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TRANSLATION OF SOME NATIONAL-CULTURAL
PHRASEOLOGISMS
(ON THE EXAMPLE OF CHULPAN POEMS)
Jumaev Farkhod
Associate Professor of Tashkent Institute of Economy and Pedagogy,
Candidate of Philological Sciences
Okmamatova Mukaddas
Independent Researcher
https://doi.org/10.5281/zenodo.14500283
Abstract
The article examines such features as the reflection of nationality in
translation studies, especially in literary translation, as well as the translator's
word usage skills on the example of translating the works of Chulpan
Abdulkhamid Suleyman ugli. It is known that Chulpan's works are excellent both
artistically and ideologically, and this article presents a comparative analysis of
some national-cultural phraseologisms in the translation of her poetry.
Keywords.
Phraseme, phrase, lexical unit, grammatical pattern, knock over,
overturn, polysemantic character, reality, shades of meaning, highly praise, well-
wishing, with highest recommendation, synonymous line, text content.
It can be observed that the emergence of phraseology, that is, expressions,
is formed and refined in harmony with the development of the language from
time to time, and over time acquires a certain linguistic pattern. They belong to
the wealth of vocabulary, that is, when the need for it arises in the course of
speech, it does not have to be composed like a sentence, but on the contrary, it is
used as a ready-made lexical unit. Phraseological units expressing national-
cultural meanings in our language, related to the values of the nation, are
considered the lexical wealth of the national language, and their use in fiction
translation is inappropriate until they are fully understood.
In lyrical works, translation of these linguistic units is allowed, taking into
account the possibilities of rhyme, number of syllables and, of course, poetic
weight. Below we can trace how in Chulpan's poetry phrasemes are very
skilfully used as the main expression of the poet's thoughts:
O‘tganlarning zahari ham bu kunda,
Ko‘ngillarga tegmay o‘tar kabidir
. [1. page 396]
Usually, the phraseme “
ko‘ngilga tegmoq
” means
to annoy
,
to disgust
. In
the “Explanatory Dictionary of Uzbek Language” it is defined as follows:
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“
Ko‘ngliga tegmoq
(or
urmoq
),
to tire, to annoy, to get stale, to bore, to tire of
” [2.
page 448]. But this phrase is not used as a word combination in Uzbek and
English. In English, we can say that this phraseme is similar in meaning to the
phrasemes “
overturn
”, “
overturn
” [3.
Hence, we can see that even in the above-mentioned poem the phrase with
the meaning “
jonimga tegadigan
” served as one of the peculiar pictorial means
of symbolism, celebrating the ideas of freedom of the poet.
Let us also note one more line from this poem:
Og‘iz ochsang, yo‘qsil elni ezmakka,
Qon qilmoqqa hasratlaring ko‘p erur.
[1. page 396]
The phrase “
Og‘zi ochiq”
also has many meanings in Uzbek language, i.e.
this phrase is considered to have many meanings:
-
og‘zi ochilib qolmoq
-
be surprised at
;
-
og‘zi ochiq
–
ro‘za tutmagan kishi
;
-
og‘iz ochmoq
–
speak, start speaking
. [2. page 186]
In English, the phrasemes “
take someone’s breath away
”, “
blow
someone’s mind
” express the meaning of “
og‘zi ochilib qolmoq
”, that is,
astonishment
. However, the phraseme
og‘zi ochiq
-
ro‘za tutmagan kishi
does not
exist in English. This is because this phrase is a concept specific to Islam, and
during the month of Ramadan, refers to the process of
og‘iz yopib
in the
morning (
stopping eating
) and
og‘iz ochish
in the evening (
continuing to eat
).
Looking at the translation of such phraseology as realia, one has to make
separate remarks to it in the work as an addition. Consequently, in such a case,
clarification of the interpretation of religious concepts by separate footnotes and
comments in the translation of national-cultural phraseological phrases is
required. Also, the phrase “
qon qilmoq
” in Uzbek means
to pay close attention
,
to
drive someone into a frenzy
. [6. page 329] This phraseme is explained in English
through phrases such as “
bad-looking
”, “
make ugly
”, “
make unattractive
”.
[15. https://thesaurus.plus]
It seems that without a full understanding of the semantic connotations of
phraseological phrases in the translation of a work of fiction, especially in poetic
works, especially the meaning that derives from the general content of the
literary text, it will not be possible to translate it.
About it writes literary scholar M. Makhmudov puts it this way: “Grigory
Kozintsev, seeing during his trip to England places where Shakespeare was born,
lived, created, returning with philosophical reflections, writes: “Poetry perfects,
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purifies people. It makes hearts warm. Noble anger awakens the conscience.
People discover in Shakespeare's tragedies the true image of both bravery and
arrogance.”[16. page 42] From this we can see that the creator, creating the
image of his hero, maximally uses the available in the language pictorial
expressions (means), when coming to the surface of which the role of linguistic
possibilities in artistic language, such as phraseological phrases, is extremely
important, and that in artistic translation it requires from the author a fine
aesthetic taste, great skill.
It is known that the works of Chulpan Abdulkhamid Suleyman ugli, a
creative, talented poet, one of the mature representatives of Jadid literature,
approaching the word with exceptional subtlety, are perfect both in artistic and
ideological terms. This is especially evident in his poems.
The poet's poems use, among other things, such phraseological units as:
Maqtamadim, ko‘kka ko‘tardim sizni men,
Endi menga sizga yetmaklik qiyin
. [Tan. asarlar- page 120]
“Explanatory Dictionary of Uzbek language” gives the following definition to
the phrase “
ko‘kka ko‘tarmoq
”: “
Ko‘kka ko‘tarmoq
” is
exaggeration of
description and definition, excessive praise
. That is to say, the poet has elevated
the definition of beautiful to such a high degree that he has now revealed the
meaning of an expression that cannot be reached, that is, very difficult, through
the phraseological unit he has used.
Indeed, this combination means
to praise
,
to applaud
. But the peculiarity of
this word combination as a lexical unit, in which the meaning of the combination
“
ko‘kka ko‘tarildi
” as the phrase “
a flock of birds went up to the sky
, i.e.
flew up to
the sky
”, is also one of the important factors that a translator should know. For
this purpose, it is necessary to keep in mind that some phraseological phrases
can form word combinations also in their meaning as lexical units of the
language.
And in English the phraseological unit “
ko‘kka
ko‘tarmoq
” can be expressed by the following phraseological units: “
highly
praise
”,
“
well-wishing
”,
“
with
highest
recommendation
”.
[5.
https:/www.thesaurus.com] That is, “
to express strong approval or admiration
for someone or something, especially in public
” [5, p. 1162] in Uzbek means “biror
kimni yoki narsani ma’qullash yoki hayratni ifodalash, ayniqsa, jamoat
joylarida”.
But an important aspect in the translation of a work of fiction is that the
content of the expressed text is realized through such linguistic units as exactly,
or partially through words forming a synonymic line.
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“Suv qizi:
Chiroyli, sochlari qop-qora,
Bo‘ynidan sochilgan, tarqoq,
Ko‘zlari
dil tortar
, chetroqdan bir qara. [specified work. p. 45.]
In our example above, the phraseological unit “
dil tortar
” is used, in which
the meaning is acquired by the fact that through the linguistic unity a trait is
manifested, i.e. the expression of beauty. “Explanatory Dictionary of Uzbek
language” defines this phrase in the following way: “
pleasant, agreeable,
attractive, charming, heartwarming
”. [6, p. 617]
The lines of this poem give a beautiful image of the beloved, and the poet
describes the black hair of the beloved, her eyes, close to the heart, which
provides the artistic appeal of the work. By examining the English variants of
phraseological units expressing beauty in this poem, it will be possible to
determine which of them is more of a definition of the poet, that is, an
expression of the meaning understood from the text. For example, in English
such combinations as
good-looking, nice-looking, well-favoured, eye-catching,
easy on the eyes
[5, p.522] serve to denote the phraseological unit
“dil tortar”
,
expressing exactly this meaning in the text. But not all of the above applies to the
eye as described by the poet. Of these, the meaning understood from the
combinations “
eye-catching
”, i.e. “
glaring
”, “
good-looking
”, i.e. “
beautiful
”, is
exactly the same as the meaning expressed for the word “eye”, and is therefore
correct when used in translation texts with that meaning. It follows that the
translated phraseological combination cannot be said to represent the full
meaning of such a combination in the second language. Only the text comes to
the surface when the content is translated. Instead of concluding, we can say
that the works created by any Creator are his inner experiences, his
recognitions. In order to translate them as much as possible, it will be necessary
to fully understand the spiritual world of this creator and the content of the
work that is based on them.
Based on the requirements of fiction translation, it should be said that the
translator of lyrical and poetic works will also have to possess spontaneous
creative skills, i.e. poetic skill. Therefore, prose works are mostly translated by
creators who write in prose, while scientific-lyrical works can be translated by
poets or those who are well versed in poetry. The most important aspect of
translation is the translation of poetic experiences into another language, that is,
a complete translation without compromising the meaning and artistic aspects
of the work of fiction.
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That is why translation itself is regarded as a whole creative process. In
translation studies, especially in literary translation, national-cultural
phraseological expressions are the embodiment of folk spirituality, capable of
showing all the possibilities of the native language. Thus, in their translations,
the translator has a duty to responsibly approach the content of the text based
on its character. The translator is a bridge between the two languages, which
allows to penetrate deeper into the universal and national values of the peoples
speaking these languages, as well as in the way they are reflected in the
translation of this work is artistically educated for readers, and the idea of the
work put forward by the author becomes clear.
List of references:
1. Cho‘lpon. Yana oldim sozimni. Saylanma. T:1991.
2. O‘zbek tilining izohli lug‘ati. III,IV,V jildlar. T: 2007. “O‘zbekiston” milliy
ensiklopediyasi Davlat ilmiy nashriyoti.
3. M.Mahmudov. Hayrat va tafakkur. T:1990.
4. Bahodir Karim. Ruhiyat alifbosi. T:2018.
5. Larin B.A. Очерки по фразеологии. Уч. Зап. ЛГУ, серия филол.наук. -Л,
1956. №24.
6. Macmillan English dictionary for advanced learners. Second edition. 2012.
7. https://www.thesaurus.com
8. https://thesaurus.plus
