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FROM THE EXPERIENCE OF TRANSLATION OF MODERN UZBEK POETRY INTO
THE TAJIK LANGUAGE (based on materials from the collection "Chashmai Khurushon")
Rasulova Zulfiya Kholmurotovna
1
Mirzakulov Uktamjon Almardanovich
2
Lecturer at the Denau Institute of Entrepreneurship and Pedagogy
1,2
e-mail:
Abstract:
Tolerant interaction of languages, cultures and literatures of different nationalities not
only contributes to the establishment of social peace and friendly communication. This is also a factor
that determines the combination of unusual cultural layers in art and literature, that is, a harmonious
combination of features of different national cultures, which are not just unreality, affirming the
diversity, beauty and richness of human relations.
Keywords
:
mutual understanding, heritage, translated literature, historical figures, tolerance,
mutual understanding.
Introduction
Coverage of the literary experiences of
modern Uzbek poets into the Tajik language
has its own long tradition. Many famous poets
of Tajikistan, such as M. Tursunzade, M.
Mirshakar, A. Dehoti, M. Rahimi, Gulchekhra
Suleimanova, and younger masters of the
literary word Mumin Kanoat, Loik Shrali,
Gulnazar Keldi, Gulrukhsor regularly refer to
the works of the best poets and prose writers
Abdulla Arypov, Erkin Vakhidov, Sirajidin
Said, Usman Azim Uigun Ruziev and other
translations into the Tajik language.
For many centuries, Tajiks and Uzbeks have
always been together, appreciated friendship
and brotherhood. Thanks to outstanding
historical personalities, relations of friendship
and mutual understanding grew even stronger
and acquired new content, a vivid example of
this is the creative community and friendship
between Mavlono Abdurahman Jami and Mir
Alisher Navoi. Contemporaries, and then other
chroniclers, recalled their amazingly sincere
relationship, which can be between a spiritual
mentor and a devoted disciple.
Speaking about translated literature, we
consider it necessary to mention the numerous
translations into the Tajik language of precisely
those artists of the word of Uzbekistan, whose
work has left a deep imprint on the literary
heritage of Tajik literature.
Thanks to the excellent translations of Loik
Sherali, Askar Hakim, Kamol Nasrullo,
Gulchekhra, the poetry of Zulfia, Turob Tula,
Erkin
Vakhidov,
Ramza
Babajan,
R.
Musurman, S. Sayyid and others has become
widely known and beloved among the Tajik
public. Moreover, the poetry of Uzbek artists of
the word, their poetic perception of the world is
inseparable from our land: "... But this is where
I came from, I come from and will be", - wrote
the poet S. Sayyid, and we find the same
feelings and thoughts in the creations of many
Tajik poets. For example, for Loic:
Do not regret good for a person,
We are people, and we live for people.
And wheat is rolling in the field,
The lower, the heavier the ears. [2, 34]
According to literary scholars [1. 2, 3,], the
main motive that prompted Gulrukhsor, Saidali
Mamur and Kutbi Kirom to translate the poetry
of Gafur Gulyam, Zulfiya and Erkin Vakhidov
into the Tajik language, was that these
outstanding Uzbek poets sincerely sang the
friendship of the Tajik and Uzbek peoples,
fueled love -Persian literature. Many modern
poets were inspired by the poetry of Saadi,
Ferdowsi, Khayyam, Hafiz and Jami, which is
reflected in their work and significantly
enriched Uzbek literature. So, for example,
Gafur Gulyam, along with Navoi and Fuzuli,
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calls Hafiz, Saadi and Bedil as his mentors and
inspirers of his poetry and writes in his poem:
Dustii neki Chomiyu Navoi bakhri mo
Hast ramzi dustii without will khalkho.
Asrhoi asr Monad Hasafi Hamdami,
Baini in duhalk n-aftad tafriki hato kame ...
[1.95]
Among the remarkable works of famous
Uzbek authors translated into Tajik, it is
important to note the collections of a number of
modern
Uzbek
poets
(Matnazar
Abdulkhakimov,
Khosiyat
Rustamova,
Minhajiddin Mirzo, Rustam Mirvakhid, etc.),
which Tajik readers got to know thanks to the
collection
"Chashmai
Khurushon"
[4],
published in 1981, which included poems by
such famous Uzbek poets as Uigun, Askad
Mukhtor, Turob Tula, Ramz Bobodjon,
Mirmukhsin, Shukrullo, Utkur Rashid, Pulod
Mumin, Jumaniyoz Jabborov, Dusan Faizi
Erkin Vohidov and many others.
One cannot fail to note the sound of the Tajik
literary word in this collection, which, thanks to
equivalent translations, presents to the Tajik
reader in the Tajik language the aforementioned
famous poets of Uzbekistan with their deeply
inspired poems, which reflect the best traditions
of classical Uzbek verse and the fusion of
modern Uzbek poetry with the masterpieces of
world literature.
An important circumstance is that in
translation work, the Tajik language, along with
Russian, often acts as an intermediary
language: it is very important that Tajik poets
translate their Uzbek counterparts not on the
basis of Russian interlinear translations, but
directly from the original. Therefore, many
translations sound like they were originally
written in the Tajik language. Thus, it can be
argued that this experience of the translation
school is unique in its kind and can serve as an
important material in the study of the process of
mutual influence and mutual enrichment of
Tajik and Uzbek literature, to promote an active
translation exchange of literary texts between
Uzbek and Tajik poets and writers.
In order not to be unfounded, we will cite
several poems by Uzbek authors, translated into
the Tajik language, which, by the beauty of
their sound and the perception of the artistic and
stylistic features of the individual style, cannot
fail to delight those who know the Tajik and
Uzbek languages. Due to the impossibility of
citing in this small article, along with the
translation of the original text, we limited
ourselves only to the translations themselves.
For example, here is a poem by Nurmurod
Narzulloev, translated by the remarkable Tajik
poet
Kutbi
Kirom,
which
is
called
"Samarkand":
Maconi oftobu nur borad,
Khazoron kasri bas ma'mur dorad.
Ba dunyo yak dili masrur dorad,
Zi chasmi bad thin dur dorad,
Samarkandi chu candi bostonro ...
Chu shoirho dili purchush dorad,
Chu shahmardon labi khomush dorad.
Khazoron kuchai and gulpush dorad,
Zi atri sad chaman gulnush dorad,
Ziyoratgah buvad u oshikonro ... [4, 141]
Another excellent translation of Erkin
Samandarov's poem translated by Rakhmat
Nazri. The poem is called "Modar bud intizor"
("Mother waited for everything"):
Modar bud intizor,
Farzand barnagasht.
Omad hati siyoh,
Tir az chigar guzasht.
La'anat ba changi noise!
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Modar ba kahr hond.
Bo nawha ashki hash,
Az chashmi tar fishond ... [4.215-216].
When translated back, these transpositions
literally turn into copies of the original and
there is no doubt that they distort the content
and formal features of the poems of Uzbek
poets. In fact, translations of poems by Uzbek
poets into Tajik and Tajik poets into Uzbek can
serve as a standard for equivalent translations.
The poem of the poet Muhammad Ali,
famous in Uzbekistan, literally fascinates with
its accessible simplicity and beauty of the
syllable - qualities that the Tajik poet and critic
Askar Hakim managed to convey in his
translation.
Let us turn as an example to the lyric poem
"Dukhtar imshab tarona mehonad" ("On this
night the maiden sings a song"):
Dukhtar imshab tarona mehonad,
Nurboron samoi nilikor.
Dukhtar imshab tarona mehonad,
Bo itself, bo sitoraho hips.
Dukhtar imshab tarona mehonad,
Gazalash mebarad ba gardunam.
Sher rezad zi umki sinai man,
Shavad anchumu moss maftunam ... [4,229]
In translation studies, the thesis is often
encountered that the main defining principle of
text equivalence is the communicative-
functional feature, which consists of the
equality of the communicative effect produced
on the recipients of the original and translated
texts. With this postulate one could agree with
some reservations and wishes.
However,
when
interpreting
communicative-functional equivalence, it is
argued that, when creating a text in the native
language, the translator constructs it in such a
way that the recipient of this translation would
perceive it in the same way as the recipient in
the original language. In other words, ideally,
the translator himself should not introduce into
the text of the message an element of his own
perception, different from the perception of this
message by the recipient to whom it was
addressed. Based on the example of the above
translations of Tajik poets, it can be argued that
all of them more often adhered to this principle.
Concluding this short article, which only
outlined the future great work in this direction,
it is important to note that the tolerant
interaction of languages, cultures and literatures
of different nationalities not only contributes to
the establishment of social peace and friendly
communication. In Tajikistan, it is also a factor
that determines the combination of unusual
cultural layers in art and literature, the creation
of what literary critics and culturologists
increasingly call the "Tajik text". That is, a
harmonious combination of features of
different national cultures, which are not just
unreality, affirming the diversity, beauty and
richness of human relations.
Literature:
1. Abdusalom Samadov. Istiklol wa ma'rifati
adabiyot.
Nashrieti
"Tyronzamin
ziyo",
2015.300 p.
2. Gafur Gulom. Asarlar, 10 parts, -Toshknt:
Gafur Gulom nomidagi adabiyot va sanat
nashriyoti., III volume, 1970 p.
3. Loic. Praying for rain. Poems. Dushanbe.
Adib, 1989.199 p.
4. Chashmai Khurushon. (Bayozi nazmi
muosiri uzbek). Dushanbe, 1981. Irfon: 271 p.
