Translations from French literature in 60-70s

This article deals with translation practice the French literature in the Uzbek language. The ways of translation some stories in 60-70s are given in it. Several examples of translations in Uzbek, Russian and French are presented in this article.


INTRODUCTION
Lots of works of French literature had translated especially much in 60s and in the beginning of 70s. When the works of French writers translated into uzbek language randomly, in the eve of anniversaries and significant dates, in the last period they appeared systematically. In our opinion, the growing interest of uzbek readers to public and literary-artistic life of French people and development of friendship links between people of two states assisted it.
In 1960 L.Karimova had translated the novel J.Remi "Если парни всего мира" from Russian translation, in 1961 two novelles of Merime in the translation of N.Turmukhamedov from Russian edition of State publication of 1953 "Таманго" and "Матео Фальконе".
N.Tairov had translated the only novelle of Stendal with great treasure "Ванина Банини" into Uzbek from Russian edition of 1958. The level of translation of this novella is very high. The author tried to save original, protected its stylistic peculiarities which was proved by the following fragment.
Talented translator L.Tadjieva published the collection of translations of four novelles A.Barbus/ "Крест", "Нежность", "Сила", "Первая любовь"/ done from Russian text under the general title "The first love" and translation of the novel of A.Duma "The black tulip" from the edition of Detgiz of 1955.

MAIN PART
These works, especially the novelles of A. Barbus had translated successfully. The reason of success is that, in our opinion, he translated the works of those writers whose artistic genre was coincided with his style of work. This is the main point in literary translation. The translation of G.Malo "Without family" done by S.Saydalieva from Kazakh edition of 1959 so changed that textual comparison with original is impossible. It is the translation-treatment, though there no mention about it in the title.
Honoree de Balzac was presented to Uzbek readers with two novels, the first one /Евгений Гранде/ was translated by Davron in 1964 from the edition of State publish of 1952 and the second /Отец Горио/ by S.Mukhamedjanov in 1968 from the edition of State Publish of 1952.
It is well-known that these novels of Balzac were acknowledged by everyone as masterpiece of world literature. But reading his novels in translation into Uzbek language one cannot say so. The reason of it is a low quality of translations. From the first pages the language is fainted, phrase became graceless, artificial, humour was synthetic, not comical, and charm of Balzac's heroes is remitted or fully weakened. In one word, translations are failed, have many drawbacks. Even every page has spotted with noncomprehensible words of original which are unfamiliar to majority of Uzbek readers, it proves the absence of unified principle of transmitting words-realia, Russisms which have intact equivalents in the Uzbek language/кофе, фут, парик, декорация,муслин и другие/. Or translators consummately substitute specific words of original by Uzbek words, for instance: En ce moment, chacun prit sa chaise et s'attable-Ҳамма стул олиб дастурхон атрофига ӯтирди /Balzac G.O., 210/. Inattention of translator led to that position where Balzac's heroes sat around tablecloth (dastarkhan) on the chairs! But people sit around tablecloth on the floor in Uzbekistan. Or the word "суп" substituted by "шурпа", "балахон" by Uzbek striped "robe" of national fashion.
In 1969 the novel of Jules Verne "Amazing adventures of uncle Antifer" was translated by E.Mirobiddinov from Russian edition of Childish literature. The translation is read easily, with brisk interest and doubtlessly had an honoured place in the treasure of Uzbek literature.
In 1970 the novel of Sh.de Koster "Legend about Ulenshpigel" with large merits in translation by I.Satibaldiev from Russian text State publication from 1954 and novel of F.Rable "Gargantuan and Pantagruelle" in translation by Nurbek from Russian translation from 1960 were appeared. These translations are far from excellence, because they translated with inadequate Russian translations.
If the authors had a precise choice of these masterpieces of world literature, for instance, the translation of N.Lyubimov, the translations' level will be higher. That's why, before translation of the work, one should study the creative laboratory of Sh. de Koster and F.Rable, but also translator-artist N.Lyubimov.
In next three years/1971-1973/ novels of A. Duma "Count Monte-Cristo" from Russian edition of artistic literature of Uzbekistan //, "Three musketeers" in translation of B.Baykabulov and S.Turakhanov // and novel of Jules Verne "8000 kilometers under the water" translated by S.Karamatov from Leningrad edition from 1946 were appeared.
The level of these translations are unlike. If the translations of T.Rustamov and S.karamatov differed by artistry, reasonably correct transmission of national diversity of original, but translation of B.Baykabulov and S.Turkhanova was full of unjustified eastern words, chiefly Arabisms as тийнат, аросат,мубораза, хумоюн,табаддул, ров, мужда, хуфиёна, жубба, рутба which mean nothing for ordinary Uzbek reader.
Year But studied material doesn't let all translations of French writers into Uzbek as perfect ones. Vice versa, there are some unsuccessful and weak translations among them. The all-round study let find out semantic mistakes, inaccuracy, stylistic misses, and russisms, not translated words of original, incorrect transmission of pun /Отец Горио/, speech of personages /novelles of Maupassant/, ad-libs, releases and softening of expression, which seem brusque and graceless. Sometimes translators forgot that "… no output, no supplement, no changes are let in literary translations. If there are some drawbacks, they must transmit correctly. Goal of these translations is substitute the original for whom it is inaccessible on ignorance the language and give them the means and opportunity to enjoy and judge about it". Some translators insert the elements of Tashkent dialect to the translation, litter the text with unnecessary Russisms and Arabisms, omit the whole phrases, replicas, exclamatory constructions, consummately substitute French words-realia by Uzbek ones. It deal mainly to the translators of "Father Gorio" by Balzac, stories of G.Malo "Without family", "Gargantuan and Pantagruelle" by F.Rable, "Legends of Ulenshpigele" by F.de Koster and others.
Translation has fully changed, text was distorted, author's style of writing toned down. The names of dramatis personae and stylistic devices as allotment of parts of speech weren't transmitted as anticipation, reprise and intensive constructions with celle qui…, c'etait …qui etc. Translator didn't know the ways of transmitting with the help of word order or eliminative means as in accordance with context and style. We observe such negligent attitude to original in the translation of "Legends of Ulenshpigele" of Charle de Koster. The 373 pages of original changed into 383 in Russian translation, and 361 pages in Uzbek translation. Almost the whole pages weren't translated, but the note about concised pages were not given in the cover of Russian and Uzbek editions. Poems remained without translation. Analysis of works of French writers translated into Uzbek language indicates that the important issue as reproduction of personages' speech hadn't solved in translations. For instance, the broken speech of Prussian officer in the novella "Пышка" ("Coulez vouz tescendre messiers et tames?", "C'est pien","Qu'est ce que foue foulez") wasn't given in Uzbek version, but Russian translator did it perfectly /Неукотно ли вылезать, коспота?, корошо, што фи котите?/. In this case translator should intend the speech of personage to "laboratory" analysis and find out which sound was damped there. Prussian officer often damped the voiced consonants "v", "d" and "b". But Uzbek translator didn't know it because of absence of knowing the language of original. He could do this analysis according to the Russian text, which perfectly indicated all shades of Prussian officer's speech and transmit it Prussian's speech changing the sounds /т-ш,ж-ш,х-к,с-ш,з-с/ as шушмайсиларми,шаноблар? якши,шис нима коклайшис.

CONCLUSION
Therefore, it's necessary to change this or that sound or use ready broken phrases /якши -яхши, талинка-тарелка, хабтовуз-автобус, калават-кровать/ in order retrace broken speech of personages, from the context. So, comparative analysis of translations of French literature into Uzbek language let do the following notes: if compare the contemporary translations with translations in 20-30s, the first ones had a higher quality, if look through them from the modern demand to literary translation, those translations are not perfect.
As our research was devoted to the issue of word transmission which denotes realia in French life, it is effectually descry it separately.