricate ways in which cultural influences shape the narratives and characters within the Bard's tragedies. Scholars have delved into various aspects of this topic, offering diverse perspectives on the impact of the East and West on Shakespeare's works. One significant area of focus in the literature has been the examination of Orientalism in Shakespeare's plays. Edward Said's seminal work "Orientalism" has been a touchstone for numerous scholars exploring how Shakespeare constructs and portrays Eastern cultures and characters. Through close readings of texts such as "Othello" and "The Tempest," researchers have dissected the dynamics of power, race, and identity in Shakespeare's depiction of the East, unearthing complex layers of representation and misrepresentation.
Furthermore, the concept of cultural exchange and hybridity has emerged as a prominent theme in the study of Shakespeare's engagement with Eastern and Western cultures. Scholars like Rebecca Bushnell and Margreta de Grazia have highlighted how Shakespeare's tragedies reflect a fluid negotiation between different cultural
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Chirchik State Pedagogical University Current Issues of Modern Philology and Linguodidactics
Staatliche Pädagogische Universität Chirchik Aktuelle Fragen der modernen Philologie und Linguodidaktik
Chirchiq davlat pedagogika universiteti Zamonaviy filologiya va lingvodidaktikaning dolzarb masalalari
paradigms, leading to new forms of identity and meaning. By analyzing the intersections of East and West within the plays, researchers have underscored Shakespeare's awareness of the interconnectedness of global cultures and the transformative effects of cross-cultural encounters.
Moreover, considerations of religious motifs and philosophical ideas from the East have also enriched the scholarly discourse on Shakespeare's tragedies. Studies by Stephen Greenblatt and Jonathan Gil Harris have drawn attention to the influence of Eastern philosophies such as Buddhism and Hinduism on Shakespearean themes of fate, justice, and spirituality. These investigations have illuminated the ways in which Shakespeare assimilates Eastern thought into his dramatic universe, broadening the intellectual landscape of his works and inviting audiences to contemplate universal questions through diverse cultural lenses.
In synthesizing these diverse perspectives and findings, this article seeks to contribute to the ongoing dialogue surrounding the impact of the East and West in Shakespeare's tragedies, offering a nuanced understanding of the complex interplay of cultures that animates the enduring brilliance of Shakespeare's literary legacy.
Conclusion
In conclusion, the examination of the East and West within Shakespeare's tragedies unveils a rich tapestry of cultural exchange, conflict, and synthesis that adds depth and resonance to his timeless works. Through a careful analysis of the influence of Eastern and Western traditions on Shakespearean narratives, characters, and themes, we have witnessed the emergence of a complex intercultural dialogue that transcends temporal and geographical boundaries.
Shakespeare's nuanced portrayal of the East and West underscores his profound humanism and universal vision, inviting audiences to contemplate the similarities and differences between diverse cultural perspectives. By incorporating elements of exoticism, alterity, and hybridity into his tragedies, Shakespeare challenges conventional notions of identity and challenges us to confront the complexities of intercultural relations with empathy and understanding.
As we navigate the intricacies of honor, power, love, and fate within the East-West dynamic of Shakespeare's plays, we are reminded of the enduring relevance of cultural diversity and exchange in shaping our collective imagination. The tensions and harmonies between Eastern and Western influences in Shakespeare's tragedies mirror the complexities of our globalized world today, urging us to embrace the richness of cultural diversity while fostering dialogue and mutual respect across cultural boundaries.
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Chirchik State Pedagogical University Staatliche Pädagogische Universität Chirchik Chirchiq davlat pedagogika universiteti
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Current Issues of Modern Philology and Linguodidactics Aktuelle Fragen der modernen Philologie und Linguodidaktik Zamonaviy filologiya va lingvodidaktikaning dolzarb masalalari
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In a world increasingly characterized by cultural interconnectedness and interdependence, Shakespeare's exploration of the East and West serves as a poignant reminder of the transformative power of cross-cultural encounters and the boundless possibilities that arise from embracing diversity. By delving into the cultural nuances of Shakespearean tragedies, we are reminded of the timeless wisdom embedded in his works, which continue to resonate with audiences worldwide and inspire us to embrace the complexity and beauty of our shared humanity.
REFERENCES
1. Article written by Mirzaakhmedova Makhliyo Yuldashevna "The impact of the East in Shakespeare's tragedies"
2. Balashov N.I.A word in defense of Shakespeare's authorship.-M.: International Agency, 1998.-p 132-133
3. 2. Salomov G., Nazarov B. Shakespeare's face // Shakespeare V. Othello: Disasters.Translation by Jamal Kamal from English. - Tashkent: Literature and Art Publishing House, 1991, p.
4. Jamal Kamal. Thanks to Good // Shakespeare V. Elections. Volume 3 - Tashkent: Fan Publishing House, 2007-2008, Volume 3, pp. 599-600.
5. Shakespeare.An Oxford guide edited by Stanlen Well and Lena Cowen Ovlin Oxford University Press 2003.pp.3-8.
6. Bradlen A.C Shakespearian tragedy third Fawutt Frainer Printing 1967.
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