Volume 03 Issue 10-2023
11
International Journal Of Literature And Languages
(ISSN
–
2771-2834)
VOLUME
03
ISSUE
10
Pages:
11-18
SJIF
I
MPACT
FACTOR
(2021:
5.
705
)
(2022:
5.
705
)
(2023:
6.
997
)
OCLC
–
1121105677
Publisher:
Oscar Publishing Services
Servi
ABSTRACT
The article examines archaisms and historicisms in the English language of W.Shakespeare’s time as a translation
challenge, as well as the functional element of archaic vocabulary and methods of transmission when translating from
English into Uzbek. Various theoretical viewpoints in the realm of archaism and historicism translation are addressed.
Based on their research, the authors conclude that in order to appropriately express the traits of a distant literary text,
it is critical to keep, first and foremost, the lexical and grammatical characteristics of the original while translating it.
The key lexical characteristics of such a text are archaisms and historicisms. After researching the various methods of
translating these lexical units from English into Uzbek, the authors believe that the selection of an analogue and the
search for equivalent correspondences are the most effective.
KEYWORDS
Archaisms, historicisms, translation problem, translation equivalent, pronoun, phraseological unit.
INTRODUCTION
In a living language, the quantity of new lexical units
constantly surpasses the number of words leaving the
active vocabulary. When words leave the active
dictionary, they are classified as archaisms. Translation
of archaisms can be difficult for a translator since it is
vital to transmit to the reader the meaning and
Research Article
DIFFICULTIES IN TRANSLATING ARCHAISMS AND HISTORICISMS
Submission Date:
October 01, 2023,
Accepted Date:
October 06, 2023,
Published Date:
October 11, 2023
Crossref doi:
https://doi.org/10.37547/ijll/Volume03Issue10-03
Norova Mavluda Fayzulloyevna
Associate Professor, Doctor of Philosophy in Philology of The Department of English Language at The Faculty
of International Students of Bukhara State Medical Institute Named After Abu Ali Ibn Sino In Bukhara City in
Uzbekistan
Journal
Website:
https://theusajournals.
com/index.php/ijll
Copyright:
Original
content from this work
may be used under the
terms of the creative
commons
attributes
4.0 licence.
Volume 03 Issue 10-2023
12
International Journal Of Literature And Languages
(ISSN
–
2771-2834)
VOLUME
03
ISSUE
10
Pages:
11-18
SJIF
I
MPACT
FACTOR
(2021:
5.
705
)
(2022:
5.
705
)
(2023:
6.
997
)
OCLC
–
1121105677
Publisher:
Oscar Publishing Services
Servi
meaning of the original word while keeping the
meaning and meaning of the word used by the
contemporaries of a particular work. Because the
original text was written at a large distance in the past,
terms employed by the author as neutral and regarded
as so by contemporaneous readers of the author may
lose their neutral character in the perception of
following generations, becoming archaisms and
historicisms [2]. When translating obsolete vocabulary,
the translator may meet a variety of issues connected
to the methods of directly transferring historicisms and
archaisms.
Archaisms are outdated terms that have survived the
language but are no longer employed in everyday
conversation. [6]. They are employed as a stylistic
strategy in writing, particularly poetry, to create a
sombre image of an event or to produce a realistic hue
when representing a certain era. There are terms in
works made in a different age than the present one
that passed into the category of archaisms
considerably later than the time of their production.
Many terms in W.Shakespeare’s writings, for example,
are in this category.
The following terms are instances of archaisms found
in nineteenth-century writing that have a stylistic
function: «billow» - to
ʻ
lqin, mavj, «behold» - ko
ʻ
rmoq,
kuzatmoq, mushohada (tomosha) qilmoq, mahliyo
bo
ʻ
lmoq, «brow» - peshana, manglay, «ire» - g
ʻ
azab,
qahr, «perchance» - tasodifan, mabodo, nogahon,
ittifoqo, «slay» - qatl qilmoq, o
ʻ
ldirmoq, «steed» - ot,
asp, «woe» - qayg
ʻ
u, g
ʻ
am, dard-alam, dog
ʻ
, g
ʻ
ussa,
hasrat, musibat. All of these terms from the current
language have been replaced with synonyms created
from a different origin. This manner of generating
words is typical of correct lexical archaisms.
In contemporary English, the following terms are
synonyms for the words listed above: «wave», «see»,
«forehead», «anger», «perhaps», «kill», «horse»,
«sorrow». Moreover, in the play «Romeo and Juliet»
[8], both synonyms «sorrow» and «woe» were used:
«A glooming peace this morning with it brings,
The Sun for sorrow will not show his head:
Go hence to have more talk of these sad things,
Some shall be pardon’d, and some punished.
For never was a story of more woe, than this of Juliet
and her Romeo».
Archaisms can occasionally “come to life” and then
they are used alongside their younger equivalents. The
term “curfew” which was taken from French in the
Middle Ages and is more commonly used in modern
English than “black
-
out” is an example of this
phenomena. It is common for synonyms of the same
root to replace outdated terms in a language's lexicon,
however such replacements may gain a new affix or
lose the one that the original word had. Examples
include
the
phrases
«beauteous-beautiful»,
«darksome-dark», «even-evening», «morn», «morrow-
morning», «oft-often», and «bepaint-paint». This style
of archaism is concerned with word development.
Archaisms can act similarly, modifying the original
semantics; this occurs when a term acquires a new
meaning and the old one dies out; as a result, such
words always have synonyms. For example, the term
«pray» is archaic in the context of «marhamat qilib,
bemalol bolisa, xizmat bolimasa, iltimos», but not in the
context of «ibodat qilmoq, siginmoq, duo qilmoq,
choqinmoq, sajda qilmoq»; «fair» - go
ʻ
zal, juda chiroyli,
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Publisher:
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Servi
juda yaxshi, juda soz, ajoyib» - archaism, fair - «oq-malla,
sarg
ʻ
ish sochli, sarg
ʻ
ish» - contemporary language
term; «maid» - qiz, voyaga yetgan qiz» - archaism, the
modern meaning of the word «maid» - «xizmatkor ayol,
oqsoch, cho
ʻ
ri», for example:
«When I have fought with the men, I will be civil with
the maids; I will cut off their heads» [9];
«Ay the heads of the maids, or their maiden heads, take
it in what sense you wilt» [11].
It is apparent from this
that the word “maid” had not
yet lost its original connotation during Shakespeare's
time. Consider the following archaisms drawn from the
works of William Shakespeare:
1.
«Natural brother». In Shakespeare's time, the
word «natural» did not mean «nikohlanmagan ota-
onadan tug
ʻ
ilgan, nikohsiz tug
ʻ
ilgan, haromi» as it does
in modern language. «Nature
’
snature»
–
tug
ʻ
ma
ahmoq odam, tentak, «fool»
–
masxaraboz, qiziqchi, in
modern language means «ahmoq», «esi past odam,
ovsar, idiot», toekeout
–
«qo
ʻ
shmoq, qo
ʻ
shib qo
ʻ
ymoq,
qo
ʻ
shib bermoq, qo
ʻ
shimcha qilmoq, yana qo
ʻ
shmoq
(bermoq, solmoq)», calling
–
«ism, nom, ot»;
2.
«The duke my father loved his father dearly».
The term “dearly” had a broader meaning than it does
today, and it was used to express any powerful
emotion. This term encompasses a wide variety of
emotions: sharm, xijolat, sarosimaga tushish,
dovdirash, uyatchanlik, tortinchoqlik, ibo, yolg
ʻ
on
gapirishni istamaslik etc.;
3.
«Purgation»
–
oqlash, haqli (to
ʻ
g
ʻ
ri) deb topish.
The word is used as a legal term;
4. “Sans” is an old poetic “without”. The preposition is
derived from French. Shakespeare frequently uses the
term “dry”
- presumably, this was the designation
given in those days to a mind that sensed slowly but
memorized firmly.
The tragedy “Hamlet” whose history is anchored in
antiquity, is the second work in which we detected
examples of archaisms and historicisms using the
continuous sample approach. During the New English
period, only minimal changes were made to Middle
English forms of personal pronouns. The pronouns
«thou», «thy», «thine», «thee» and the reflexive form of
«thyself» were still widely used throughout
Shakespeare's time. It is incorrect to associate «thou»
and «you» with Uzbek «sen» and «siz».
“You” had already begun to supplant “thou” during
Shakespeare's time. Although “thou” was still
extensively used among the common people, it
typically has a unique significance in the speech of
Shakespeare's key characters, giving the term a certain
hue. Both pronouns appear throughout Shakespeare,
and “thou” represented a delicate play of emotions. In
communication with intimate friends and family, with
servants, to express strong emotions like as rage and
disdain, and in a ceremonial style, the pronoun was
employed. “Thou” might convey a kindly attitude. For
example, in order to improve his relationship with
Laertes, the monarch shifts from “you” to
“thou” [7].
Sometimes “thou” expresses a feeling (for example, in
the 4th scene of the third act, Gertrude refers to
Hamlet either on “thou”, then on “you”: these
transitions are not accidental): Polonius, referring to
Ophelia, uses the pronoun “you”, and
to Laertes
–
“thou”; it becomes clear that he is more inclined to
communicate with his son than to communicate with
his daughter. “Thou” can be a sign of indignation,
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Publisher:
Oscar Publishing Services
Servi
anger, spite: «Here, thou in cestuous, murderous,
damned Dane» [1], Hamlet says to the king, forcing him
to drink a poisoned drink, and in this case “thou”
sounds terrible hatred; also, in the tragedy “Romeo
and Juliet” Montecchi addresses the Capulets with the
words «Thou villain Capulet!» [3], which is translated by
B.L. Pasternak as «Siz, Kapuletti, yolg
ʻ
onchisiz!»,
thereby expressing hatred towards him. Finally,
“
thou
”
and
“
you
”
sometimes emphasize differences in
social status: Hamlet, referring to the gravedigger,
uses
“
thou
”
, and the gravedigger answers him with
“
you
”
[4], one can also compare the beginning of the
dialogue between Horatio and the sailor [5].
Subsequently, this pronoun was finally ousted from
the usual literary and colloquial language and was
preserved only in a poetic and church-religious style.
The distinction between th
e nominative case “ye” and
the objective case “you” began to disappear in the 16th
century. “Ye” can still be found in the 17th century,
although it now belongs to the group of archaisms.
Consider the following instances from William
Shakespeare's play:
«God ye good morrow gentlemen»;
«God ye good den fair gentlewoman».
In the pronoun of the neuter gender in the 16th
century, the transition from “hit” to “it” was still
ongoing. By the end of the same century, the variant
“hit” finally went out of use.
Possessive pronoun of neuter gender had the form
“his” (derived from the Old English period) until the
17th century. For example, in the first scene of the
tragedy “Romeo and Juliet” in the dialogue between
Samson and Gregorio, the pronoun “his” is used
several times:
«Me they shall feel while I am able to stand, and his
known I am a pretty peace of flash»;
«His well thou art not fish, if thou hadst, thou hadst
been poor John».
The new form “its” apparently appears in the early
seventeenth century. It is not often found in the works
of W. Shakespeare. During the seventeenth century,
“its” finally replaced “his”.
As for the domain of the feminine possessive pronoun,
it should be noted the transition from the use of the
word “hir” (other
-
a. hire) to “her”.
Where the second
form came from is not entirely clear; perhaps this form
was the result of the weakening of the vowel in an
unstressed position. By the end of the fifteenth
century, the form “her” finally replaced “hir”.
The forms “mine” and “thine” in Sh
akespeare's time
were used in two cases: the first “thisisland'smine,
aclockaslongasthine” in the function of the nominal
member of the sentence, the second in the function of
attributive if the next word started with a vowel sound,
for example, «mineeyes», «mineenemies», «thineear».
The verb “wit” (present tense “wot”) was quite
common in Shakespeare, for example: «I wot well
where he is; wotst thou whom thou moviest? Swift-
winged with desire to get a grave, as witting I no other
comfort have». Subsequently, this verb was replaced in
the ordinary literary language by the verb “to know”
and was preserved only in dialect variants of the
language and in archaizing poetic speech.
The verb “to owe” in the works of Shakespeare can be
found in the meaning of “own”
, for example: «I am not
worthy of the health I owe; say, from whence you owe
this strange intelligence». Along with this, it is used by
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Shakespeare in the sense of “should”, for example:
«who now the price of his dear blood doth owe». The
past tense form
“ought” was used by Shakespeare as
a marker of the present tense and meant “should” and
thus separated from the form “owe” phonetically and
semantically.
In modern English language, phraseological units are
also used, which include archaisms that are not used
anywhere except for this phraseological unit. For
example, «from whose bourne not raveller returns»
–
ular qaytib kelmaydigan joyda (ya'ni keyingi hayotda).
The word “bourne” is archaic, and is used in the sense
of the border or limit of something, it is used in modern
English language only within the framework of this
phraseological unit.
In the phraseological unit “buy golden opinions”
-
yaxshi obro
ʻ
qozonish, hayratga solish, in modern
language, instead of the verb "buy" the verb “win” is
used. Phraseologism «at one fell swoop»
–
bir zarbada,
bir lahzada, birdaniga, began to be used in the
abbreviation «at one swoop».
In
modern
English,
the
expressions
that
W.Shakespeare used in his works are used with certain
changes. For example, the phrase «to wea
r one’s heart
upon one’s sleeve» [10] –
his-tuyg
ʻ
ularini ko
ʻ
rsatish
(this expression is associated with a tradition that
came from the Middle Ages, when knights wore the
colors of their lady on their sleeves). In modern English
language, we can meet this expression in a somewhat
abbreviated form: «to wear one’s heart upon one’s
sleeve». Also, instead of the preposition “upon”,
another preposition
–
“on” can be used.
Over time, a significant number of phraseological units
began to appear lexical variants: for example,
«applaud» (or «cheer») to the echo»
–
qizg
ʻ
in
olqishlamoq («applaud to the echo»
–
shekspirlik).
From archaisms, i.e. words displaced in the modern
language by other words with the same meaning, one
should distinguish between historicisms. These words
do not disappear from the vocabulary of the language,
they are limited in their use to the sphere of historical
novels, essays and studies on the history of the
corresponding periods [15]. Historicisms designate not
only objects of the material world, but also phenomena
of the spiritual world, institutions of power, positions,
concepts of legal proceedings, etc. Historicisms have
moved to the passive vocabulary, but at the same time
retain various kinds of connections with the vocabulary
of the active dictionary [14]. For example, crinolines are
out of fashion today and no one has been wearing
them for a long time, the word “hoop
-
skirt” has
become historicism.
Historicisms have no synonyms in modern English and
are the only way to express the corresponding concept
related to the past of the English people. Historicisms
can be grouped into thematic groups. Here are a few
examples:
words denoting
ancient
weapons,
equipment and armor of a warrior: «battleax» - jang
boltasi, «cross-bow» - qo
ʻ
ndoqli kamon, tuzoq,
«halberd» -
а
l
е
barda, oybolta, «musket» - mushket,
«sword» - qilich, shamshir, tig
ʻ
, «coatofmail» - sovut,
«gauntlet» - ritsar qo
ʻ
lqop, «visor» - dubulg
ʻ
a pardasi
and so on. Historicisms are words denoting the types
of ships that sailed in the old days: «caravel»
–
«karavella», «frigate» - «fregat», «galley»
–
«galera».
During our investigation, we discovered that it is
critical to keep the original meaning of archaisms in
translation in order to preserve and communicate the
author
ʻ
s original style. This can be accomplished by
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Publisher:
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looking for an analogue in the target language or by
including a translation footnote. Sometimes it appears
that the only way to translate and transmit archaism is
through the archaism of the target language. We
discovered a propensity in translation to transfer
archaisms and historicisms by looking for analogous
correspondences.
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Volume 03 Issue 10-2023
18
International Journal Of Literature And Languages
(ISSN
–
2771-2834)
VOLUME
03
ISSUE
10
Pages:
11-18
SJIF
I
MPACT
FACTOR
(2021:
5.
705
)
(2022:
5.
705
)
(2023:
6.
997
)
OCLC
–
1121105677
Publisher:
Oscar Publishing Services
Servi
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