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CONVEYING UZBEK NATIONAL HUMOR IN 'SHUM BOLA' AND EVALUATING ITS
TRANSLATIONAL EQUIVALENCE IN ENGLISH
Berdiyeva Sitora Utkerovna
Doctoral student of Asia International University.
https://doi.org/10.5281/zenodo.15284200
Abstract.
This article examines the artistic portrayal of national humor in Gafur Gulom’s
short story “Shum Bola” (The Naughty Boy). The narrative effectively captures elements of
Uzbek national identity through humorous episodes that reflect the people’s way of life, cultural
values, mindset, and social context. Humor is approached not merely as a form of entertainment,
but as a literary tool carrying both didactic and socio-critical functions. The paper investigates
the comic scenarios, linguistic nuances, and character portrayals, highlighting the sociocultural
significance of humor in the story. In addition, it evaluates the relationship between these
humorous elements and the broader Uzbek cultural framework, while also assessing the extent to
which these features are preserved and conveyed in the English translation.
Keywords:
Shum Bola, Gafur Gulom, national humor, folk humor, satire, social critique,
Uzbek literature, character, culture, ethnographisms.
ПЕРЕДАЧА УЗБЕКСКОГО НАЦИОНАЛЬНОГО ЮМОРА В «ШУМ БОЛА» И
ОЦЕНКА ЕГО ПЕРЕВОДЧЕСКОЙ ЭКВИВАЛЕНТНОСТИ НА АНГЛИЙСКИЙ
ЯЗЫК
Аннотация.
В этой статье рассматривается художественное изображение
национального юмора в рассказе Гафура Гулома «Шум бола» (Непослушный мальчик).
Повествование эффективно улавливает элементы узбекской национальной
идентичности через юмористические эпизоды, которые отражают образ жизни народа,
культурные ценности, образ мышления и социальный контекст. Юмор рассматривается
не просто как форма развлечения, но как литературный инструмент, несущий как
дидактические, так и социально-критические функции. В статье исследуются
комические сценарии, языковые нюансы и изображения персонажей, подчеркивая
социокультурное значение юмора в рассказе. Кроме того, в ней оценивается связь между
этими юмористическими элементами и более широкой узбекской культурной структурой,
а также оценивается степень, в которой эти черты сохраняются и передаются в
английском переводе.
Ключевые слова:
Шум Бола, Гафур Гулом, национальный юмор, народный юмор,
сатира, социальная критика, узбекская литература, характер, культура, этнографизмы.
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Introduction.
Humor, folk laughter, and humorous characters occupy an important place in the creative
legacy of Gafur Gulom, one of the most prominent figures of Uzbek literature. In particular, the
story
“Shum Bola”
(
The Naughty Boy
) stands out not only for its comedic elements but also for
its deep social and moral themes. The artistic expression of national humor in the story emerges
through elements reflecting the mentality, values, and everyday life of the Uzbek people.
National humor refers to forms of laughter and humor that are consistent with a nation’s
historically formed culture, customs, and socio-cultural environment. It serves as a literary tool
for reflecting, criticizing, and educating society
1
. Gafur Gulom’s
“Shum Bola”
features such
humorous expressions in a rich and meaningful manner.
The artistic individualization of the character
Shum Bola
is conveyed through traits
associated with childhood such as mischievousness, agility, sincerity, and a natural tendency
toward humor. He often finds himself in complex and awkward situations but always manages to
escape them in humorous and extraordinary ways due to his wit, cleverness, and resourcefulness.
His actions reveal childlike innocence and honesty, traditional Uzbek cleverness and
verbal mastery, and a humorous interpretation of common social realities. Much of the humor in
the story is conveyed through linguistic means: colloquial expressions, proverbs, ironic phrases,
humorous descriptions, social stereotypes, and speech acts in character dialogues. These features
vividly represent authentic Uzbek folk humor.
Literature Review and Methods.
According to translation theories—especially Eugene
Nida’s concept of “dynamic equivalence”—what matters in translation is ensuring that the
emotional and semantic response of the source text reader is equivalent to that of the target
audience. While the English translation of
“Shum Bola”
remains faithful to the original plot and
content, fully conveying the linguistic humor and folk-style comedy is difficult
2
.
Various place names, character names, and food items in the story have been translated in
different ways, as culturally specific terms can be rendered using various techniques. National
words often convey concepts absent in the target language and culture and denote objects unique
to a particular ethnic group. Such words are defined differently in academic sources and are
sometimes referred to as “untranslatable words” or “ethnographisms”
3
. Although these terms are
used for phenomena connected with a people's material, spiritual, and cultural traditions, it is
often challenging to clearly distinguish between them.
1
Rasulov, I. Oʻzbek adabiyotida kulgi va satira. Toshkent: Fan nashriyoti.2015.
2
Nida, Eugene A. Toward a Science of Translating. Leiden: Brill, 1964.
3
Kasimova, R. R., Ziyadullayev, A. R., & Ziyadullayeva, A. A. (2021). The nature of the culture bound words and
problems of translation.
International Scientific Journal Theoretical and applied science, МА. USA.–Published
,
31
.
–P. 401-405.
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For instance, when a culturally specific object is mentioned in the source text, the
resulting gaps (lacunae) can indicate not just physical objects but also culturally loaded concepts
that pose difficulties in translation.
The article employs literary translation research approaches, including comparative
analysis, descriptive, and componential analysis methods.
Results and Discussion.
One of the most noteworthy features of
“Shum Bola”
is the
expression of national humor, which is especially reflected in the protagonist’s speech. His witty
responses and clever remarks convey traits associated with Uzbek humor, such as a fondness for
wordplay, witticisms similar to the folkloric figure Afandi, and subtle mockery. For example, in
one of the story’s climactic moments—
the dialogue between Sariboy and Shum Bola
—a series
of lies unfolds in a gradational fashion, becoming increasingly dramatic until Sariboy bursts into
tears and wails loudly. This particular passage has also been skillfully rendered by the translator
in the English version of the story:
Origin:
–
Xo‘sh?!
– Shunday o‘zim, sizni sog‘inib, bir ko‘rib kelay deb kelgan edim.
– Yaxshi, yaxshi, barakalla, juda ham quruq kelmagandursan, biror ishing bordur, xo‘sh,
nimaga kelding?
– Anavi, haligi, dandon sopli pichog‘ingiz sinib qolib edi, shuning xabarini bergani keldim.
– Xo‘sh, innaykeyin, qanday qilib sindi? Ro‘zg‘orda mening pichog‘imdan boshqa pichoq
qurib ketgan ekanmi?
– Tozi itingizning terisini shilayotgan edim, suyakka tegib sinib qoldi.
– Iyya?! – dedi boy. – Tozining terisini mening dandon sopli pichog‘imda shilasanlarmi,
o‘zing ayt-chi, nimaga shildilaring?
– Shoshib qoldik-da, o‘lib qolgandan keyin, bekor ketmasin, deb terisini shilib oldik
.
4
Translation:
-
What do you want?
-
I just missed you and decided to see you.
-
Well, great. Maybe you have something to announce to me? Why did you come?
-
Hmm, your knife is broken. I’ve come to announce this news.
-
And then, why did you use my knife?
-
We were slaughtering your dog. It stuck to the bone and was broken down.
-
What? Why did you slaughter the dog with my knife?
-
We were in a hurry. We thought it would die and did like this
.
5
4
G‘ulom G‘. Shum Bola. - Toshkent: Yoshlar nashriyot uyi. – 2018.-66p.
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In the story, the author extensively employs phraseological expressions, particularly
idioms that carry various meanings unique to the Uzbek language. The characteristics that define
phraseological units—considered independent linguistic entities—include their fixed form, stable
structural and component composition, partial or complete loss of the literal meaning of their
components, and the integrity of the figurative meaning. These features are analyzed based on
the material of Uzbek phraseological units. Such studies aim to identify the key features that
distinguish phraseological units, differentiate idioms from compound words and free word
combinations, and explore their grammatical and semantic properties in Uzbek.
According to linguocultural approaches, phraseological units serve as indicators of a
people’s traditional cultural values, their national and mental worldview, and the level at which
real-life phenomena are expressed through language. They are considered linguocultural
elements that reflect the social and spiritual development of a people. Phraseology is composed
of words, and words are the primary objects studied in lexicology.
At the end of the previously mentioned dialogue between Sariboy and Shum Bola, we can
observe that the original idiom has been translated in a very appropriate and elegant manner.
Origin:
Badal aravakashingiz bor-ku,
quyib qo‘yganday o‘shaning o‘zginasi
.
Translation:
They
are two peas in a pod.
In the excerpt mentioned above, the lies fabricated by
Shum Bola
begin with a simple
incident of a broken knife and escalate to the claim that the rich man’s daughter, Adolat, had a
child in her childhood. The protagonist becomes so engrossed in his own fabrications that he
seemingly ends up weeping alongside the wealthy man. Although the passage is rich with humor,
beneath it lies a subtle form of reckoning for the beatings the protagonist had previously endured
from the rich man. In the English translation, this humorous tone has been largely preserved.
Despite the translator omitting certain lines, the overall meaning and satirical effect of the
dialogue have been successfully conveyed.
The nature of phraseological units and their place within the linguistic system can be
identified based on lexicological sources. Semantic theories concerning the lexical meaning of
words are of great importance in determining the linguistic characteristics of phraseological units
and in distinguishing their layers of meaning. Words within a phraseological unit do not always
completely lose their morphological features; morphology plays a crucial role in identifying and
analyzing such structural changes. Phraseological units include words and word combinations of
various structures, including idiomatic sentences; to analyze the grammatical structure of these
expressions, syntactic knowledge is essential.
5
Gulom G. Naughty Boy. Translators: Tukhtasinov I, Yuldashev U. - Tashkent: Yangi asr avlodi. - 2017.-56p.
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This can be more clearly observed in the following lines from
Shum Bola
, which include
somatic phraseological expressions:
– Hamyonni, pulni, uzukni menga olib berdilar. Lekin bir yarim tanga cho‘tal olib
qoldilar. Shunday qilib, o‘rtoqlarim bilan qilingan garovni yutdim.
– Ie, sho‘rlik begunoh kosib yigit
qulog‘ini ushlab ketaverdimi
? – dedim. – Yo‘q, birpas
qamalib yotdi, keyin bechoraga rahmim kelib, mirshabga bir so‘m pora berib, yigitni qutqazib
yubordim, da’vom yo‘q, dedim. Yigit bechora xursand bo‘lganidan bo‘ynimdan quchoqlab
o‘pib
…
6
In Uzbek, the phraseological unit
“qulog‘ini ushlab ketmoq”
is used to mean
“to be left
with nothing” or “to be deprived of one’s rights”
, and it is employed by the Uzbek people
specifically to convey this meaning. In the Uzbek-language version of the text, when the author
describes a boy standing among a flock of sheep, he uses the idiom
“qo‘y ko‘zlar”
(
sheep eyes
)
to characterize the boy’s gaze. In later parts of the story, the author uses another expression:
“ikki barmog‘ini burniga tiqib bormoq”
(
to walk with two fingers in one’s nose
).
– Quruqdan-quruq sho‘ppayib shaharga tushib ketaveramizmi, ko‘rganbilgan ne deydi,
shuncha vaqt sanqib yurib,
ikki barmog‘imni burnimga tiqib boramanmi,
o‘zing o‘lguncha nas
bosgan pes deganimcha bor bola ekansan, sen bilan birlashganimdan buyon ishim o‘ng‘alganini
bilmayman. Sen yo‘liqmaganingda hov anov pulga to‘qli olgan bo‘lardim, haligacha to‘qlim –
qo‘y, qo‘yim – biya, biyam – tuya bo‘lardi, – deb meni koyirdi
.
Now, let’s analyze the English version of this extract:
“We’ll go to the city without anything, right? We worked many days and are going to the
city
putting fingers to our nose.
7
The translator, in this instance, attempted to provide an equivalent and comprehensible
rendition of the idiom, which is why it was translated literally. Moreover, the figurative phrase in
the passage —
“…nas bosgan pes deganimcha bor bola ekansan…”
— was skillfully rendered
in English as
“You are a dirty and stupid boy,”
effectively conveying the meaning in a simple
and easily understandable manner for the reader.
By examining the pragmatic features of phraseological units in various contexts, it can be
concluded that the communicative potential of metaphorical phraseological expressions is
virtually unlimited. The origin and development of phraseological units are closely tied to each
language’s historical evolution, its linguocultural and regional-geographic context, and the
pragmatic meaning of the linguistic tools employed.
6
G‘ulom G‘. Shum Bola. - Toshkent: Yoshlar nashriyot uyi. – 2018.-92p.
7
Gulom G. Naughty Boy. Translators: Tukhtasinov I, Yuldashev U. - Tashkent: Yangi asr avlodi. - 2017.-76p.
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Conclusion.
Gafur Gulom’s
“Shum Bola”
is esteemed as a vivid example of Uzbek
national humor. Through folk-style wit and various linguistic and artistic devices, the story not
only evokes laughter but also instills deep educational and social ideas in the reader’s
consciousness. The comic portrayals conveyed through the antics of
Shum Bola
reflect national
culture, folk mentality, and literary aesthetics at a high level. This work represents a valuable
literary legacy that artistically expresses the Uzbek people’s inherent sense of humor, sharp-
wittedness, and optimistic outlook on life.
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