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THE USE OF ARTISTIC LANGUAGE TOOLS IN THE TRANSLATION OF
GOETHE'S WORKS INTO UZBEK
Homidova Nafisa
Shahrisabz Pedagogical Institute
Annotation:
This article explores the use of artistic language tools in the translation of Johann
Wolfgang von Goethe’s works into Uzbek. Special attention is given to the role of metaphors,
epithets, similes, symbols, and other stylistic devices in preserving the philosophical depth and
poetic spirit of Goethe’s writings. By comparing original texts such as Faust
,
The Sorrows of
Young Werther, and West–Eastern Divan with their Uzbek translations, the study highlights the
challenges faced by translators, including cultural differences, the balance between form and
meaning, and the rendering of complex philosophical imagery. The discussion emphasizes the
strategies used by Uzbek translators to adapt Goethe’s works while retaining their artistic
essence, thereby creating a productive dialogue between European and Uzbek literary traditions.
Keywords:
Goethe; translation; artistic language tools; metaphor; symbolism; poetic style;
Uzbek literature; literary adaptation.
Introduction.
Johann Wolfgang von Goethe (1749–1832) stands as one of the most influential
writers, poets, and thinkers in world literature. His intellectual legacy extends far beyond the
borders of German culture, shaping the development of Romanticism, philosophy, and world
literary traditions. Goethe’s works, such as
Faust
,
The Sorrows of Young Werther
, and
West–
Eastern Divan
, are celebrated not only for their thematic depth but also for their sophisticated
use of artistic language. Through metaphors, epithets, similes, symbolism, and other stylistic
devices, Goethe constructed a unique poetic universe where philosophical inquiry, emotional
expression, and aesthetic beauty are intricately intertwined. The translation of Goethe’s works
into other languages has always been a demanding process. Unlike purely informative texts,
literary works require the preservation of artistic and emotional resonance. Goethe’s writings
pose a particular challenge because they are deeply rooted in European intellectual traditions
while simultaneously reaching toward universal human concerns. Translators must find ways to
maintain the delicate balance between literal accuracy and poetic beauty, ensuring that the
translated text conveys not only the meaning but also the spirit of the original. In the context of
Uzbek literature, the translation of Goethe’s works has a special significance. Uzbekistan, with
its rich poetic tradition stretching from Alisher Navoi to modern-day poets, possesses a literary
culture that values metaphorical expression, lyrical beauty, and philosophical depth. This cultural
background provides fertile ground for the reception of Goethe’s writings. However, it also
requires translators to navigate between Goethe’s German poetic structures and the stylistic
conventions of Uzbek literature. When successful, such translations not only preserve Goethe’s
legacy but also enrich Uzbek literary discourse by creating a dialogue between European
Romanticism and Eastern poetic traditions.
The purpose of this study is to examine the role of artistic language tools in the translation of
Goethe’s works into Uzbek. It focuses on how metaphors, symbols, and other stylistic devices
are rendered, what challenges translators face in this process, and which strategies are employed
to reconcile cultural and linguistic differences. In doing so, this article aims to shed light on the
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creative and interpretative dimension of translation, demonstrating how literary works transform
when they enter a new cultural and linguistic space.
Analysis of Literature.
The study of Goethe’s translations into world languages has been the
subject of considerable academic attention, particularly regarding the preservation of artistic and
stylistic devices. Literary translation, as scholars have emphasized, is not a mechanical transfer
of meaning but rather an act of cultural mediation that requires both linguistic precision and
artistic sensitivity. André Lefevere (1992)
,
in his influential work Translation, Rewriting, and the
Manipulation of Literary Fame, argues that translations inevitably reshape literary texts in order
to fit the cultural and ideological expectations of the receiving audience. This idea is directly
relevant to Goethe’s works, as their translation into Uzbek necessitates adaptation to local poetic
conventions while maintaining fidelity to the original spirit. Similarly, Susan Bassnett (2002) in
Translation Studies stresses that literary translation must consider not only linguistic equivalence
but also the cultural and aesthetic dimensions of the text. She notes that metaphors, symbols, and
lyrical devices require creative re-interpretation, as literal translation often fails to capture their
intended impact. This aligns with the challenges faced by Uzbek translators of Goethe, who must
balance foreign imagery with expressions familiar to Uzbek readers. In the context of Uzbek
literary scholarship, N. Komilov (1996) in Adabiyot nazariyasi asoslari emphasizes the centrality
of metaphor, symbol, and poetic imagery in the literary tradition. His insights demonstrate that
the Uzbek language, with its rich heritage of classical poetry, is well-suited for the reception of
Goethe’s stylistic devices, provided translators apply them with artistic mastery. Furthermore, R.
Qosimov (2004) in
O‘zbek tarjimachilik san’ati
examines the history of translation in
Uzbekistan, highlighting the creative strategies translators use when introducing world classics
into the Uzbek cultural sphere. His observations show that while literal translation can obscure
artistic depth, adaptive strategies rooted in national poetic tradition allow Goethe’s works to
resonate more deeply with Uzbek audiences. On an international level, V. Zhirmunsky (1960) in
Goethe in World Literature provides a comparative perspective, demonstrating how Goethe’s
poetic style has been reinterpreted in different languages and cultures. He argues that while
Goethe’s universal themes make his works globally relevant, the stylistic rendering of his texts
varies widely across cultures, thus underscoring the translator’s role as both interpreter and co-
creator. Taken together, these studies reveal that translation of Goethe’s works into Uzbek is part
of a larger global process of cultural adaptation. They also highlight the importance of artistic
language tools in bridging linguistic and cultural boundaries, ensuring that Goethe’s
philosophical depth and poetic artistry are preserved in a new literary context.
Materials and Methods.
This study employs a qualitative research methodology, focusing on
the comparative and analytical examination of Johann Wolfgang von Goethe’s works and their
Uzbek translations. The primary aim is to investigate how artistic language tools—such as
metaphor, epithet, simile, symbol, and imagery—are preserved, transformed, or adapted during
the translation process.
Materials.
Primary Sources
,
Original German texts of Goethe’s works, including Faust
,
The
Sorrows of Young Werther
, and
West–Eastern Divan
.
Uzbek translations of these works by prominent translators, which serve as the main material for
comparative analysis. Secondary Sources
.
Theoretical and critical works on translation studies
(Lefevere, Bassnett, Venuti, etc.). Uzbek scholarship on literary translation and stylistics
(Komilov, Qosimov). Studies on Goethe’s role in world literature (Zhirmunsky, Wellbery).
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Methods.
Comparative Textual Analysis, The German originals and Uzbek translations were
placed side by side to identify how artistic devices were rendered. Special attention was given to
metaphors, epithets, and symbolic imagery, as these elements often undergo significant
transformation in translation. Descriptive-Analytical Method, The study describes translation
strategies—such as literal translation, adaptation, substitution, and cultural equivalence—and
analyzes their effectiveness in preserving Goethe’s artistic style.
Contextual Analysis
. The role of cultural and historical context in shaping translation choices
was examined. This method helps explain why certain stylistic devices were transformed to align
with Uzbek literary traditions and audience expectations. Comparative Literary Approach
.
By
situating Goethe’s works within both German Romanticism and Uzbek classical/modern poetic
traditions, the research evaluates how cross-cultural dialogue enriches the reception of Goethe in
Uzbekistan. Through these combined methods, the study aims to highlight not only the linguistic
challenges of translating Goethe but also the creative solutions that allow his works to resonate
within the Uzbek literary landscape.
Research Discussion.
The translation of Goethe’s works into Uzbek demonstrates both the
opportunities and the challenges of conveying artistic language tools across linguistic and
cultural boundaries. The comparative analysis of the original German texts and their Uzbek
translations reveals several key patterns.
1. Preservation of Metaphors and Symbolism. Goethe’s use of metaphor and symbolism,
particularly in
Faust
, presents a significant challenge for translators. For example, the metaphor
of the “two souls dwelling in one breast” (“Zwei Seelen wohnen, ach! in meiner Brust”)
expresses a profound existential conflict. Uzbek translators rendered this as
“Ikki jon yashaydi
bag‘rimda”
, which maintains the metaphorical structure and emotional depth. This demonstrates
the adaptability of the Uzbek language to carry Goethe’s philosophical imagery without losing
its poetic resonance.
2. Adaptation of Cultural References. Goethe often employed European cultural references and
mythological allusions. For instance, his references to Greek mythology or Christian symbolism
do not always have direct Uzbek equivalents. In such cases, translators frequently resorted to
adaptive strategies, replacing unfamiliar references with more accessible imagery, or preserving
the original but providing contextual explanations in footnotes. This adaptive method aligns with
Lefevere’s (1992) argument that translations inevitably “rewrite” the text to fit the expectations
of the receiving culture.
3. Stylistic Equivalence in Poetic Form. In
West–Eastern Divan
, Goethe experimented with
oriental poetic forms inspired by Persian and Arabic traditions. Uzbek translations, drawing on
the nation’s own classical poetic heritage, often mirrored these forms with local rhythm and
rhyme patterns. This strategy not only preserved the aesthetic effect but also made Goethe’s
verses feel more natural to Uzbek readers, echoing Komilov’s (1996) assertion that Uzbek poetry
has a rich metaphorical system well-suited for cross-cultural adaptation.
4. Philosophical Depth and Reader Accessibility. Goethe’s philosophical reflections in
The
Sorrows of Young Werther
highlight the tension between individual emotion and societal
constraint. Uzbek translators attempted to preserve the lyrical tone and emotional depth of
Werther’s letters while simplifying certain dense passages for accessibility. This demonstrates
Bassnett’s (2002) point that translators often act as cultural mediators, balancing fidelity to the
original with the needs of a new readership.
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619
5. The Translator as Co-Creator. The analysis confirms that translators of Goethe into Uzbek are
not merely conveyors of meaning but co-creators of literary experience. By carefully selecting
artistic equivalents, they enable Goethe’s universal themes—love, freedom, conflict, and
destiny—to resonate with Uzbek cultural and literary traditions. In this sense, the act of
translation becomes a dialogue between German Romanticism and Uzbek literature, enriching
both traditions.
Summary of Findings, Metaphors and symbols were generally well-preserved, showcasing the
expressive potential of the Uzbek language.
Cultural references required adaptation, reflecting the importance of contextual equivalence.
Poetic style was effectively mirrored using Uzbek classical forms, enhancing the aesthetic
quality of translations. The philosophical and lyrical depth of Goethe’s works was largely
retained, though simplified in places for reader comprehension. Translators played a creative role,
shaping Goethe’s voice for a new cultural context.
Conclusion.
The translation of Johann Wolfgang von Goethe’s works into Uzbek demonstrates
the vital role of artistic language tools in bridging cultures and preserving literary beauty. The
comparative analysis has shown that metaphors, symbols, and poetic imagery, which form the
essence of Goethe’s style, can be successfully adapted into Uzbek without losing their
philosophical depth or emotional resonance. While some cultural references required
modification or contextual explanation, the overall artistic spirit of Goethe’s writings was
maintained. Uzbek translators skillfully employed the resources of their own literary tradition—
particularly its metaphorical richness and rhythmic flexibility—to reflect the poetic quality of
Goethe’s works. In doing so, they not only introduced Goethe to a new readership but also
contributed to the enrichment of Uzbek literature by fostering a dialogue between German
Romanticism and Uzbek poetic heritage. Ultimately, the study highlights the translator’s role as
a creative mediator. Translation is not simply the transfer of words from one language to another
but the recreation of meaning, emotion, and artistry in a new cultural context. Through their
efforts, translators ensure that Goethe’s timeless themes of love, freedom, and human struggle
continue to inspire readers across linguistic and cultural boundaries.
References
1.
Bassnett, S. (2002).
Translation studies
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Faust
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3.
Goethe, J. W. von. (2012).
The sorrows of young Werther
(M. Hulse, Trans.). Penguin
Classics. (Original work published 1774)
4.
Goethe, J. W. von. (2010).
West–Eastern Divan
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5.
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Adabiyot nazariyasi
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Translation, rewriting, and the manipulation of literary fame
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