THE CATEGORY OF GENDER IN TRANSLATIONS OF HEINRICH HEINE‘S WORKS (EXAMPLE FROM PALMA. THE PINE POEM)

Аннотация

Thisarticle discusses about translating works Heinrix Hayne. Key words:Translation, translator, century, nation, world,poet,poem, language. Аnnotatsiya:Ushbu maqoladaHaynrixHayneasarlariningtarjimalari hаqidаso‘z boradi . Каlitso‘zlar:Таrjima,tаrjimon,asar, millat, dunyo,shoir, she’r, til . Аннотация:Вданнойстатьеведётся речь об перевода произведениеГенрихаГейне Ключевые слова: Перевод,переводчик,нация,мир,поет,стихотворение,язык. The existence of the gender category in many languages around the world, and the absence of this feature in Turkic languages as well as in languages like Finnish, Georgian, and Armenian, creates difficulties in translation. When translating from a language that has a gender category toa language that lacks such agrammatical feature, challenges arise. In languages with a gender category, this characteristic does not correspond well.One of Heine's poems, “The Pine” ('Ein Fichtenbaum'), captivates with its melody. The poem 'The Pine' has been translated into Russian by M. Lermontov, F. Tyutchev, A. Fet, L. Maykov, P. Veynberg, V. Gippius, I. Pavlov, M. Mikhailov, L. Umanes, T. Kharkhur, and A. Korsarov. In Uzbek, the poem has been translated by Mirtemir, Abdulla Sher, Ergash Muhamedov, Aziz Akbarov, A'zam Ismoil, and Shuhratxon Imyaminova.Lermontov's translation is included in the Russian publications of Heine's works. This poem was translated in 1841 at the request of Prince Vyazemskiy. In 1891, a Russian master of the brush, I.I. Shishkin, created the work “Na severe dikom...” dedicated to Lermontov, depicting the poem's content through colors. The following is the second version of thepoem's translation;there is also afirst version. Heinrich Heine. “The Pine and the Palm” (Der Fichtenbaum und die Palme). In the far north, a lonely lover stands on the rocky cliffs, yearning for the embrace of his beloved “the Palm” ('die Palme'). M.Yu. Lermontov translates this. In Russian, both “sosna'”(pine) and “palma” (palm) are feminine nouns, turning the lovers into cousins. F.I. Tyutchev chooses the “cedar” tree, while A. Fet prefers the “oak”tree”According to botanical experts, there is ambiguity in F.I. Tyutchev’s translation: cedar is a tree that does not grow in the north; it is a southern tree found in the Mediterranean. In the north, it is not cedar, but the “kedrovaya sosna'”(cedar pine) or “qarag‘ay” (pine) that grows. In F.I. Tyutchev’s subsequent translation, the oak replaces the pine, and the northern cliff is replaced with a hill, since the oak is a southern tree that does not grow inthe north. In Uzbek, the absence of thegender category leads toshortcomings in translations from Russian. The existence of gender in Russian allows for less repetition of personal pronouns. When 179 INTERNATIONAL MULTIDISCIPLINARY JOURNAL FOR RESEARCH & DEVELOPMENT SJIF2019:5.2222020:5.5522021:5.6372022:5.4792023:6.5632024:7,805 eISSN:2394-6334 https://www.ijmrd.in/index.php/imjrd Volume12,issue03(2025) referring to a woman in a text, her name or surname can be omitted, and one can simply use “она” (she) or “её” (her). In Uzbek, such sentences require a creative approach.For example: “Он предупредил её.” translates to “U uni ogohlantirdi.” In Uzbek, to avoid stylistic errors, it is necessary to frequently mention the name of the subject instead of using pronouns. For instance: “Он предупредил её.” becomes -Uuqizniogohlantirdi. Сoснa На севере дикомстоитодиноко На голой вершине сосна Идремлет,качаясь,снегом сыпучим Одета, какризой,она. Иснится ей все,что впустыне далекой- В томкрае,гдесолнцавосход, Однаи грустна наутесе горючем Прекрасная пальмарастет(2.19). G. Salomov emphasizes in histutorial “Introduction to Translation Theory'”(p. 3,198)that “the reason is that the translator could not convey the spirit of the poet like M. Lermontov did; he could not fully reflect the meaning of the poem, and this is due to the difficulties posed by the gender category.”In his reflections on the poem “Ein Fichtenbaum” ('The Pine'), G. Salomov bases his comments on Ergash Muhamedov's scientific work “Heinrich Heine in Uzbek'”(1973). In Russian literature, there are examples reflecting the difficulties in artistic translation due to the gender category. One such example is found in Heinrich Heine’s poem “The Pine and the Palm,” where the lover, forever separated from his beloved palm, is depicted as a pine. Here’s thetranslation of your textinto English: "There are two words in German that refer to the pine tree: one is feminine-“Die Fichte,” and the other is masculine-'der Fichtenbaum.' The lonely lover standing on the rocky cliffs of the far north laments for his beloved “die Palme,”yearning to achieve union with her,”G. Salomov continues, “In translating this wonderful poem into Russian, M. Lermontov faced a problem; in Russian, both the words “sosna” (pine) and “palma'”(palm) are feminine. These two words do not embody a male and female figure. In Lermontov’s translation, the meaning of the poem changes; the lov