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Volume , issue impact Factor: 249564-99-PB
№6 | 2023
41
written as a dialogue between a son and his deceased mother. And if dialogues dominate the work,
then the syntax corresponds to the norms of oral speech. Before us is the classical construction of a
lyrical poem - complete reprises about the fate of people. Let us note that language materialization
takes place here: it turns into a physically visible image. The complexity of the philosophical content
of the work tells how the author draws his conclusions about earthly life, living suffering, sums up
his life, concluding in it a deep idea and an extensive image. A. Aripov cares about semantic clarity
and the clarity of the expressed thought, reflecting on the most complex social problems and universal
human values. And the reader is conveyed this deep excitement, restrained tension of feelings. We
see how the author's voice, breaking the boundaries of individuality, becomes the collective voice of
the people, but at the same time remains the voice of the poet himself.
With minimal use of artistic means, the poem contains such lexical layers of the language as
obsolete words: “qadar” (share, fate), “gar” (if only); poetic - “netayin” (what can you do), which in
turn has a synonym “nachora” (what can you do); there are also antonyms - “yўқlikka” (non-existent,
non-existence) - “borliqda” (existing, being), which emphasize the semantic contrast of the last two
lines of the work.
Here there is such a trope of metaphor as the personification: “toleim kulmaydi” (luck does
not smile at me), in the meaning of “I’m not lucky”, and “Meni ham edi-ku shu gamlar” (this grief
ate me too). In the following lines “Oqibat topganim kabrdir” (as a result, she found a grave) and
“Sen ham gar yukhlikka yul olsang” (if you also go on the path of non-existence), the author uses
such a trope as a symbol, i.e. an image with the maximum degree of generalization and expression,
which expresses the distinctive features of an event or phenomenon. So, the image of the "grave"
symbolizes the end of earthly suffering, the result of earthly existence, and the "path of non-existence"
is a symbol of eternity, infinity, liberation. In addition, for greater expressiveness of the text, A.
Aripov uses such figures of poetic syntax as distant repetitions of sentences; in the first and fifth
stanzas, “Onazhon, koshingga ketayin” (mother, I want (to go) to you) and “Bardosh qil deiman, oh,
netayin" (endure, I say, oh, what can you do), having the main semantic load, as well as rhetorical
evaluative appeals: "Not uchun dunyoda tugildim" (for which he was born) and "Not uchun yovuzdir
odamlar" (why people are evil ), and a rhetorical question: “Borlikda kim meni yod etar ?!” (Which
of the existing ones will remember me?), which is the climactic denouement of the entire poem as a
whole.
In their quest to reproduce the form, literal translators do not keep the correct meaning and
expression, i.e. separate form from content. The content dies, and thus the form of the translation
becomes a dead outer shell, an empty similarity to the original form. This is facilitated by the
distortion of the language, which, turning into a means of copying the original, ceases to be a means
of revealing its poetry. And it is hardly possible to entrust translation with the task of “correcting” the
native language according to another language's lexical and syntactic laws, often alien to it.
So, A. Obidov turned out to be an accurate but essentially dried-up translation, a dead copy of the
famous poem by A. Aripov. On this occasion, G. Gachecheladze rightly noted that “a letter always
kills the spirit if it does not merge in a new language with the artistic fabric of the work”[2]
Talks [3]
-I am poor and unblessed,
Mother, let me go to you.
-No back way to whom have passed,
Be more patient and endure.
-Tell me, why I came this world
Such a pitiful and hard?
-Me myself it wheezing held,
Baby, all it disregard.
-Men become malicious why,
Always struggles with each other.
MUALLIM |
УЧИТЕЛЬ | TEACHER
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