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15PHILOLOGICAL SCIENCES
TRANSLATION PROBLEMS OF UNITS OF MEASURES IN "BABURNAME"
Shodmonova S.
Senior teacher of Karshi Engineering and Economical Institute
Abstract
At present studying and researching the maniscripts and translation of «Baburname» in literary process of world literature attracts the orientalists and specialists of translation studies all over the world. Scientific research of the issues like the content and ideological aspects of translations, its creative individual, individual method of the writer, his literay mastery enabled to define the peculiarities of developing literature and evaluate by world specialists of Babur studies. Researches are being carried out in the directions of pragmatic and linguocultural peculiarities of the «Baburname» texts and working out the principles of translation of classical literature patterns.
Keywords: pragmatic peculiaties, units of measure, given by.
Babur who used to the names of Islamic seasons, years, months, days, calendar orders in Transoxia and Khurasan was not easy to adopt. The author came across many difficulties in comparing them, as a result of it, he became a leading expert in these fields. A person who carried out huge comparative work appears in front of us. He, in his comparative analyses, defined exactly inner system, with successiveness, to avoid misunderstanding he gave Persian and Turkish equivalents to Indian terms. On this basis division of the described seasons, comparative analysis of its Islamic rule were presented too.
For example: «Яна ул вилоятларда турт фасл-тур. Хиндустонда уч фасл булур: турт ойи ёздур, турт ойи пашакаал, турт ойи циш. Ойларнинг иб-тидоси уилолий ойларнинг истицболидиндур. Хар уч йилда бир ойни пашакаал ойларига зиёда цилурлар. Яна уч йилда циш ойларига зиёда цилурлар. Яна уч йилда ёз ойларига. Буларнинг кабисаси будур» (Бобурнома; 207).
In translation texts this aspect is translated as follows: in Leyden-Erskine translation: «In other countries there are four seasons; in Hindustan there are three; four months of summer, four of the rainy season, andfour of winter. Its months begin with the new moon. Every three years they add a month to the rainy season; again, at the end of the next three years they add a single month to one of their winters; and in the course of the succeeding three years they add one month to a summer. This is their mode of intercalation» (Leyden-Erskine; V.II.p.237) (the meaning of the translation: бошца мамлакатларда туртта фасл бор; Х,ин-дистонда учта фасл бор; турт ой ёз, турт ой ёмгирли, турт ой цишдир. Унинг ойлари янги ой би-лан бошланади. Хар уч йилда улар бир ойни ёмгирли фаслга цушади, яна кейинги уч йилнинг охирида улар бир ойни циш фаслига цушади; мувофиц ке-лиши учун уч йилда улар бир ойни ёзга цушади. Бу уларнинг кабиса усулидир (МТ). The translator tried to preserve author's each detail of the comparative description. The sentences were translated in the original text as folows: «яна уч йилда ёз ойларига», «in the course of the succeeding three years they add one month to a summer» (meaning of the translation: уч йилда улар бир ойни ёзга цушади). The phrase «in the course of the succeeding» (meaning of the translation:
мувофиц келиши учун) were added. The word combinations fully cover the pragmatic peculiarities of the original. It serves to deliver information to the recipient in full. It is important to choose appropriate equivalent in translating word combinations and scientific terms.
А.Beveridge's translation: «Again: - whereas there are four seasons in those countries, there are three in Hindustan, namely, four months are summer; four are the rains; four are winter. The beginning of their months is from the welcome of the crescent-moons. Every three years they add a month to the year; if one had been added to the rainy season, the next is added, three years later, to the winter months, the next, in the same way, to the hot months. This is their mode of intercalation» (A.Beveridge; 515) (the meaning of the translation: Яна ана шу мамлакатларда турт фасл булур, Хиндистонда учта фасл булади. Турт ой ёз, турт ой ёмгирли, турт ой цишдир. Ойлари-нинг бошланиши ярим ой шаклидаги ойнинг царши олинишидандир. Хар уч йилда бир ойни йилга цушади, бир йил ёмгирли фаслга, яна цушилади, уч йил кейинроц циш ойларига, яна худди шу йулда ёз (иссиц) ойларига цушилади. Бу уларнинг кабиса усулидир (МТ). А.Beveridge paid attention to the lexico-semantic aspect of the translation. In the process of translation she used the method of comparison towards Transoxia and Indian seasons and their diffrences. The sentence «Ойларнинг ибтидоси уилолий ойларнинг истицболидиндур» was translated «the beginning of their months is from the welcome of the crescent-moons» (meaning of the translation: ойларининг бошланиши ярим ой шаклидаги ойнинг царши оли-нишидандир). The meaning and content of the original sentence was translated properly. Pragmatic correspondence was preserved.
In W.Thackston's translation: «In our country there are four seasons, but in Hindustan there are three: four months of summer, four of monsoon, and four of winter. The months begin with the crescent moon in opposition. Every three years one month is added to the monsoon months, then three years later a month is added to the winter months, then three years later a month is added to the summer months. This is their intercalation». (W.Thackston; 34) (the meaning of the translation: бизнинг мамлакатда туртта фасл, аммо Хиндистонда учта фасл бор. Турт ой
ёз, турт ой ёмгирли, турт ой цишдир. Ярим ой цар-шиланиши билан ойлар бошланади. Х,ар уч йилда бир ой ёмгирли ойга цушилди, кейинги уч йилда охи-рги бир ой циш ойига цушилади, кейинроц уч йилда бир ой ёз ойига цушилади. Бу уларнинг кабисасидир (МТ). The translator paid attention to the preciseness of the artistic-descriptive means and it was translated as simple and brief like Babur's style. The translation of the sentence «Ойларнинг ибтидоси уилолий ойлар-нинг истицболидиндур» and its description is rendered as follows: «the months begin with the crescent moon in opposition». The translator animated the word combination щилолий ой» as it was expressed by the author: «crescent moon». In general, W.Thackston managed to reproduce pragmatic peculiarities of the comparative descriptions of the original.
Certainly, measure of weight used in India was of a special importance for Babur. As the use of an exact unit of measure of weight is of great importance to run a state business and put it in order. From a long time, under the name of one measure of weight various weight units were understood. Especially, the unirs of measure like сир, мискол, аршин, курух, фарсах, манн, харвор, хурд, нахуд, жариб, газ, милл and others meant various units of weight and length in various parts of Transoxia and Khurasan. Babur unified all of them and worked out comparative corresponding variants for the work of ruling his domain.
Translators also used various methods of reproducing units of measure in the text of «Baburname». As a result of it, the pragmatic peculiaties of the original
were rendered properly. The units of measure given by Babur's words were rendered by words and figures.
Leyden-Erskine expressed units of weight by words, W.Thackston - by figures and A.Beveridge -figures and signs in the translation text. To our opinion, the way A.Beveridge used units of measure in the text of «Baburname» by figures and signs is the most ap-propariate.
From the first pages of the work we notice descriptive means of the place names and proper names in «Baburname». Taking it into consideration in the last paragraph of the chapter the problem of translation of descriptive means of place names and proper names was studied.
References
1. 3.M. Eo6yp. "Eo6ypHOMa". TomKeHr: 2002
2. King L, Leyden J. & Erskine W. Memoirs of Zehir-ed-Din Muhammed Baber, Emperor of Hindustan. - London, 1826. Annetated and revised ed. by L. King, 2 Vols., - Milford, 1921.
3. The Baburnama. Memoirs of Babur, Prince and Emperor, Translated, edited, and, annotated by Wheeler. M., Thackston. - New York & Oxford, 1996.
4. Beveridge A.S. The Babur-nama in English (Memoirs of Babur), Translated from the original Turki Text of Zahiru'ddin Muhammad Babur Padshah Ghazi by Annette Susannah Beveridge, 2 Vols., - London, 1922; Repr, in one Volume, - London, 1969; - New Delhi, 1970; - Lahore, 1975.
«ЗОЛУШКИ СОРОКОВЫХ ГОДОВ». ОБ ОДНОМ СТИХОТВОРЕНИИ ЕЛИЗАВЕТЫ СТЮАРТ
Коптева Г.Г.
Сибирский государственный университет путей сообщения, доцент, кандидат филологических наук
«CINDERELLAS OF THE FORTIETH YEARS». ABOUT ELIZABETH STYUART'S ONE POEM
Kopteva G.
Siberian Transport University, Reader, PHD in Philology
Аннотация
Статья посвящена анализу стихотворения известного поэта прошлого века Елизаветы Стюарт «Золушки сороковых годов». Автор статьи делится своими впечатлениями от произведения, основанными не только на профессиональном опыте филолога, но и на личных воспоминаниях - в немалой степени. Широко известная сказка про Золушку и данное стихотворение рассматриваются во взаимной связи, причем именно первая дает право на полноценную «жизнь» второму, интертекстуально-диалогически. В его основе - лирическое переживание о девушках-женщинах военных и послевоенных лет. Лирический сюжет стихотворения словно «поворачивает» их судьбы разными гранями, и динамика художественного воздействия на реципиента начинает строиться не только событиями, но и «не-событиями» - через контекст.
Abstract
The article is devoted to the analysis of the poem "Cinderellas of the fortieth years» of the well-known poet of the last century - Elizabeth Styuart. The author of the article tells her own impressions of this work of literature, which are based not only on the professional experience of philologist, but also on personal memories - to no small degree. Widely known fairy tale about Cinderella and the discussed poem are considered in interrelation and interdependence, and the fairy tale entitles "life" to the poem to a great degree, due to intertextuality. In the basis of the poem is lyrical experience about girls and women of the Great War and post-war years. The lyrical plot of the writing is likely to "turn" their destinies by different sides, and dynamics of art influence on the recipient starts to be being constructed not only by events, but also by "no-events" - through a context.
