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REFLECTION OF THE IMAGE OF NATURE IN THE TRANSLATION
OF THE NOVEL “TERRIBLE TEHRAN”.
Dilobar Asqarova
2nd year master's student at TSUOS
Phone: (94)619 02 92
E-mail: dilobar.asqarova.2000@gmail.com
https://doi.org/10.5281/zenodo.15099442
Abstract.
In this article, The famous novel “Terrible Tehran” and its
translations into Uzbek language were analyzed and examined through
examples of landscape images. The purpose of writing this article is to analyze
the translations of works translated from modern Persian literature into Uzbek
language, to study the achievements and shortcomings of the translator, his
skills, by comparing the original and translated texts. Analytical, descriptive and
comparative methods were used in this article.
Key words:
image, landscape, translation skill, nature image, comparison,
artistic work.
INTRODUCTION
There are many types and varieties of translation: translation of literary
works, translation of scientific and technical literature, translation of political
and journalistic materials, translation of official office documents, translation of
films. Based on this, according to the nature of the translation, it is divided into
literary, scientific, journalistic and official translation. Among them, literary
translation stands out for its difficulty, complexity, and high requirements.
That’s why, literary translation stands out from other types of translation due to
its uniqueness and the special skills it requires from the translator.
The uniqueness of literary translation is determined, on the one hand, by
its place among other types of translation, and, on the other hand, by its
connection with the original literary work. Literary translation does not simply
function as a communicative (social link) with language: the word here appears
as the “basic element” of literature, that is, in its aesthetic function. Between the
starting point and the result of translation work lies a complex process of “re-
expression” of life, which is fixed in the figurative fabric of the translated work
1
.
Therefore, the problems of literary translation lie in the field of art and are
subject to its specific laws. From this it is clear that literary translation is a
literary process that occurs in the process of re-creation of an existing literary
work in a certain language in another language.
DISCUSSION AND RESULTS
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Landscape imagery is one of the most important factors that determine
the skill of both the writer and the translator. The process of translating a work
of art from one language to another requires great skill from the translator.
Because every work of art reflects an image. The translator revives the lines of
imagery created by the writer. In the translation process, the translator is
required to translate skillfully, preserving the image of the character portrait,
the landscape, the lifestyle of the heroes of the work, and their national
traditions. Otherwise, the nationality of the work and the style of the writer will
not be preserved.
Landscape (fr. paysage - place, country) - an important component of
artistic reality created in a literary work, a depiction of the open space (closed
space - interior) in which events take place. Traditionally, when we say
landscape, we mean the depiction of nature. Landscape includes not only nature,
but also the depiction of things created by man. In this sense, for example, the
depiction of an alley or a city street is also a landscape, although they are not
depictions of nature, but depictions of a place. The writer can describe the
landscape in detail, stopping the development of events, or provide details
related to it throughout the events. Landscape is also widely used as a means of
revealing the psyche of the hero. In this case, the depiction of the place can
either harmonize with the psyche of the character or serve as a contrasting
background for it. The landscape, conveyed through the psyche of the hero, can
be a means of describing his current state
2
.
The beauty of the morning nature of Tehran in the novel "Terrible Tehran"
is beautifully reflected in the translation, as can be seen in the following excerpt:
Original:
رثا رد هدمآ لااب نامسآ ی هنحص رد تسا یتعاس باتفآ .تسیزییاپ دوز حبص
هتشذگ بش هک یناراب
یراب
اوه هد
یپ یتدم نارهت مدرم زا یعمج یتعاس نینچ رد دزویم یمیلام درس داب هاگهاگ .دراد یصاخ تفاطل
زا ش
تساخیمرب یاج زا و هدش رادیب هزات رهش یلاها زا یضعب و دندوب هدش راک هدامآ و هتسج باوخ
و
لااب
هرخ
تسب رد نانچمه تختیاپ نینکاس زا رگید یخرب
.دندوب هتفرورف زان باوخ رد دوخ مرن ر
خم نارهت[
،فو
۳۲۹
]
Translation:
Ertalab quyosh allaqachon ko‘tarilgan, havo tongda yoqqan salgina yomg‘irdan
keyin juda musaffo, ora-sira kishi ruhini erkalaydigan mayin shabada esmoqda
edi.
Tehron aholisining ko‘pchiligi uyqudan uyg‘ongan, ba’zisi uyg‘onmoqda, bir
qismi bo‘lsa hali shirin uyquda. [QT,262]
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As you can see from the above passage, the passage was translated with
some abbreviations. For example, the original text mentions that it is autumn
and also uses a figurative analogy of the sunrise, but the translator did not
reflect this in the translation.
هدمآ لااب نامسآ ی هنحص رد تسا یتعاس باتفآ
the author
translated the sunrise depicted in the sentence with a simple sentence. As a
result, the beauty of the nature image given in the original lost its charm in the
translation. It is clear from the author's description that he chose the words in a
very beautiful way and skillfully used them in the image. However, this beauty
was somewhat blurred in the translation. If the above passage were translated
as follows, the beauty of the original would have been preserved, at least to
some extent:
“Kuz faslining erta tonglaridan biri. Kecha tundagi yomg‘irdan so‘ng mana
necha soatlarki osmon sahnasida ko‘tarilgan quyosh o‘zgacha latofat bilan nur
sochar, goh-goh kishi ruhini erkalaydigan mayin shabada esardi. Bu soatda
Tehron aholisining ko‘pchiligi uyqudan uyg‘onib, ishga tushib ketgan, ba’zilari
endigina uyqudan turgan, va qolganlari yumshoqqina to‘shaklarida shirin
uyquda uxlab yotishardi”.
From the above passage, it is no exaggeration to say that the writer likens
the sky to a stage and the sun to an actor shining on that stage. The translator
simply translated it as “the sun had already risen in the morning.” However, it is
worth noting that the translator translated the sentence “occasionally a gentle
breeze blew that caressed one’s soul” very beautifully. The writer expressed it in
a very simple way, as “a gentle breeze blew.” The depiction of nature is
considered one of the most important factors that demonstrate the artist's
artistic skills. Because in the depiction of landscapes, the artist's skill in using
words and his attitude to the space captured in his pen are revealed
3
. That is,
scenes of nature help the reader feel the state of the hero of the work, and gain
ideas about his lifestyle and life.
Now let's analyze the following passage, which contains another image of
nature:
Original:
.تشذگ هام شش
یم دوب ناتسمز رکشل ی هدنام یقاب هک یدرس میسن ،تسیراهب بش
هرهب یب زونه هک ناتخرد یاه هخاش .دیزو
ار دوخ مادنا هنهرب و تخل .دنرادن ناتسمز رد یکاشوپ هک یریقف نادرم ناسب .دوب ابیز و زبس یاهگرب زا
ریسم رد تشاد ینوزف لصف نآ رد هک هناخدور بآ .دیزرلیم درس داب شزو رثا رد و هتخاس نایامن
راب ره و دوب ناور یدنت هب شراومهان
توکس نآ رد ار یکانسرت یادص دروخیمرب شرتسب یاهگنس هب هک
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شوگ هب دوب هدش دنلب هناخدور بآ شرغاب یزاوآ مه یارب طقف شوگ هک یرگید یادص .تخاسیم دنلب بش
،فوخم نارهت[ .دیسریم
۴۶۰-۴۶۱
]
Translation:
Olti oy o‘tdi.
…yil avvalbahorning salqin bir kechasi, sovuq shabada dov-daraxtlarning yangi
chiqqan barglarini tebratar edi. Soylar toshgan, pishqirib oqmoqda bo‘lgan suv
toshlarga urilib, ko‘pirar edi. Suv shaldiroq yig‘loqi ovozi bilan kecha tinchligini
buzardi. [QT,348]
In the above, the translator omitted the similes used by the author. Some
images were shortened in the translation. For example, the author described the
cold breeze left behind by the winter as if it were a cold wind left behind by the
army of winter, in a sentence with a special tone and simile, but the translator
omitted this in the translation and gave it a slightly different way. In general, the
author described the landscape in the above passage in a very figurative and rich
way. However, the translator rounded off and shortened the sentences, and
omitted parts rich in imagery. It would have been more appropriate if the nature
image described by the author had been translated as follows:
“Olti oy o‘tdi. Bahor kechalarining biri… qishning lashkarlari qoldirib
ketgan sovuq shabadalar esar, yashillik va go‘zallikdan bebahra qolgan daraxt
shoxlarini tebratar, qishki qalin kiyimi yo‘q bechora kambag‘allar kabi
yalang‘och tanasi ko‘rinib turar va sovuq shamolda dag‘-dag‘ qaltirar edi. Daryo
suvi to‘lib ketganidan pishqirib oqar va har safar toshdan toshga urilgan mahal
tun sukunatida daxshatli ovoz chiqarardi. Bu ovoz bilan birga eshitilib turadigan
yana bir ovoz daryo suvining ko‘tarishi edi”.
In the translation process, replacing original words with target language
alternatives, avoiding syntax rules or formalism, paying little attention to the
author's style and artistic concept of the work, and resorting to free translation
often leads to incomplete expression of sentences
4
.
The depiction of nature in works of art is also one of the most important
elements that determine the essence of a work of art. Because it determines how
creative the translator is in the work and how effectively he or she uses the
means of artistic depiction. For this reason, the depiction of nature in a work of
art is an integral part of the work. Let's analyze another landscape depiction:
Original:
یناراب رثا رد نیمز دیزویم تخس تسا ینیگنس فرب دمآ شیپ ابلاغ هک یا هدننز داب و دوب درس هزادنا یب اوه
ربا دوب هدمآرد یبلاجنم تروصب و هدش یلا و لگ زا هدیشوپ دوب هدیراب یپ رد یپ بش نیدنچ هک
یا هریت
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زاغآ نداتفا ینیگنس فرب دوش رتنوزف یمک اوه یدرس هکنیمه دشیم ساسحا یبوخب و دوب هدیناشوپ ار نامسآ
درک دهاوخ
.
مک سوناف ود طقف و دروخیمن مشچ هب ییانشور نیرتکچوک روانهپ نابایب نآ رد و دوب امرفمکح یلماک یکیرات
یا هدع رس بقع و شیپ رد تملظ ی هنحص نآ رد یرون
دروخیم ناکت مدرم زا
.
،فوخم نارهت[
۱۷۵
]
Translation:
Kun juda ham sovuq edi. Hamisha qor yog‘ishidan xabar beradigan izg‘irin qora
sovuq esardi. To‘rt kun surunkasiga yoqqan yomg‘ir yerni ko‘pchitib yuborgan.
Osmonni qora bulutlar qoplab olgan, qor yog‘ishi kutilardi.
Sahro zim-ziyo, hech qayerda yilt etgan yorug‘lik ko‘rinmaydi. Faqat yo‘lda ikki
xira fonus yog‘dusi ko‘zga tashlanardi, biri oldinda, ikkinchisi bir guruh odamlar
ortida. [QT,495]
The description of nature is given with certain hints to create an
imagination in the reader before an important event occurs in the work. For
example, in the novel "The Terrible Tehran", the writer often does not
immediately proceed to the development of events, but first describes the place,
nature, and weather where the event takes place, gradually adapting the reader
to the process. In the above description, the writer also tells the above passage
in his own language before describing the difficulties experienced by the main
character Farrukh. Gradually, he enters into a sad story about Farrukh's
experiences and the painful days he went through. Here, it can be said that the
translator was able to preserve the image in its entirety. In this image, the
translator, without shortening or adding anything, expressed the sentences as
fluently as a writer, and this was his achievement. The translator even translated
sentences such as “the bitter black cold” and “the constant rain that fell on the
land” into Uzbek, conveying their rhythm. The translator also causes the reader
to imagine the country through the image of nature. Therefore, it is important to
deliver the translation correctly.
CONCLUSION
In conclusion, in the translation of nature images, many reductions were
encountered. In addition, the translator simplified the imagery, similes, and
animations used by the writer in the translation or completely removed them.
The recreated landscape and portrait images were translated in some places
with a free approach. This caused the translator to deviate somewhat from the
writer's style. The translator is considered the most skillful writer, poet, and
translator of his time. In some places, he tried to convey the translation to
readers based on the capabilities and mentality of the Uzbek language, and he
succeeded.
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۱۹۲۴
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–
۴۷۴
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