The artistic and aesthetic significance of the translation of Ibroyim Yusupov’s lyrics

Аннотация

This article provides a scholarly and theoretical basis for the assertion that conveying the psycho- emotional state in the translation of poetic texts is of critical importance, drawing on the works of Ibroyim Yusupov as an illustrative example. It also presents evidence that the translator’s skill plays a pivotal role in literary translation and that accurately highlighting the national color in the target text is a mark of genuine artistic mastery. Keywords: Translation, artistic mastery, literary connections, translator’s skill, artistry, aesthetics, analysis, poetic perception, national color. this field, and it is largely occupied by random, Introduction: Translating from languages that share unqualified individuals. close kinship in terms of vocabulary, lifestyle, and religious beliefs is in many respects more convenient METHODOLOGY than translating from languages of entirely different In scholarly discourse, there is a phrase often referred linguistic groups whose religion, customs, and to as “strangely well-known.” It describes words, traditions are very different. Nevertheless, there is a expressions, and concepts that are, in fact, incorrect widespread but incorrect belief in Translation Studies but have become so widely adopted that they are that translation from closely related languages is more treated as “correct.” For instance, the Uzbek word difficult than from distant ones. The main justification avliyo (a plural form of valiy, meaning “saint”) is given is the existence of so-called “false equivalents”: sometimes further pluralized as avliyolar, or the word words that appear similar in form in both languages but axbor (already a plural form of “information”) is differ substantially in meaning. Such words, when used sometimes given the plural suffix -ot, and so on. We can incorrectly, can mislead the translator, slip into the observe similar phenomena in the shifts of certain translation, fail to fulfill their function in the target text, word meanings. For example, xoliq means “Creator,” and—being used out of place—distort or alter the while maxluq means “a created being.” Historically, author’s message. However, as the well-known maxluq carried a positive connotation, but now it is translation scholar G‘. Salomov put it, “When used negatively or even as an insult. Likewise, today we translating from closely related languages, instances of use dorilomon in the sense of a peaceful, tranquil life, being misled by false equivalents generally stem from whereas in the past it denoted “the abode of peace,” the translator’s insufficient command of the source i.e., the afterlife [2.215]. language” [1.133]. In our context, the field of literary