Volume 03 Issue 04-2023
63
International Journal Of Literature And Languages
(ISSN
–
2771-2834)
VOLUME
03
ISSUE
04
Pages:
63-69
SJIF
I
MPACT
FACTOR
(2021:
5.
705
)
(2022:
5.
705
)
(2023:
6.
997
)
OCLC
–
1121105677
Publisher:
Oscar Publishing Services
Servi
ABSTRACT
The article investigates the stylistic transformations in the E
nglish translations of A.Qodiriy’s novel “Days Gone By”.
The main focus is given to the translations of metaphor, metonymy and synecdoche.
KEYWORDS
Transformation, stylistic device, metaphor, metonymy, synecdoche.
INTRODUCTION
Imagery or to name with other terms stylistic devices
have a crucial role to embellish the literary work.
Stylistic devices used by Abdulla Qodiriy in the novel
“Days Gone By” not only increase the artistic spirit and
beauty of the work, but also vividly reveal the cultural
life of the people. This first Uzbek novel has been
translated into different languages by various
translators. In particular, 1931 was translated into
Azerbaijani by Khalid Said and Abdulla Kamchinbek. In
1958 it was translated into Russian by Lydia Bat and
Vera Smirnova. In 2019, the 125th anniversary of
Abdulla Qodiriy was widely celebrated, and the
author's work “Days Gone By” was translated by Ilhom
Tokhtasinov, by the British Carol Ermakova. Also, in
2019 it was translated into English by the American
researcher and translator Mark Edward Reese under
the name “Bygone Days”. Among these translators,
Mark Reese was the first translator who directly
translated Abdulla Qodiriy’s novel. The first and
unabridged edition of the novel published in 1926 was
Research Article
STYLISTIC TRANSFORMATIONS IN THE ENGLISH TRANSLATIONS OF A.
QODIRIY’S
NOVEL “DAYS GONE BY”
Submission Date:
April 20, 2023,
Accepted Date:
March 25, 2023,
Published Date:
April 30, 2023
Crossref doi:
https://doi.org/10.37547/ijll/Volume03Issue04-12
Khajieva Feruza
Doctor Of Science, Associate Professor Bukhara State University, Uzbekistan
Gaybullayeva Sevara
Department Of English Literature, Master Student Of The English Literature Department Bukhara State
University, 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 04-2023
64
International Journal Of Literature And Languages
(ISSN
–
2771-2834)
VOLUME
03
ISSUE
04
Pages:
63-69
SJIF
I
MPACT
FACTOR
(2021:
5.
705
)
(2022:
5.
705
)
(2023:
6.
997
)
OCLC
–
1121105677
Publisher:
Oscar Publishing Services
Servi
chosen for translation. The translation work began in
2004 and was completed in 2019.
MAIN PART
It is known that any translation is a creative work to a
certain extent. The translation of works of art requires
a special approach, skills and artistry. Gaybulla
Salomov, a professor of Uzbek translation studies,
explains this as follows: “The essence of the translation
process is to find alternative means from a piece of
language to preserve the unity and integrity of the
content and the form reflected in the original.” [5, 58]
It should be noted that the peculiarity of translating
literary works, especially novels, is that, unlike other
literary works, they cannot take the place of the
original, and the text of the work is not translated in its
entirety. Analyzing the three translation of the novel by
Carol Ermakova, Mark Reese and Ilhomjon
Tokhtasinov it is worth noting that, we may see the
differences in the translation because the source
language is different.
Below, we have analyzed the translation of such
devices as metonymy, metaphor and synecdoche,
As we know, there are different forms of metaphor.
Metaphors are sometimes found in phraseological
units. For example:
In the original: “Qamchingdan qon tomsa, yuzta xotin
orasida ham rohatlanib tiriklik qilasan.”[1, 4] In this
pa
ssage,
“Qamchingdan
qon
tomsa”
is
translated/calqued as “a person with blood dripping
from a whip” means an angry, oppressive person.
In
the process of translation all three translators
rendered in a different ways. We can observe
metaphorical transformation.
Translation of Mark Reese: If blood falls in drops from
the horse whip, you can enjoy life among even a
hundred women. [4,53]
Translation of Carol Ermakova: If blood flows from
your whip, let there be hundreds-your life will be free
of sorrow [2,16]
Translation of Ilkhom Tokhtasinov: If being a malicious
husband among them, if they be a hundred, you can
live not knowing troubles. [3,12]
Abdulla Qodiriy metaphorically means that if a man is
cruel and oppressive, even if he gets hundred wives,
he will live happily and without sorrow.
In Reese’s and Ermakova’s translations the
phraseological unit “Qamchingdan qon tomsa” is
rendered as “blood falls in drops from the horse whip”
which corresponds in terms of the concepts “blood”
and “horse whip”. But Tukhtasinov’s translation the
metaphor in phraseological unit is faded. It lost its
imagery features as the word “malicious” is an
attribute and there is no connotation. In this example
we can observe stylistic transformation.
Another example: “Har hold
a Toshkand ustiga yana
qonliq bulutlar chiqdi, ishning oxiri nima bilan
tinchlanar -
bu bir xudog΄ag΄ina ma’lumdir” [1, 19] The
transfer of meaning related to the natural
phenomenon is mentioned in this passage. “Bloody
clouds” mean dangers and tragic days
. The word
“cloud”, especially “a black cloud” often describes
sadness, grief, and suffering in literature. The writer
here adds a “bloody quality” to the word “cloud” to
mean the inevitable danger.
Translation of Mark Reese: My son, one doesn't know
whether to cry or laugh at the people's fate. However,
Volume 03 Issue 04-2023
65
International Journal Of Literature And Languages
(ISSN
–
2771-2834)
VOLUME
03
ISSUE
04
Pages:
63-69
SJIF
I
MPACT
FACTOR
(2021:
5.
705
)
(2022:
5.
705
)
(2023:
6.
997
)
OCLC
–
1121105677
Publisher:
Oscar Publishing Services
Servi
bloody clouds have appeared over Tashkent. Only God
knows how this will resolve itself. [4,89]
Translation of Carol Ermakova: There you have it, my
son. I know not whether to laugh or cry at the people's
fate! Be that as it may, crimson clouds have once more
gathered over Tashkent, and only the Most High sees
how it shall all end. [2,40]
Translation of Ilkhom Tokhtasinov: Here, my son, I
really do not know whether to cry over the fate of our
people or laugh! But it looks like that again thickened
bloody cloud came over Tashkent, only God knows
how it's going to end! [3,36]
This is a fragment taken from the letter was written by
Yusufbek Hoji to inform his son Otabek about difficult
days awaiting Tashkent the city where most of novel
set. The metaphor “bloody clouds” strengthens the
socio-political meaning and explains the menacing
danger. The translators render this concept in the
following way.
Reese and Tokhtasinov gave with metaphorical
concepts “bloody clouds”, whereas Carol Ermakova
used “crimson clouds”. Ermakova used the concept
“crimson” which denotes the dark version of the red
colour. We think, that “bloody clouds” keeps the
metaphor and is better way to dramatize the upcoming
tragic events
. The concept “crimson” denoting the
colour of sky is less expressive. In the following
passage, we can observe metonymy: “Ziyofat
samimiyat bilan chaqirilg‘anliqdan dasturxon qadrlik
mehmonga maxsus turlangan edi. [1, 205]
Translation of Mark Reese: Since the guests had been
invited to share a meal, the dinner table was then
prepared for them. [4,61]
Translation of Carol Ermakova: The feast had been
prepared with the utmost care and respect for the
esteemed. [2,20]
Translation of Ilkhom Tokhtasinov: Refreshments
were prepared with the utmost care and respect for
the honored guest. [3,17]
In this passage, the word “dasturkhon” referring to
food is metonymy. This is a realia
–
a culture bound
word
–
which reminds “a table cloth”. But the word
“dasturkhon” carries much culture in its peripheries.
Actually it is a table cloth, but it when Uzbeks say
“dastukhon yozamiz” we mean not only “we lay the
table”, but also we will be more than happy to have
you as a dear guest, “we invite you to our house”, “w
e
will have a party”, “we cook delicious meals”, “start
eating something”, “have breakfast/lunch/dinner”.
Coming out from this cultural and symbolic meanings
all three translations of the word “dasturkhon” differ
cardinally. The first translator gives “the dinner table”,
the second “the feast”, and the third “refreshments”.
Why? Because, the metonymical word may contain all
the above mentioned concepts. But the best
translation can be Ermakova’s, which is “the feast”.
From the described context in the Original one can
read and feel that the guest was respectable and the
preparation was well done. The feast was organized by
Qutidor who belonged to the upper class and very
respected person in the city. In such occasions Uzbeks
lay the table with utmost preparation and one can see
abundance of food. Several dishes and lots of fruits and
drinks are usually served even now.
We can also witness the use of metaphor and
synecdoche as a means of stylistic convergence by
following the work “Days Gone By”. In
one of the
passages, we can find metaphors and synecdoche in
Volume 03 Issue 04-2023
66
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VOLUME
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Pages:
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the following sentences. This is expressed in the word
“hoof”.
Original: “Bizning shul Otabekdan o΄zga farzandimiz
bo΄lmay, dunyoda o΄zimizdan keyin qoldiraturg΄an
tuyoqimiz va ko΄z ikkan orzu
-havasimiz, umid
hadafimiz faqat shul Otabekdir”. [1, 6]
The word “tuyog‘imiz” is literally translated as “our
hoof” and one can observe a metaphorization and
synecdoche. The word “hoof” is an animal concept and
in this context means “child/ offspring”. T
hat is
metonymical connection or with other words it the
whole is expressed through the part.
Translation of Mark Reese: It should not be a secret to
you that your son-in-law was sent to serve you in
Margilan. God willing, he arrived in good health.
Respectfully, no doubt you know that Otabek, as our
only son all that will remain after we depart from this
earth; and our only hopes are for Otabek. [4,241]
Translation of Carol Ermakova: You already know on
what pretext your son-in-law, our son, was dispatched
to you recently. Allah be praised. I hope he is in good
health. You should know, however, that besides
Atabek we have no other children, he is our only trace,
the only rend we shall leave behind us on this earth, our
only hope. [2,135]
Translation of Ilkhom Tokhtasinov: As it is known to
you that we have no children but Otabek, he is our
happiness in this world and all our gladness and hope
in life is Otabek and we want him to continue our amily-
kin. You accepted our son as your own child and we are
grateful to you. [3,141]
The word “hoof” was used by Abdulla Qodiriy in the
meaning of “offsping”, “descendant” in the language
of Yusufbek Haji. This synecdoche are given in the
following meanings in the translations. In the
translations of Mark Reese, the equivalent of the word
“hoof”is given by the word “remain” in the sense of
“leftover”. In the translations of Carol Ermakova, it is
given by the word “trace”, and Tokhtasinov translated
“but Otabek, he is our happiness in this world”. so,
Reese and Ermakova kept the metonymy
Our analysis shows that the three English versions of
the novel “The Days Gone By” have differences in the
stylistic aspect. Depending on cultural understanding,
and interpretation of the context the translations may
use different concepts to render the meaning.
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(ISSN
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03
ISSUE
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Pages:
63-69
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OCLC
–
1121105677
Publisher:
Oscar Publishing Services
Servi
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Pages:
63-69
SJIF
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(2022:
5.
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