Употребление метафор в переводе с английского на узбекский язык

    Deploying and interpreting the information given below the book, (here inside the brackets), translator understood that the hero didn’t kill the mother literally, it was said figuratively that gradually he became the reason for her death and in Uzbek the translator chose to say “adoi tamom qilding” which means to make somebody suffer a lot. Even though this information wasn’t given in the origin, one who read that part of the book would have thought the hero to be a murderer of her own mother. As in Russian this implicit information was made explicit by means of additional information (within the brackets) in Uzbek it was opened in the context without preferring the additional. 

Her secrets: old featherfans, tasselled dancecards, powdered with musk, a gaud of amber beads in her locked drawer.(15)

Где же теперь? Ее секреты в запертом ящичке: старые веера из перьев, бальные  книжечки с бахромой, пропитанные  мускусом, убор из янтарных бус.(8)

Унинг гизли хотира туҳфалари: патдан ясалган  эски елпиғичлар, попукларидан мушк анқиган Carnets de bal¹, тортмаларда сақланувчи қаҳрабо тасбеҳлар.(20)

In the English original version a gaud of amber beads means “a collection of beads (jewellery), what kind of beads are meant here isn’t appropriately explained. But “a gaud” is actually used here metaphorically. As a translation into Russian this metaphor has been ignored by being transferred as убор из янтарных бус. As a result of Russian language effect, Uzbek receptor couldn’t witness this original metaphor, by getting information about қаҳрабо тасбеҳлар because of this omission. Moreover қаҳрабо тасбеҳлар is making the text closer to the heart of the receptor by utilizing the word unusual for the source language, in this way, the translator wants to reach maximum target approach to the receptor, rather than preserving absolute meaning and by making the reader tired of word for word limited translation. This free translation can also be called translator invisibility in which the receptor has more chances to understand the book as well as it’s been written in his own native language.

 

Opening her handbag, chipped leather. Hatpin: ought to have a guard on those things. Stick it in a chap’s eye in the tram. Rummaging. Open. Money. Please take one. Devils if they lose sixpence. Raise Cain. Husband barging. Where’s the ten shillings I gave you on Monday? Are you feeding your little brother’s family? Soiled handkerchief: medicinebottle. Pastille that was fell. What is she? ...(279)

These first statements of the examples are replete with metaphorical expressions, it can be proved by the word-combination  “chipped leather” the point is that, leather can’t be chipped actually, only teeth can be chipped, being half-broken. Opening her handbag, chipped leather. The translator obviously couldn’t find any metaphorical equivalent to this combination “chipped leather, and coped with translation by using grammatically correct word-combination in literal meaning. Открывает сумочку, потертая кожа . Hatpin is used to stick something to a cap, but here it’s being used to keep the bag locked, by making the original meaning figurative: Hatpin. A guard is a person of security, or as a historical term somebody in a position to keep things or people from danger. In these occasions it’s being somehow ironically, somehow metaphorically deployed to counter the previous statement’s meaning to the next one. It infuses esthetic pleasure to the reader. Stick it in a chap’s eye in the tram  → Может попасть кому-нибудь в глаз в трамвае  →   Бунақа нарсалардан эҳтиёт бўлиш керак: трамвайга чиққанда бировнинг кўзига кириб кетиши мумкин. As we compare these three translation versions, we can witness a wonderful and amazing occasion in which a metaphor in English has been dropped and effected on Uzbek one. The original meaning would better translated as “Voy u-bu kimning ko’ziga kirib ketsa nima bo’ladiya!” . The reason is that the writer wanted to show his disappointment and his feeling of worrying about the passers-by in the bus. Both in Russian and in uzbek original meaning of the metaphor was lost and was exchanged with just an ordinary grammar construction.

Rummaging. Open. Money. Please take one. Devils if they lose sixpence →  Роется. Все раскрыто. Деньги. Хочешь – бери. Они готовы с ума сойти если потеряют хоть шестипенсовик → 

Кавлаштиряпти. Ҳаммаси очиқ–сочиқ. Пуллар. Ҳоҳласанг  – олавер. Бир тийинни йўқотиб  қўйишса, ақлга озгудек бўлишади.

Even though both in English and Russian “open” is given in literal meaning, Uzbek translator preferred to add some emotional colouring and utilized it as a metaphor. While transferring into Russian only the word “Все” was added as an extra emotion, but it doesn’t have any signs of metaphors as well as there’s in Uzbek.

 

2.2. Solutions to problems of metaphor translation in literature

originally translated from English into Uzbek

Besides it’s important to increase originally translated from foreign languages as it will enrich our library with wealth of foreign culture. There are occasions when it’s really impossible to find equivalent for a metaphor and it can be defined hermeneutically according to meaning metaphor has in the source language,  or  when just the expression is represented by menas of just a grammar construction without emotional colouring in the source language, the translator may prefer to utilize metaphor in the target language so that the meaning in target text would sound more beautiful.

  In his hand the Golden Papa has a letter; and after he has made his excuse for disturbing us in our Infernal Region with the common mortal Business of the House

Qo’lida maktub o’sha “oltin ota”ning. U shunchaki avvalo bir oilaviy ish bilan bizni muqaddas jahannamda bezovta qilib, qo’ygani uchun uzr so’radi.

In the foregoing example “Infernal region” is being translated as muqaddas jahannam into Uzbek just to exaggerate the semantic features of the statements so that it would be kept in the mind of receptor as a basic episode, word for word can be translated as “Holy Hell”. In the last art of example, the statement with the common mortal Business of the House is formed actually with specific effects of policy and metaphorical expression with “business”. The meaning in the source is exaggerated with stress on the problem by using “mortal Business”, but in uzbek it’s delivered nearly with no essence on the metaphorical expression, by just keeping the same tone in the statement : shunchaki avvalo bir oilaviy ish bilan . The word “shunchaki” diminishes the meaning of the source text, maybe the translator utilized it as the speaker was apologizing to disturb the partner with just a family problem. The translator possibly approved of this version as kindness and politeness is appreciated in our mentality most of all. Translate considering the target culture first

Moreover there are occasions when special metaphors are dismissed by being exchanged with simple expressions either because of absence of equivalence or because they are formed by the individual preferences and outlook of the author. Here below it’s really complicated to understand what’s meant in the paragraph, but the translator could give general idea of metaphorical expression:

  Enough for me, that here I am, with the mighty merchant's note in my hand, as large as life, as hot as fire, and as happy as a king! Ha! ha! ha! right-right, right-all-right

Бақувват  савдогарнинг ҳаётдек қимматли , оташдек  ҳароратли шартномаси билан мана шу ерда ўзимни қироллардек бахтиёр  сезиб турибман, менга мана шунинг ўзи кифоя. “Ҳа, ҳа, ҳа! Соз-соз-соз, ҳаммаси  жуда соз!

as large as life isn’t enough clear to understand reflecting thoughts of the writer mostly , being rendered into Uzbek as ҳаётдек қимматли the translator knew that it was no use of translating word for word. If it’s approved to give word for word explanation as “ҳудди ҳаётдек улкан” one can face funny occasion here. To infuse irony to exaggerate the false importance of the note in hands of the speaker telling that “it’s as hot as fire, as large as life, as happy as a king”, the translator tried to render these complicated expressions outside Uzbek comprehension just within the norms. For instance feeling of hidden ignorance toward the “note” can easily be identified in the last metaphor telling “as  happy as a king”, With the word “King” and the relation “happy” represents the negative attitude to Kings, ignoring hard work and strains in the administration, just remembering happiness of being a king, lying down all day and night long  just enjoying the life. All three metaphors are given one by one being linked to |”note” obviously defining its features in source language. But in the target one, the translator utilized for “note” the first two metaphors and the third one for the person, speaker who is holding that note. оташдек ҳароратли шартномаси билан ўзимни қироллардек бахтиёр сезиб турибман.

 A Mamma, fair and fat; three young Misses, fair and fat; two young Misters, fair and fat; and a Papa, the fairest and the fattest of all, who is a mighty merchant, up to his eyes in gold--a fine man once, but seeing that he has got a naked head and two chins, fine no longer at the present time.  Now mind! I teach the sublime Dante to the young Misses, and ah!--my-soul-bless-my-soul!--it is not in human language to say how the sublime Dante puzzles the pretty heads of all three! No matter--all in good time--and the more lessons the better for me.

 

Oyijonisi – parivash, baqaloq; uch yoshli qizaloq- parivash, baqaloq. U – sarmoyador savdogar, tillaga ko’milib ketgan. Allaqachonlar qaddi qomati kelishgan yigit bo’lgan, hozir esa sochlari to’kilib, qo’shaloq bag’baqalab chiroyidan asar ham qolmagan. Endi bu yog’ini eshiting! Men navnihol qizlarga ilohiy Dantedan dars o’taman. Yo rab! Menga sabr ato qil! Qani endi bu uch qizning ajoyib boshlariga ilohiy Danteni joylab qo’yishning iloji bo’lsa! Bunga inson tili ojizlik qiladi. Bunisi ham mayliya – hamma narsaning vaqti soati bor, qancha ko’p dars o’tsam, o’zimga shuncha yaxshi.

A Mamma, fair and fat; three young Misses, fair and fat; two young Misters, fair and fat; and a Papa, the fairest and the fattest of all, who is a mighty merchant, up to his eyes in gold  →

Oyijonisi – parivash, baqaloq; uch yoshli qizaloq- parivash, baqaloq. U – sarmoyador savdogar, tillaga ko’milib ketgan

In these statements the author wanted to show both one at a time and point by point comparison methods in the source language as a result of translation the same effect was produced in the target language. “Tillaga ko’milib ketgan” is the phraseological unit which has come here from the metaphor “be in gold up to eyes”. As a matter of fact in English there isn’t any set-expression which sounds like this, but there’s a metaphorical expression “be up to eyes in smth” representing that somebody has lots of something. “Fair and fat” is being rendered as ordinary words “parivash, baqaloq” in which the actual lexical meaning has been altered as “fairy” means “something magic”, but “parivash” means “ somebody very beautiful”.

In all three circumstances of metaphorical expressions into Uzbek generalization has been preferred obviously as it’s impossible to find an equivalent to the relevant combination.

 

a fine man once, but seeing that he has got a naked head and two chins, fine no longer at the present time. →

Allaqachonlar qaddi qomati kelishgan yigit bo’lgan, hozir esa sochlari to’kilib, qo’shaloq bag’baqalab chiroyidan asar ham qolmagan.

“Two chins” in this case difficult to be understood even by a native speaker, as here individual author’s creativity is being demonstrated. But the translator could find a good way out of this situation by identifying the actual meaning of this metaphor. When somebody is stout, a chin on his face could be divided into two by being folded into two like a baby’s legs and hands. Therefore a case of being stout in face is hidden in this metaphor and the translator could find the best way to deliver the information by utilizing own combination “qo’shaloq bag’bag’alab”. Somebody, not well aware of literary words will find it hard to understand the meaning of this beautiful combination “baqbaqa”, especially because it’s exaggerated by changing the sound “q” into |”g’ ” . The metaphor “he has got a naked head” could have been understood as →he is without a cap→actually it means that somebody doesn’t have any hair, bald. Getting a good advantage of this stylistic meaning, the translator defined it hermeneutically by means of concretization “sochlari to’kilib”

 

 

Conclusion

Serving as a bridge between two nationalities, translation obviously provides mutual communication and understanding between the world people. It’s because literature represents daily life, life style, cultural and social traditions of the nationality as the mirror of the country. Especially in fiction it’s impossible to deny that stylistic devices as well as metaphors are quite active in writing process providing natural features and artificially sounding expressions.

In the process of conducting this research obviously usage of metaphors in literary translation from English into Uzbek has been put forward into the centre of the issue. Before analyzing the metaphors it has been preferred to discover their definitions, types of classifications according to usage and content as well as original states.

What concerns the classifications according to utilization metaphors has been classified into types such as submerged, extended, comlex, mixed, root metaphor, pataphor, implicit metaphor, absolute metaphors as a consequence of which it was easier to identify their ways of translation, whether equivalence has been found or defined. The point is that knowledge about structural, functional, semantical and lexical peculiarities can give the best opportunity to analyze any kind of metaphor more easily and clearly.

As regards translating metaphors and metaphorical expressions there’s one more special classification containing two types of metaphors such as non-linguistic and conceptual, the first of which helps to understand the writer’s private and psychological approach to metahor usage. The second one conceptual means that the metaphor has a hidden explicit meaning inside which relates to context.

What concerns the metaphors in literary translation, utilizing hermeneutical definitions solutions to general problems have been offered as follows:

• Concretization
• Generalization
• Using equivalents if available
• Omitting (missing)
• Explaining the basic meaning within the context

In case of translation using any of these transformations some compulsory

options preferred have been counted:

• Translator invisibility
• Free translation
• Adequacy
• Equivalence only taking into consideration context features
• Understandability of the target text
• Fidelity relating to meaning in the source text, not the structure
• Avoiding word for word translation

If these rules are followed and the methods are used properly for metaphors , translation will certainly satisfy the receptor with the emotional coloring aspects delivered perfectly.

 

 

Резюме

Ҳеч кимга  сир эмаски, юртимизда тобора маьнавиятни  юксалтиришнинг асосий омили ҳисобланган  бадиий адабиётни ўрганиш таълимотига  чуқур аҳамият қаратилиб келинмоқда. Ўзбек адабиётнависларини дунёга танитиш билан бир қаторда, кутубхоналаримизни чет эл адабиётининг бевосита таржимаси билан бойитиш ҳам биз мутахассисларнинг бурчимиз саналади. Бу мақсадимизга эришиш йўлида оз-моз тўсқинлик қилаётган қийинчиликларни бартараф этишдек улкан вазифа турибди олдимизда. Биз назарда тутаётган қийинчиликлар фақатгина икки миллат тафаккури, тушунча доираси, турмуш тарзининггина хилма-хиллиги билан боғлиқ бўлмасдан, балки уларнинг маьлумот қаьбул қилиш қобилиятига ҳам бориб тақалади. Найда.Ю, Мунин.Ж. сингари атоқли таржимашунос олимларнинг бу борадаги мулоҳазалари ҳақида тўхталадиган бўлсак, улар таржима жараёнининг мураккаблиги экологик, моддий-маьнавий, ижтимоий, диний ҳамда лингвистик омилларида деб билишади. Мана шу каби омиллар қаторига метофоралар ҳам кириб, аҳамиятли даражада қийинчиликларни юзага келтирмоқда.

Илмий ишнинг ёритилиш жараёнида метафораларнинг  таржимадаги таҳлилидан ҳам олдин, даставвал уларнинг таснифи, келиб  чиқишини ўрганиш маъқул кўрилиб, тегишли  хулосалар ҳосил қилинди.

Таснифига келадиган бўлсак, таржима нуқтаи назаридан метафораларнинг концептуал, нолисоний каби турлари мавжудлиги аниқланди.

Метафораларнинг таҳлили учун мавзуга боғлиқ равишда  инглиз тилидан ўзбек тилига таржима  қилинган асарлар бўйича амалга оширилди. Шунингдек мамлакатимиз кутубхоналарини чет эл адабиётининг наъмуналари билан янада бойитиш мақсадида мазкур таҳлиллар ҳам билвосита (рус тили воситасида) ҳамда бевосита қилинган таржималарга асосланди. Метафоралар аслини олганда, муайян бир тилда сўзлашувчи миллат вакилларининг тафаккури, дунёқараши, маънавий ҳамда моддий турмуш тарзидан келиб чиқиб вужудга келган бўлиб, сўзма сўз таржима орқали уни таржима қилинишининг сира ҳам иложи йўқ. Айнан шуни инобатга олган ҳолда ҳам бевосита ҳам билвосита таржималарда метафораларнинг таржима қилиниши йўл йўриқлари, усуллари таҳлил қилиб, ўрганиб чиқилди. Таҳлиллар натижасида шу нарса маълум бўлдики, метафораларга жуда кўп ҳолларда эквивалент топмининг имкони бўлмаганлиги сабабли конкретизация, генерализация, тушириб қолдириш, контекст ичида изоҳ билан таржима қилиш ва ҳк.лар аниқланди.

 

 

 

 

 

 

 

 

The list of used literature

1. Newmark.P.                   Approaches to Translation, L., 1988.

2.Sakvarelidze. N              Issues on Translation, T., 2001

3. Elizabeth.                     Language and Context: The Acquisition of

                                           Pragmatics. New York., 1976

3. Chabua.A.                     English translation. D., 1985., Translated by

                                           Antonina W. Bouis

4. Crystal D.                      Cambridge Encyclopedia of Language,                  

                                           Cambridge,1989.

5. Бреус.Е.В.                     Основы   теории   и   практики    перевода

                                           русского языка на английский. М., 2002.                                                                    

6. Влахов С., Флорин С. Непереводимое в  переводе.  /Монография. М.,  

                                           1986.

7. Казакова Т.А.           Практические основы перевода. M.,  2002.

8.  Келтуяла  В.В.            О переводе  интернациональных слов.  //Тетради