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631
ALEXANDER FEINBERG'S TRANSLATION STYLE: THE PROBLEM OF ARTISTIC
ACCURACY AND FREEDOM.
Shukhratbekova Zakhrooyim Khurshidbek kizi
1st year of the Uzbekistan State World Languages University.
Faculty of Foreign Languages and Literature,3rd English faculty
e-mail:shuxratbekovaz@gmail.com.
Annotation:
This article analyzes how Alexander Feinberg approached the problem of artistic
accuracy and freedom in the translation process. One of the main principles in translation theory,
the question of the balance between fidelity to the text and the creative freedom of the translator,
is studied on the example of Feinberg. He is shown by examples of what methodological
approaches he used to translate Uzbek poetry into Russian, in which cases he remained faithful
to the original and in which cases he chose a free translation path. His translations also analyze
how poetic expression and rhythmic structure have changed.
Keywords:
Alexander Feinberg, theory of translation, artistic accuracy, free translation, poetic
translation, rhythmic harmony, linguopoetics, intertextual connection, Uzbek poetry, Russian
language.
The art of translation is always between two basic principles: artistic accuracy and freedom.
While artistic accuracy requires adherence to the text, freedom allows the translator to add his
own creative style. How did Alexander Feinberg solve this problem in his translations? How
close are the poems he translated to the original and where did he allow free interpretation reflect?
This article will analyze these issues.
1. The principle of artistic accuracy and Feinberg translations
Artistic accuracy is understood as the desire of the translator to maximize the content, tone and
spirit of the text. Feinberg strongly adhered to this principle when translating Uzbek poetry into
Russian, especially in relation to classical literature.
Example:
Excerpt from the poem “ Why I love Uzbekistan " by Abdullah Oripov.
Men nechun sevaman O‘zbekistonni,
Tug‘ilgan joyimni, beg‘ubor elimni,
Shu yerda ilk bora tushganman yodga,
Shu yerda ilk bora ko‘rganman onamni.
Volume 15 Issue 03, March 2025
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Feinberg’s translation:
Почему я люблю Узбекистан,
Мой родной край, мой народ чистый,
Здесь впервые осознал я себя,
Здесь впервые увидел я мать.
In this translation, Feinberg kept the main content and feel of the poem intact. He also
corresponded as much as possible to the syntactic structure of the original text to achieve artistic
accuracy.
2. Free translation and poetic adaptation
Sometimes maintaining direct literal accuracy in translation can distort the overall aesthetic
expression of the poem. For this reason, Feinberg used the free translation method in some cases.
Example:
The poem “Dawn” by Erkin Vohidov:
In Uzbek:
Yashnab ketdi bog‘-rog‘lar,
Tong taratdi zarrin nur.
Yuraklarni silkitdi,
Tongni qarshi olgan yor.
In the Feinberg translation:
В саду вспыхнул свет,
Рассвет разлился золотом,
Сердце вздрогнуло,
Когда я встретил утро.
Volume 15 Issue 03, March 2025
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In this translation:
The general content of the poem is preserved.
The phrase "naked" was given to the Russian language in the form of “В саду вспыхнет свет”
due to the difficulty of finding an exact equivalent.
The phrase "Walk Against The Dawn” was changed to "Koгда я встретил утро", making the
poetically Russian variant fluent.
In this example of free translation, Feinberg can be seen translating the poetics of the work with
partial freedom, adapting it to the aesthetic possibilities of his language.
3. Rhythmic harmony and poetic structure in Feinberg's translations.
The translation of the poem requires maintaining not only the meaning of the word, but also its
musical tone. Rhythmic harmony plays an important role in Feinberg's translations.
Example:
Excerpt from Ghafur Ghulam's famous poem " Shum bola:
In Uzbek:
Qorong‘u kecha edi,
Tun jimjit,
Faqat shamol vovullardi,
Ko‘cha boʻm-bo‘sh.
Faynberg tarjimasida:
Ночь была тёмной,
Тишина вокруг,
Только ветер выл,
Пустынные улицы.
Here, Feinberg kept short verses, which helped not to break the rhythmic tone of the Uzbek
variant in translation.
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Alexander Feinberg was trying to find a balance of artistic accuracy and freedom in his
translations. While he emphasized clear expression when translating classical poems, he applied
creative freedom in modern poetic translations. His translations were a strong bridge between
national and world literature and served to connect Russian and Uzbek poetry.
Used literatures.
1. Feinberg, A. A. (2005).
Experiences of translating Uzbek poetry.
Tashkent: Science
publishing house.
2. Erkin Vahidov. (1999). Morning. Tashkent: Literature.
3. Oripov, A. (2001). Why I love Uzbekistan. Tashkent: East.
4. Lotman, Yu. M. (1992). Theory of translation and poetic thought. Moscow: Nauka.
5. Ghafur Ghulam. (1975). That's a boy. Tashkent: Gafur Ghulam publishing house.
6. Baker, M. (2018). In Other Words: A Coursebook on Translation. London: Routledge.
7. Khumora, Z., & Nazim, B. R. THE ROLE OF THE INTERNET IN THE SPREAD OF
FAKE INFORMATION.
8. Zhabbarova, Y. (2022).
KINSHIP TERMINOLOGY AS AN IMPORTANT
ETHNOGRAPHIC AND HISTORICAL SOURCE.
INTERNATIONAL JOURNAL OF
LANGUAGE, EDUCATION, TRANSLATION, 3(5).
9. Marifjanovna, I. D. (2024). ORGANIZING LESSONS ON THE BASIS OF INNOVATIVE
PEDAGOGICAL TECHNOLOGY. MODERN EDUCATION AND RESEARCH, 1(1), 169-
172.
10. Samyeva, G. T., & Alikulov, H. T. (2023). NEW UZBEKISTAN AND TRANSITION TO
A GREEN ECONOMY. Economy and Society, (11 (114)-1), 994-998.
11. Samieva, G. T., & Ugli Alikulov, K. T. (2024).
ISSUES OF PROVIDING
SUSTAINABLE ECONOMIC GROWTH IN THE REGION ON THE BASIS OF "GREEN
ECONOMY". THE INNOVATION ECONOMY, 4(04).
12. Alikulov, H. (2023).
"GREEN ECONOMY" IS THE BASIS OF YOUR FUTURE
ECONOMY. Publications, 474-477.
13. Matkosimova, M. E. Q. (2022). ELLIPTICAL STRUCTURES IN SMS. Central Asian
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