Volume 04 Issue 12-2024
70
American Journal Of Philological Sciences
(ISSN
–
2771-2273)
VOLUME
04
ISSUE
12
P
AGES
:
70-77
OCLC
–
1121105677
Publisher:
Oscar Publishing Services
Servi
ABSTRACT
This article discusses the secrets of the art of translation and the requirements for a translator. Opinions of world and
Uzbek scholars regarding poetic translation are analyzed. Direct and indirect translations of Shakespeare's sonnets,
considered masterpieces of world literature, and their achievements and shortcomings are listed. The translations of
Maqsud Shaikhzade, Yusuf Shomansur, Jamal Kamal are comparatively studied.
KEYWORDS
Poetic translation, image, form, style, rhyme, Naumenko, Gumilyov.
INTRODUCTION
Translation is the art of reinvigorating the work created
by another creator, reviving it in another language,
infusing the translator's "I" and worldview. We learned
about the way of life of nations and their spiritual level
through the translations that translators painstakingly
re-arranged. Since ancient times, the translator has
been entrusted with a huge and arduous task. He
should be familiar with history, religion, literature, and
it is necessary and necessary to have a perfect
knowledge of the language of the work he wants to
translate. Georgian writer Otiya Ioseliani says: "a
translator should know how to dive into the world of a
foreign author and confirm his own interpretation" [1],
and urges the translator not to betray himself.
S.F. Goncharenko emphasizes the burden of the
translator in the process of literary translation. He
Research Article
COMPARATIVE ANALYSIS OF TRANSLATIONS OF SHAKESPEARE'S
SONNETS
Submission Date:
December 04, 2024,
Accepted Date:
December 09, 2024,
Published Date:
December 14, 2024
Crossref doi
https://doi.org/10.37547/ajps/Volume04Issue12-13
Tursunoy JARKINOVA
Alisher Navo’i Tashkent State University of the Uzbek Language and Literature
, Uzbekistan
Journal
Website:
https://theusajournals.
com/index.php/ajps
Copyright:
Original
content from this work
may be used under the
terms of the creative
commons
attributes
4.0 licence.
Volume 04 Issue 12-2024
71
American Journal Of Philological Sciences
(ISSN
–
2771-2273)
VOLUME
04
ISSUE
12
P
AGES
:
70-77
OCLC
–
1121105677
Publisher:
Oscar Publishing Services
Servi
states that poetic translation is "a translation of a
poetic text created in another language using a poetic
text in the target language." In this case, the task of the
translator is to create such a poetic text that is
conceptually and aesthetically equivalent to the
original text. [2]
Poet-translator S.T.Lukach defines poetic translation
as "an alloy of two persons, the author and the
translator." According to him, it is not enough for the
translator to know the original language for the work
of the poetic translation, he must get into a strange
environment. In other words, the translator must
"feel" the language.[3]
According to the master translator M. L. Lozinsky,
when translating a poem into another language, the
translator should take the place of the author, he
should take the place of the author, using the same
language, rhythm and style as the author of the original
text. But at the same time, the translator must remain
true to his word. [4, 92]
Important issues related to the translation of poetic
texts have always been in the eyes of world scientists.
For example, O. V. Naumenko classifies three problems
that the translator faces when translating poetic texts
[5, 88-128]: The first feature is related to the
preservation of national identity. It is known that the
poetic text reflects the concrete reality of the people.
Using the language of the same people, the translator
creates images. Therefore, the translator must adhere
to the unity of form and content in order not to deprive
the poetic text of its national identity.
The second feature is the preservation of the
"atmosphere" of the period when the poetic work was
created. In such a situation, the task of the translator is
to convey the atmosphere of the original text, which
allows the readers of this text to feel the same
atmosphere and the same attitude.
Important issues related to the translation of poetic
texts have always been in the eyes of world scientists.
For example, O. V. Naumenko classifies three problems
that the translator faces when translating poetic texts
[5, 88-128]: The first feature is related to the
preservation of national identity. It is known that the
poetic text reflects the concrete reality of the people.
Using the language of the same people, the translator
creates images. Therefore, the translator must adhere
to the unity of form and content in order not to deprive
the poetic text of its national identity.
The next feature of poetic translation requires a choice
for the translator: It is necessary to make the
translation more accurate, that is, to keep the form or
translation as natural sounding as possible, that is, to
emphasize the ideological content of the text.[6]
In his works, Gumilyov thinks that the translator should
follow a number of criteria in the process of translating
Volume 04 Issue 12-2024
72
American Journal Of Philological Sciences
(ISSN
–
2771-2273)
VOLUME
04
ISSUE
12
P
AGES
:
70-77
OCLC
–
1121105677
Publisher:
Oscar Publishing Services
Servi
poems. It specifies the following requirements for
translating poems:
1. Choosing an image. The translator chooses which
words are best to use to convey the image the author
has created. Through this, the image of the author is
revived.
2. Choosing a form, that is, determining the exact
number of verses. In this case, the translator does not
have the right to omit a certain part of the form
without changing it.
3. Studying the author's style and unique way. The
translator should pay special attention to the author's
skill in using words. He must have the ability to
carefully notice his style, which distinguishes him from
others.
4. Form transfer. In each language, poems are written
in a unique and appropriate form, and it depends on
the skill of the translator to make it easier and more
resonant in another language.
5. Match the rhymes. In order to preserve the rhymes
used by the author, it is necessary to study the nature
of the rhymes in that language and compare it with the
native language.
6. Special styles. Parallelism and repetitions, which
help to increase the melodiousness and pathos of
poetic texts, should always be kept in the center of
attention. Because in addition to increasing the pathos
of the poem, they also carry a high semantic meaning.
7. Weight selection. In each language, the weight is
chosen based on the culture of that nation. A poem is
created in this weight. The translator should start the
poetic translation after studying the possibilities of the
weight used by the author.
Gumilyov considers the above stages one by one and
assigns to the translator the tasks of not only skillfully
translating the poetic text, but also becoming a mature
poet, a good researcher and critic.[7]
Uzbek scientists also pay special attention to the art of
translation, set a number of requirements for
translators based on world standards. In an interview
with Khurshid Davron, a mature translator and literary
critic Ibrahim Gafurov evaluates translation as follows:
"Translation is a means of communication in the purest
sense. It brings together different cultures on earth,
enriches national cultures with non-stop mutual
experiences and discoveries. Culture is destroyed if it is
cut off from cultures. There are many examples of this
in human history. All the cultures that disappeared
were separate from others. In addition to being a
means of communication, translation is a wonderful
development factor for humanity" [8]. Safarboy
Rozimboyev, doctor of philological sciences: "Personal
creativity is created by the search for ideas, and
translated works are created by the search for suitable
Volume 04 Issue 12-2024
73
American Journal Of Philological Sciences
(ISSN
–
2771-2273)
VOLUME
04
ISSUE
12
P
AGES
:
70-77
OCLC
–
1121105677
Publisher:
Oscar Publishing Services
Servi
words. Because the work to be translated contains a
ready thought, a ready idea, a ready concept. The
translator has to find a logically deep word for it, which
can be expressed in a form and a beautiful way. The
choice of words is a creative process that depends on
the artist's vocabulary, sharp taste, and delicate taste.
Therefore, every artist who decides to translate should
be an intelligent person with high taste and mastery of
vocabulary and the art of words[9]," he said. Noting
that scientific and literary translations had a high place
in the creative search and development of world
literature by the representatives of the new national
culture, in particular, from Abdulla Kadiri to Abdulla
Oripov and Erkin Vahidov: Genres, colorful and bright
poetic image expression tools made their work
extremely attractive. Dante, Shakespeare, Byron,
Saadi, Hafiz, Goethe, Pushkin, Tolstoy, Dostoyevsky...
came to Uzbek literature through their work. Abdulla
Qahhor even "put on Chekhov's glasses". According to
Yesenin, Mayakovsky's melodies sounded like
thunder," he enumerates the updates that came
through the translation.
When the translator addresses the work of a
representative of a foreign nation, foreign language,
culture, he is entrusted with a great responsibility. The
translator introduces the author of the work to
readers, readers with different life experience, people
with different life experience, lifestyle and national
psychology. If the translator is highly qualified, knows
the language, the history and culture of the language
well, feels the "pulse" of the work, he can fully convey
the main idea conveyed by the author in the work
[10,27].
Uzbek readers have enjoyed the best examples of
world literature through the possibilities of the art of
translation. Our poets and writers turned to new forms
for translations. They were able to create our national
literature filled with the treasures of world literature.
Askad Mukhtar, Hamid Ghulam, Ramz Bobojon, Azod
Sharafiddinov, Adil Yaqubov, who treated translation
as a serious creative work, did not fail. The best
masterpieces of world literature have been translated.
Erkin Vahidov translated Yesenin's poems with magical
kinship and soul. Reference was made to the works of
Shakespeare. It must be admitted that the translation
of Shakespeare's sonnets was a special event in Uzbek
literature.
At first, in 1965-66, Maqsud Sheikhzoda translated
Shakespeare's sonnets 11, 17, 18, 21, 22, 25, 29 into
Uzbek. Later, Azam Obidov translated sonnets 21, 54,
55, 65, 66, 128. Khurshid Davron also had the honor of
translating sonnets 27, 28, 29, 66 with great interest.
The complete version of Shakespeare's sonnets was
first brought to the attention of readers by the poet
and translator Yusuf Shomansur in 1978. He translated
it into Uzbek from the Russian version of S.
Marshak.[11,7-190] Although the poet did not use the
original version, it was welcomed as a happy event in
Volume 04 Issue 12-2024
74
American Journal Of Philological Sciences
(ISSN
–
2771-2273)
VOLUME
04
ISSUE
12
P
AGES
:
70-77
OCLC
–
1121105677
Publisher:
Oscar Publishing Services
Servi
Uzbek literature. "In the last century," says
Muhammadjon Holbekov, "Shakespeare's sonnets
were translated into Russian by such poets as B.
Pasternak, S. Marshak, A. Finkel." Even Samuil Marshak
won the state award in 1948 for the translation of
Shakespeare's sonnets. Our well-known poets Maqsud
Shaikhzada and Yusuf Shomansur translated the
sonnets from Russian into Uzbek. As we welcome the
445th anniversary of the birth of the great master of
words Shakespeare, we witness that the joy, deep
observation, sincere love and noble desires that
occupied the author's heart in the poet's sonnets are
still alive today, inviting the reader to think [12]".
Acquaintance with Shakespeare's works significantly
enriched literature, a new era developed under
Shakespeare's influence began, which was the
beginning of the Uzbek translation school. Contributed
to its formation and development. Shakespeare works
translators, poet and to the attention of writers,
criticism, debates, many studies, became an object of
interpretations and real admiration[13]. Kh. Doniyorov,
A. Rahimov: "Many successful translations of rare
examples of world literature have enriched the cultural
treasure of our people and served to develop their
spiritual life. From this point of view, the immortal
tragedies of V.Shakespeare, works of A.S.Pushkin and
M.Y.Lermontov, novels of L.N.Tolstoy and R.Tagore,
Mark
Twain
and
Balzac,
Sh.Rustaveli
and
T.Shevchenko, M.Gorky and Lu.Sin, Nazim The best
works of Hikmat and Yulius Fuchik, M.Sholokhov and
M.Avezov have been translated into Uzbek translation.
along with being considered a great achievement of
our art, it made a great contribution to our spiritual and
cultural development"[14, 221],
‒
expresses his opinion
about literary translation of the period. They also note
that Maqsud Shaikhzade and Shunqar have tried to
translate Shakespeare's sonnets and compare them:
"Sheikhzade's
translation
is
very
close
to
Shakespeare's sonnets, and many features of the work
are conveyed to the reader naturally. There is no doubt
that skill plays a role here.'' The authors emphasize
here, firstly, the superiority of skill, and secondly,
"mullaq", which is not correct in content in Shunqor's
translation and is presented only for weight
("repetition of "gorkam", "mehri ziyada"), which
cannot convey the meaning of the Russian ”, shows the
use of the words “days”, “orazing” as its
shortcomings.
Along with his teacher Maqsud Shaykhzade, Yusuf
Shomansur showed enthusiasm in translating
Shakespeare's sonnets and continued his work as a
translator in his own unique way. It was noted that he
completely translated Shakespeare's sonnets as his
major translation work. Boriyeva Nargiza analyzes the
direct and indirect translations of Shakespeare's
sonnets,
examines
their
achievements
and
shortcomings. Yusuf praises Shomansur's translation
skills: "Translating a sonnet is twice as difficult as
Volume 04 Issue 12-2024
75
American Journal Of Philological Sciences
(ISSN
–
2771-2273)
VOLUME
04
ISSUE
12
P
AGES
:
70-77
OCLC
–
1121105677
Publisher:
Oscar Publishing Services
Servi
translating a poem. Because the sonnet limits the
translator a little. The translator has absolutely no right
to edit the content and form of the sonnet. This limits
the freedom of the translator. The translator of the
sonnet, first of all, should not spoil its content, inner
musicality and tone, the charming sound of the rhymes
should not lose its original form, the beauty of
figurative expressions should be preserved. Yusuf
Shomansur also tried to follow this method while
translating Shakespeare's sonnets. The skill of the
translator is that no one thinks that the sonnets
translated by the poet are translated from Russian, but
they are accepted as sonnets written in Uzbek. If the
reader compares them with their Russian translation,
he will recognize Yusuf Shomansur's skill as a
translator. Because the translator deeply understood
the true nature of the sonnet and tried to preserve its
whole spirit. It should be said here that Yusuf
Shomansur's translation is not a surrogate of the
original, but a unique form of Uzbek poetry. He did a
commendable job of conveying Shakespeare's burning
breath to the Uzbek reader" [15,96]. The dissertation
mentions the achievements of the translation as well
as lists some of its shortcomings. He points out that in
some sonnets there are falsities in tone and rhyme,
idiosyncrasies in the choice of words, deviations from
the content. We thought it would be appropriate to
point out that the translator used indirect translation
as the cause of these errors. Because there are two
clearly visible disadvantages of indirect translation: the
first is that any work absorbs to a certain extent the
features of the translated language and adapts to the
literary environment in which it is translated; the
second - the translator who turns from the
intermediary language remains the author and follows
the interpretation of the translator, repeating exactly
the mistakes he made. Due to the fact that any
translation is not free from a certain level of errors, its
errors, combined with those of its predecessor, are
doubled. 6 translations of Shakespeare's sonnet 66 are
analyzed in the article "Linguoculturalism in the
translation of Shakespeare's sonnets". When
comparing the translations of N. Gerbel, F. Chervinsky,
M. Tchaikovsky, B. Pasternak, O. Rumer, S. Marshak, it
was found that the content of Gerbel and Tchaikovsky
is somewhat close to the original, the connection
between verses is lost in the translations of Chervinsky,
Rumer and Marshak, they that it is not so bright and
expressive is shown as a flaw, and Pasternak tries to
preserve the meaning of the last two verses and
convey them correctly The fact that it was successfully
evaluated once again confirms the correctness of our
opinion, that is, that the errors in Yusuf Shomansur's
translation were also caused by the shortcomings of
Marshak.
After independence, more precisely, in 2010, the first
translation from the original text into Uzbek was made
by Jamal Kamal [17, 121-195]. Jamal Kamal skillfully
translates not only Shakespeare's sonnets, but also 12
Volume 04 Issue 12-2024
76
American Journal Of Philological Sciences
(ISSN
–
2771-2273)
VOLUME
04
ISSUE
12
P
AGES
:
70-77
OCLC
–
1121105677
Publisher:
Oscar Publishing Services
Servi
plays. He also enriched the treasury of Uzbek literature
by translating a number of masterpieces of world
literature.
The highest peak of Jamal Kamal's translation art is U.
Shakespeare's "Sonnets". While reading these
translations, you will not only be amazed by their
perfection, but you will feel as if these poetic lines were
written by Shakespeare in Uzbek[18]. Dissertation
Boriyeva Nargiza Yusuf Shomansur, Jamal Kamal
compares the translations with the original. To
compare Yusuf Shomansur's work, he refers to the
Russian translations of S. Marshak. In particular, in the
process of analyzing sonnet 66, Yusuf Shomansur
emphasizes that he enriched the translation of S.
Marshak with solemn expressions. We can feel that the
loading used by the translator served to increase the
solemnity:
Nafratimga duchor: hukmki nohaq
—
Kamolotga zavol, iffatki
—
poymol,
Sharmandaliklarki,
—
qilinar ardoq,
Qudratki,
—
zaiflik changalida lol.
Also, the spirit of drama is blowing in the verses. The
world is depicted as falling into the swamp of error.
The lyrical hero is naked, covered in luxurious clothes,
and everything. This expression is in Yusuf Shomansur:
Hashamdor libosda,
—
har narsaki puch;
In Jamal Kamal:
Va hasham libosda yurgan jaholat
Expressed in the form Translators refer to the last
verses in their own way, in a special tone. Yusuf
Shomansur:
Nimaiki ko‘rdim,—
bari badkirdor,
Lekin seni qandoq tashlab ketay, yor
and infuses his own style into the verses.
REFERENCES
1.
Talantlivoe netlenno [electronic resource]
–
URL:
http://www.rcmagazine.ge/component/content/ar
ticl/1018.html
2.
Goncharenko,
S.F.
Poetic
translation
and
translation
poetry:
constant
and
variable
[electronic
resource].
–
URL:
http://samlib.ru/w/wagapow_a_s/poetic-
transl.shtml.
3.
Lukacs, S.T. Poeticheskiy perevod - eto splav dvukh
individualostey,[elekronnyy resurs]/ S.T. Lukacs.
Poeticheskiy
perevod
–
eto
splav
dvux
individualostey,
2013.
–
URL:
http://www.proza.ru/2014/09/18/551.
4.
Lozinsky,
M.L.
Iskusstvo
stikhotvornogo
perevoda[text]
/
M.L.
Lozinsky.
-
M.:
Prosveshchenie, 1987. P.92.
Volume 04 Issue 12-2024
77
American Journal Of Philological Sciences
(ISSN
–
2771-2273)
VOLUME
04
ISSUE
12
P
AGES
:
70-77
OCLC
–
1121105677
Publisher:
Oscar Publishing Services
Servi
5.
Gasparov,
M.L.
Bryusov
and
literalism[text]/M.L.Gasparov//Masterstvo
perevoda 1971. - M.:Sov.pisatel, 1971. - S.88-128.
6.
Naumenko, O.V. Osobennosti i trudnosti prevoda
poezii , [Electronic resource]/ O.V. Naumenko//I
International Scientific and Practical Internet
Conference "Dialog culture - dialog o mire i vo imya
mira",
2012.
-
URL:http://www.confcontact.com/2012_10_24/5_n
aumenko.htm
7.
Gumilyov, N.S. O stikhotvornykh perevodax,
[Electronic
resource]/N.S.
Gumilyov//Nikolai
Gumilyov: electronic collection, 1997-2016. URL:
https://gumilev.ru/clauses/5/.
8.
Gafurov I, Khurshid Dostmuhammad. The love and
irony of translation// World literature, 2012, 11.
9.
www. kh-davron.uz.
10.
Boriyeva N. The artistic style of Shakespeare's
sonnets and the question of its restoration in
Shakespeare's sonnets: Doctor of Philosophy in
Philology (PhD)... diss thesis.
‒
Tashkent, 2020.
–
158 B.
11.
Shakespeare U. Sonnets. Translated from Russian
by Y. Shomansur. T., 1978, pp. 7-190.
12.
Kholbekov M. "Ishqing sakhchuchchi koksim
bekalkan yakhud" or Shakespeare's happy
sonnets/Literature and art of Uzbekistan". 2009,
No. 28.
13.
Rahmatova M, Beknazarova D. Presentation of
linguokulturemas
in
the
translation
of
Shakespeare's sonnets/ International journal of
education, social science & humanities. finland
academic research science publishers. 22-04-2023.
14.
Doniyorov X, Rahimov A. Some issues of our
literary translation//Eastern Star. 1967. Issue 8.
Page 221. 240 p.
15.
Sultonova D. Problems of direct and indirect
translations
of
artistic
texts//Educational
innovation and integration. 11-05-2024.
16.
Shakespeare W. Sonnets. Translated from English
by J. Kamal. T., 2010, pp. 121-195.
