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Byron and Uzbek literature (to the history of professional literary translations)
Avlaeva Saida Bozorovna, teacher;
Khusanova Rukiia Khushvaktovna, teacher;
Turaeva Guzal Khursanovna, teacher;
Nomozova Marguba Allanovna, teacher
Karshi State University (Uzbekistan)
The article discusses the issues of professional literary translations of the works of the outstanding English romantic poet George
Gordon Byron into the Uzbek language. The necessity of applying modern approaches to studying the heritage of the great writer, taking
into account national identity and universal values, and studying the influence of the East on the work of J. Byron is emphasized.
Key words:
English literature of the 17th-19th centuries, comparative literature, literary translation.
Байрон и узбекская литература (к истории профессиональных
художественных переводов)
Авлаева Саида Бозоровна, преподаватель;
Хусанова Рукия Хушвактовна, преподаватель;
Тураева Гузаль Хурсановна, преподаватель;
Номозова Маргуба Аллановна, преподаватель
Каршинский государственный университет (Узбекистан)
В статье рассматриваются вопросы профессиональных художественных переводов произведений выдающегося ан-
глийского поэта-романтика Джорджа Гордона Байрона на узбекский язык. Подчеркивается необходимость применения
440
«Молодой учёный» . № 17 (307) . Апрель 2020 г.
Филология, лингвистика
Филология, лингвистика
современных подходов к изучению наследия великого литератора, учета национального своеобразия и общечеловеческих
ценностей, исследования влияния Востока на творчество Дж. Байрона.
Ключевые слова:
английская литература XVII–XIX вв., сравнительное литературоведение, художественный перевод.
G
eorge Gordon Byron has made a huge contribution to
world literature. His works have been translated into more
than 100 languages of the world.
It is believed that the beginning of the widespread penetration
of English literature in Central Asia dates back to the middle
of the 16th century, or rather, the visit of the famous traveler
Anthony Jenkinson (1529–1610). The Turkestan, Bukhara
and Khiva intelligentsia of the 19th century also learned
about the best examples of English literature from Russian,
Turkish, Persian, Tatar, Crimean Tatar, Azerbaijani and Arabic
translations. The famous Uzbek-Tajik enlightener Ahmad
Donish (1827–1897) became one of the first authoritative
experts in European literature. Later, the intelligentsia of
Western Europe was introduced to the local intelligentsia by
the author of the first Uzbek play Mahmudhodzha Behbudi
(1875–1919), the first “Uzbek Magellan” Mirzo Siroj (1877–
1914), the first Uzbek professor Abdurrauf Fitrat (1986–1937),
etc.
Of particular note is the acquaintance of the Turkic world
with the work of Byron through poetic translations of the national
poet Gabdulla Tukay (1886–1913), and other prominent Tatar
intellectuals. In their works, they were able, with the help of a
special language, to reflect the eternal spiritual values that bind
and unite the peoples of the West and East.
When another famous Tatar poet, translator and public
figure Sagit Sunchely (1889–1937) completed the translation
of Byron’s “Prisoner of Chillon”, G. Tukai wrote to him: “If the
Gasr publishing house will publish the Prisoner of Chillon”, I
will be the first to congratulate you on this success “(January 22,
1911). G. Tukai wrote a preface to the publication of a translation
of the poem, in which he welcomed this achievement: “Was
there at least one translation into our Tatar language that gave
rise to” Byronism “and gave the world a great and high feeling?
Of course, there was no such translation. Sagit Effendi fulfilled
this task “[3].
Indeed, for example, Taktashev’s “Tragedy of the Sons of the
Earth” is directly inspired by the dramatic poem “Cain” — the
same biblical story, the same religious and mythological images,
the same rebellious theological struggle [2]. One of the founders
of the new Tatar poetry, Hadi Taktash (1901–1931), who lived in
Uzbekistan for a long time (the cities of Bukhara and Tashkent),
speaking of Byron’s reckless passion spent in his youth, wrote:
“The spirit of fiery Byron sits in me…” [1]
Byron became widely known to the Uzbek reader as early
as the 1920s. XX century (then, in Soviet times, new, high
requirements were imposed on the translation — it was especially
important to observe the scientific principles of editing). Byron’s
works in the twentieth century were translated by such large
Uzbek poets as Aybek (Musa Tashmukhamedov) (1905–1968),
Maksud Sheikhzade (1908–1967), Hamid Alimjan (1909–
1944), Shukrullo (b.1921), Jumaniyaz Jabbarov (1930–2010),
Muhammad Ali (b.1942), Rauf Parfi (1943–2005), Khayriddin
Salah (b.1934), Abdullah Sher (b.1943), Abdulhamid Parda
(b.1958).
Aybek, for example, masterfully, according to experts, retells,
conveying the transformation of the Byron mystery of mortal sin
into an exciting mystery of irreconcilable atonement (“Cain”).
In Byron’s works, Maksud Sheikhzade was primarily
interested in the revolutionary spirit of romance (in 1958 this
Uzbek poet translated several songs from Childe Harold, with
their gloomy protest against the vulgarity of the surrounding
reality).
Rauf Parfi, experts believe, managed to maintain a
philosophical, peculiar dialogical genre, the specificity of the
pessimism of the Manfred tragedy. H. Salah managed to convey
to the satire of the Bronze Age, Byron’s appeal to the people to
protect their rights, increase past valor and courage. [4]
Quite original in the translations of Uzbek writers “From
the diary in Kefalonia”, “Moon” [4]
(A special topic is the influence of such a master of Uzbek
translation studies as Ozod Sharafiddinov (1929–2005), the
school of writers founded by him, and the unique journal
“Zhanon adabiyoti” (“World Literature”) on introducing the
Uzbek reader to traditional and modern English literature).
The narrative of Byron’s translations would be incomplete
without mentioning the name of the outstanding Karakalpak
writer Ibrahim Yusupov (1929–2008).
A specific side of the problem we are considering is the
effect on Russian literary translations of Central Asia on Byron’s
literary translations into the local languages. (It is noteworthy
that the famous Tajik Timur Zulfikarov, paraphrasing Byron, and
bearing in mind also the negative trends in the literary process,
once said: “a speculative essay written without inspiration is a
rust of literature” [6].
I must say that the theme “Byron and Uzbek literature” is
still almost undeveloped by modern literary criticism. Scientific
works characterize only the quantitative side of the issue, leaving
virtually no attention to the qualitative side. It is important to
understand not only what the masters of literary translation in
Uzbekistan followed, but also what they refused, which they
could not share and accept from Byron. It is also important to
know what subjects of Byron’s works were most in demand in
the era of globalization (it should be extensive, because Byron
had succeeded in criticizing the “aristocracy of villains,” which,
in his opinion, could only aggravate population degradation
and accelerate the collapse of the country).
The Uzbek scientist Tursunov Ibragim Nuralievich in his
dissertation focused on the works of Byron.
The problem remains the general level of modern translation
art in Central Asia, which, admittedly, has significantly
decreased, and the main reason for this was the commercial
benefit expected from the republishing of Western literature.
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