The problem of transferring stylistic devices is one of the most interesting aspects of translation theory. The need for an adequate transfer of imaginative information becomes the main aspect for studying the translation of figurative means. Translation is always a multifaceted process, a phenomenon; certain aspects can be the subject of research of different sciences. Linguists distinguish the following aspects: literary, historical, ethnographic, psychological translation studies. A professional translator uses methods of transferring stylistic devices used in the original text in order to give brightness and expressiveness.
Due to the national peculiarities of the stylistic differences in languages, translators have difficulties. The translator must reproduce the function of reception and save the original image in translation. Without a stylistic aspect of translation, one cannot get a beautiful translation. The translation of the original depends on how the translator can convey the meaning of the stylistic units. The main task of translation is the transfer of stylistic units.
Stylistic methods of translation must be known and be applied in practice by each translator.
The translation of stylistic devices that carry a figurative charge of the work often causes difficulties for translators due to the national peculiarities of the stylistic systems of different languages. All linguists emphasize the need to preserve the image of the original in translation, believing that, first of all, the translator should strive to reproduce the function of reception, and not the reception itself. Stylistic devices that serve as means of expression include: metaphor, metonymy, oxymoron, allusions, simile, epithet, hyperbola and other stylistic devices. In translation they usually serve as a means to make both source and target texts more expressive. They also serve to better express the feelings and experiences of the author. Stylistic devices make texts, speeches, essays etc. more interesting and lively and help to get and keep the reader’s / listener’s attention.
In his works well known Uzbek writer Utkir Khosimov uses different aspects of style to make the work more colorful. Below we will consider some examples from works by Utkir Khoshimov where in translation of his works into English the same responsibility is shifted on translators whose task is to transfer the stylistic color of the work, the liveliness of belles-lettres through translation by applying to different approaches of translation related to the translation of stylistic devices.
Ayiqdek lapanglab vagoncha tomonga birinchi bo‘lib yurdi — was the first to walk awkwardly towards the wagon like a bear (the Simile was kept in translation as well; ayiqdek — like a bear; dek was substituted by like)
Hozir dilsiyohlik bo‘lishini bilib, yuragim g‘ash tortdi. Quruvchi xalqi — nozik. — My heart sank overseeing the forthcoming disappointment. The builders are sensitive ones.(yuragim g‘ash tortdi- my heart sank, idiomatic expression was kept via equivalence method of translation)
Kап-катта йигит бировга тирик товон бўлиб ўтирса- He didn’t stand his life dependant on someone else, he felt himself like a burden(тирик товон- burden produces an ironical effect in source text; it reveals the ironical attitude of the character to himself. In the target language the word burden can show the same ironical effect as well, it was done due to equivalence method of translation)
Битта ҳарф ўзгариши билан «шаҳар» «заҳар» га айланиб, балога қолишинг ҳеч гап эмас…- With the change of a letter, the word «city» may become “pity” in a hurry….and you turn out to be in trouble
«шаҳар» «заҳар» \ «city» “pity” — the last syllable repeated in two neighboring words draws attention and puts emphasis. «заҳар» and “pity” are different words; indirect translation was done, Аlliteration was used to keep author’s style.
Чанқаб, муздеккина совуқ чой ичганини билади. Ошқозонида шу қадар қаттиқ оғриқ турдики, чангак бўлиб қолди- He became thirsty and had some cold water. As soon as he drank the water there was such a severe pain in his stomach that he nearly cluttered.
The word муздеккина was omitted, it is inappropriate to say cool cold tea; the wordчой was translated as water from cultural point of view. Because English people don’t drink cold tea, Uzbek people love drinking it. Cultural aspect was kept in translation.
Ошқозонида шу қадар қаттиқ оғриқ турдики, чангак бўлиб қолди- there was such a severe pain in his stomach that he nearly cluttered
Hyperbole was used both in source and target languages чангак — cluttered, it effectively draws the attention to a message that author wants to put emphasis on. The emphasis was put on severe pain by using hyperbole. We can see morphological transformation as well, noun was changed into verb.
Ёнғоқ шохларининг шамолда вишиллаши — The furrow of the walnut branches. The syntactical pattern of the sentence is informative; it demonstrates the condition of weather and at the same time the emotion of the character. The emotional tension of the character was kept in hidden way both in source and target languages. Onomatopoeia was used because it's often difficult to describe sounds. Furthermore, a story becomes more lively and interesting by the use of onomatopoeia.
Алимардоннинг назарида юзларча одамлар шу топда бир оҳангдан тебраниб, бир оҳанг оғушида тўлғанаётгандек эди. Баҳор сувларининг жарангдор кулгуси хам, илик куёшнинг эрка нурлари хам, юрак тўлкинлари ҳам ҳамма-ҳаммаси шу охангда мужассам эди.
Залда даҳшатли карсак кўтарилди-ю, Алимардоннинг юраги зириллаб кетди. Одамлар бараварига қарсак чалишар, Алимардоннинг рақибини олқишлашарди.
«Бу кандок шармандалик! Бу кандок шармандалик!»
In Alimardon's imagination hundreds of people were swaying like wave by the tune. The laughter of the spring water, as well as the rays and the warmth of the sun, everything was in this melody.
A terrific applause rose in the hall, and Alimardon’s heart shuddered with fear. People were applauding and praising Alimardon's opponent.
«What a shame! What a shame! "
Одамлар шу топда бир оҳангдан тебраниб, бир оҳанг оғушида тўлғанаётгандек эди— In Alimardon's imagination hundreds of people were swaying like wave by the tune. (Stylistic device — Simile was used in the example)
Баҳор сувларининг жарангдор кулгуси — laughter of the spring water (Stylistic device — Personification was used)
Залда даҳшатли карсак кўтарилди-ю, Алимардоннинг юраги зириллаб кетди- A terrific applause rose in the hall, and Alimardon’s heart shuddered with fear (hyperbole, exaggeration was used)
«Бу кандок шармандалик! Бу кандок шармандалик!»- What a shame! What a shame! (Repetition was used both in source and target texts to intensify the meaning)
Stylistic devices are the heart and soul of every expression in belles lettres. Translation of metaphors, metonyms, comparisons, allusions and other stylistic devices make translator’s work as beautiful, as meaningful, and as emotive as author’s work. It should be noted that the problem of translation of the expressions makes the activity difficult not only for beginners, but also professional translators. Therefore the translator should be aware of stylistic devices and methods of translation. Stylistic devices when being translated from source into target should be done taking into account the contextual background of the original work, the individuality of the author's style, and also the specifics of the translated language, in terms of its stylistic norms and syntactic organization of the text should be taken into consideration.
References:
- Л. В Бреева., А. А Бутенко., Лексико-стилистические трансформации при переводе, — М., 1999
- У. Хошимов. Киссалар. Узун кечалар,– Т., “Ёш гвардия», 1990
- У. Хошимов «Севги киссалари» — "Ўзбекистон» нашриёт-матбаа ижодий уйи, 2001
- Richard Bradford. Stylistics — London and New York: Routledge.1997.
