The problems of studying equivalences in the english translation titled “a scorpion from the altar” by i.m.tuxtasinov from abdulla kadiri’s uzbek “mehrobdan chayon”

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The problems of studying equivalences in the english translation titled “a scorpion from the altar” by i.m.tuxtasinov from abdulla kadiri’s uzbek “mehrobdan chayon”

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3.1 Use of literary style and methods in the text of literary translation ………….
55
3.2. Connotative meanings of words in the novel “Scorpion from the Altar”……
58
3.3. Analysis phraseological units in the novel of "Scorpion from the Altar"…...
68
Conclusion on chapter III…………………………………………………………78
CONCLUSION ………………………………………………………………….
80
REFERENCES ………………………………………………………………….84
INTRODUCTION
Today, the world of thought, scope of knowledge, understanding and
perception of international relations have been opened to a person who knows
foreign languages. These universal invitations, thoughts and comments are
repeated in almost all the speeches of our President Shavkat Mirziyoyev, in his
meetings with young people and scholars.
“It has never been more relevant and important to us another issue that we
will not miss is the task of raising our children to be independent people with
modern knowledge and skills, with a strong life position, truly patriotic people.” 1
In the years of independence, along with the state language, the study of foreign
languages was included as a state policy. Improving the science and education
1
Mirziyoyev Sh. M. We will build our great future together with our brave and noble people. Tashkent:
Uzbekistan. - 2017. – 43 p.
2

system is one of the important tasks of modern reforms, and no society can build a
bright future without strengthening its spiritual power and moral and moral values
in the human mind. A person needs historical memory in order to restore his
spirituality, to walk with his head held high and not to feel inferior to others in the
country where he was born and raised.
The Law of the Republic of Uzbekistan "On Education" , "National
Personnel Training Program" and the December 2012 Decision "On Measures to
Further Improve the System of Foreign Language Learning" have such great ideas.
It is particularly noteworthy for its practical implementation, orientation of the
young generation to deep acquisition of foreign language and foreign intellectual
property. This situation requires experts in foreign languages and our compatriots
who are conducting scientific research on them to think deeply about this, to
conduct research in different directions on teaching foreign languages.
This master's thesis is an excellent project characterized by a focus on problem
solving. With the honor of great independence in our country, as in all areas of our
public life, unimaginably large-scale research is being carried out in the field of
literary translation.
One of the most striking and interesting areas of translation studies, which
includes linguistic problems that are very relevant today, occupies a central place
in the object of scientific research on the study of equivalence problems.
The resolution of President Shavkat Mirziyoyev on the state program for the
integrated development of the higher education system for 2017-2021 states: “It is
another important practical step towards expanding the participation of the Higher
Education System in addressing the issues of strategically integrated development
of the sector” 2
2
Mirziyoyev Sh. M. Together we will build a free and prosperous Democratic State of Uzbekistan. Tashkent:
Uzbekistan. - 2017. - 28 p.
3

In order to educate today's youth in an educated and skilled manner, to
create all the conditions for them to become quality personnel, President Shavkat
Mirziyoyev said: “We will resolutely pursue the state policy on our youth. Not
only will we continue, but also we will raise this policy to the highest level we
need today. We will mobilize all the forces and capabilities of our state and society
for the development and happiness of our young people as independent thinkers,
with high intellectual and spiritual potential, who will not be idle to their peers in
any field around the world. On the basis of mutual trust and interests, we will
establish close cooperation with foreign countries, first of all, neighboring
countries, as well as international institutions at the level of today's requirements”. 3
Actuality of the dissertation is also because the problems of alternation in
the translation of works of art in linguistic and cultural studies are one of the
topical issues facing translators. Therefore, it is not in vain that we have chosen
just such a problem for our dissertation work. This small study has a certain
significance in the translation of “Scorpion from the Altar” by A. Kadiri into
English, a comprehensive study of the problem of equivalence, revealing its
undisclosed sides. Therefore, even this small study, comparing the versions in
English and Uzbek, is given a special place in the process of finding solutions to
some problems of literary translation.
Object of this dissertation - The purpose of this master's thesis is to further
develop the process of literary translation, improve translation skills, and shed light
on the methods of achieving appropriate equivalents in translating a literary work.
Subject of this dissertation - To describe the translation procedures used
by the translator in translating in the novel “Scorpion from the Altar" by
I.Tuxtasinov to explain why the translation procedures are used in translating the
equivalences.
Aim and tasks of the dissertation: Is to achieve adequacy in the translation
of an artistic work or text using several methods, to analyze the features of
3
Mirziyoyev Sh. M. We will build our great future together with our brave and noble people. Tashkent: Uzbekistan.
- 2017.
4

interpretation in Uzbek and English linguistic culture. Based on the above-
mentioned circumstances, research tasks include:
- Description of equivalent concept;
- Types of equivalence and the concept of adequacy
- To analyze some equivalences
- Translation of equivalences used in A. Kadiri's work "Mehrobdan Chayan" in
English and achieving adequacy.
Description of the concept of equivalence, clarification of the importance of
equivalence in the translator's correct interpretation of the text, consideration of the
scope of the use of words within different cultures, analysis of equivalence and its
types in English and Uzbek linguistic culture, study and analysis of the problem of
equivalences in the translation of Mehrobdan Chayan's work, related to this giving
examples.
Scientific novelty of the dissertation: Analytical consideration of the study
of English and Uzbek linguistic culture in the translation of a work of art and their
correct coverage in the translation, the clarification of the different aspects of
phrases, words and other lexical units in the Uzbek and English linguistic culture
of A. Kadiri's work "Mehrobdan Chayon" and the level of equivalence achieved in
the translation of phrases. comparison with the help of this research is a scientific
novelty of our work.
Significance of the dissertation. It is expected that the result of this
study can be a valuable contribution to students who are studying at the
department of translation theory, researchers on comparative translation field, and
everybody who read this thesis. Students will learn the correct use of equivalences
in the process of translating a literary work. Because finding the right equivalent in
literary translation is a complicated process
5

Level of study of the topic: In our research work, we reviewed the work of
a number of translation scholars who have conducted research on translation
studies and comparative analysis of prepositions, learning equivalences, teaching
methods, and the formation of competencies in literary translation. There are a
number of translator and linguists such as Peter Newmark (“A textbook of
translation”, “Approaches to Translation”), Eckersley, and C. E. and J. M.
Eckersley (“Comprehensive English Prepositions”), Roger Bell (“Translation and
Translating: Theory and Practice”), Aznaurova E.S. (“Translation theory and
practice”), Kuchiboyev A. (“Bilvosita va bevosita tarjima tahlili”), Sayfullaev A.
(“Problems of rendering prepositons in translation”), Odilova G. K., Sirojiddinov
Sh. (“Badiiy tarjima asoslari”). Fedorov A .V., Translation Studies, Komissarov
V.Ya., Gak V.G., Kubyakova E.S., Krasnykh V.V. , in addition to an important
level of study of this research work is the fundamental works of Uzbek translators
Sh. Safarov, G. Rakhimov and many other researchers on this topic. Yakobson,
Catford, Eugene Nida, J.D. Popova, V.N. Teliya of Linguistics, Y.S. Stepanov,
A.D. Artyunova, V.A. Maslova, N. Makhmudov, A.V. Fedorov, V.Ya.
Komissarov, Sh. Safarov, G. Rahimov and many others many fundamental works
of researchers on the subject formed the basis of this research work.
Methods of research: comparative method, method of historical, method of
cognitive modeling, method of conceptual analysis, cross-cultural analysis.
The theoretical and practical significance of the dissertation is results of
literary translation studies, researches, and analyzes gathered during this work
significantly fill, concretize, and systematize the meaning and originality of literary
works translated from Uzbek to English.
The structural form of the dissertation. This dissertation consists of
Introduction, 3 Chapters, Conclusion, List of References.
6

CHAPTER I.
SCIENTIFIC – THEORETICAL FOUNDATIONS OF LITERARY
TRANSLATION
I.1. Description and principles of literary translation.
Literary translation is the process of translating creative poetry and prose into
other languages. The aim is to make literature accessible to a wider audience base.
Literary translation also includes translating ancient literature and modern fiction
to other languages to make them available to more people at a time.
Since literature is considered the literary of words, this definition can also be
applied to the translation of artistic works. Because the translated literature is a
derivative of the original literature. Knowing the language is not enough for the
translation of works of art; it requires creativity and knowledge of art science.
7

That is why only poets-writers or people with artistic talent try to translate works
of art. It is not for nothing. The great word artists of the world "in order to deeply
understand the world of feelings and images, the translator must be an artist at
heart." 9It is the climate of art in terms of the approach it requires, skill and
artistry.
The Uzbek translation studies scholar Gaybulla Salomov explains this as
follows: "The essence of the translation process is to preserve the unity and
integrity of the content with the form reflected in the original copy lacquer is to
find alternative means of language. In addition, choosing the most alternative and
appropriate option among the several possibilities of rendering the content of the
original in another language is considered one of the main requirements of an
adequate translation. Searching for these alternative language tools and choosing a
suitable option is creative in nature and requires the conscious work of the
translator, i.e. the translator. In the translation of social and political literature,
which is closely related to the expressiveness of the language, it is necessary to
solve certain artistic and creative issues. This requires literary skills from the
translator. Such translation is an art.
In literary translation, the translator has a position of equal rights with the
author, because he does not demand that the author be able to "paw his paw". 4
Noting the greater difficulty and uniqueness of poetic translation, the famous
Russian poet and translator V. A. Zhukovsky even said that "in poetry, the
translator is the rival of the author." Literary translation differs from the original
work in the presence of a ready-made object. The translator gives new life to the
existing work in the new social, literary and national environment.
According to the requirements of realistic translation, the translator as a work
of art of the original it must recreate the unity of content, preserve national and
individual characteristics. Translation differs from the original creative process by
4
Salomov. G‘. Tarjima madaniyati Toshkеnt: O‘qituvchi. - 1982. - 157 b.
8

its very nature. "He is a person who is determined to convey to new readers his
ideological-aesthetic world, the charm that captivates the reader. For this, he needs
to know the subject thoroughly at the author's level. In addition, he must have a
deep understanding of the features and artistic style of the author, which are
different from other writers." 5
It is known that a translator who tries to translate
works of art must have deep knowledge of both the original language and the
language of the translation, have creative talent, and at the same time "learn" the
laws of art. Because literature works with various literary techniques and artistic
image tools. In the poetic translation, the problems of weight, rhyme, radif, and
melodiousness are also transverse. That is not all. There are many big and small
requirements of the literary translation, such as re-creating the author's style,
preserving the rhythm and intonation of the work, reflecting the naturalness of the
characters, giving the national color, finding alternative variants of phraseology,
and expressing the features of the dialect. Shows that it has a decisive status. The
translation of the work in another language, the fame of the author among other
peoples is related to the service of the translator. For this purpose, the translator
must be able to reproduce in another language all the methods and tools used by
the author to ensure the readability, attractiveness, and effectiveness of his work.
Translation of literature is fundamentally different from other categories.
This is because the main principle of literary translation is the dominance of poetic
communicative function. It means that in addition to rendering information to the
reader, literary translation also has aesthetic functions.
Features of artistic text - is the text of prose, poetic, dramatic and journalistic
works. It is distinguished from other texts by its imagery and impressiveness.
Artistic text - an example of art. In a literary text, each word is selected like an eye
on a ring and often has several facets of meaning and performs several artistic
functions. In poetic works, even the repetition of letters and their sonority and
5
G‘ofurov I., Mo’minov O. Tarjima nazariyasi. Toshkеnt: O‘zbekiston faylasuflari milliy jamiyati. –2012.–400b.
9

sonority are taken into account. The main features of the artistic text are as
follows:
1) Based on imagery;
2) Will be rich in means of artistic representation;
3) Is created in different styles;
4) Widely uses all the resources of the language;
5) Gains influence.
The poetic text will have additional features. Including:
1) It is created in a certain weight;
2) Rhymes;
3) radif is used;
4) Artistic arts are widely used;
5) Each word, each letter is assigned a specific aesthetic task;
6) It is required to be fluent, sonorous, and impressive.
The text of dramatic works is similar to the text of prose and poetic works,
because they are created either in prose, or in poetry, or in a mixed way. However,
since dramatic works are mainly based on action, they are devoid of redundant
images and statements, every word in them refers to an event, is directed to reveal
a content, and serves to reveal the character of the hero. Adding and omitting
words in translation, It is known that the whole creativity of the translator is in the
field of words - he should be able to reproduce the work created in one language
without adding or removing anything using the tools of the second language.
In this way, he conducts painstaking research just like the author, he works
on each word like a jeweler, sometimes he adds words of his own to reflect the
meaning clearly, sometimes he omits words due to the requirement of weight in
10

poetic translation leaves "Experience shows that the original cannot always be
translated into another language with suitable words (if that were the case,
translation would easily become a craft rather than an art).In such cases, the
translator uses all his skills, uses the level of knowledge, the richness of the
language, that is, revealing the meaning of "untranslatable" words, replacing them
with other words (phrases, sentences) used in this sense, comparing a number of
methods at an excellent level the translation can be called an adequate translation
only if he was able to use it." 6
The main principles of literary translation it is known that the principle is
derived from the Latin word "principium" and means basis, origin. "A theory, a
doctrine, a worldview are the primary, basic law-rules; the main idea, law-rule,
which is used as a basis for activity." Also, in the basic law; point of view; look
behavior, rules of ethics; it is also used in the meanings of order, style. Like other
sciences, translation studies, including literary translation, has its own principles.
Thoughts about the art of translation began to be expressed in the early days of
translation, and although they were multiplied and accumulated over the centuries,
they were integrated into a comprehensive system in the middle of the 20th
century, when realistic translation was formed, and the original principles of
translation were developed. Because "the demand for translation has changed over
time. If Abu Rayhan Beruni criticizes the free translation and insists on re-creating
the original spirit in another language, Muhammad Temur comes out as a
supporter of the free translation. While Agahi follows the principle of creative free
translation, Murodhoja strives for historical-linguistic accuracy and remains
faithful to the rules of word-for-word translation”. 7
There were translation
principles of each period. In the past, mainly free and creative translation, often
their works form was practiced, that is, both free and creative. Sometimes there
are completely free translations. Some translators, who consider the translation to
6
A.Muminov “A guide to consecutive translation”. Tashkent-2014. - 25 p.
7
A.Muminov “A guide to consecutive translation”. Tashkent-2014. - 25 p .
11

be an original work, rewrote it in their own words after mastering the content of
the original. Only the theme and plot, images and literary methods belong to the
author, and the translator chose the words and means of artistic image.
In the process of translation, it was considered simple to shorten and
condense the work, add chapters, stories, and make changes at various levels.
"Khusrav and Shirin" epic in Qutb's translation by Nizamiy Ganjavi, which has
been studied mainly from the point of view of literary studies and has not yet
received its objective and final evaluation in the direction of translation studies,
occupies an intermediate position between free and creative translation. Because he
skips the traditional introduction, which consists of 12 chapters, and starts the
translation directly from the description of the events, adds or shortens many
chapters, and abandons the concluding chapters. His patrons, Prince Tinibek and
his wife Malika, add chapters to the poem. If it shortens some bytes, it expands
some by 2 or even three bytes.
In the translation of verses and verses, sometimes he omits words and
phrases, sometimes he adds words and phrases of his own, sometimes he changes
allusions and artistic arts. He uses words specific to the Khorezm dialect. In the
past, the tradition of turning prose works into poetry and, in turn, translating poetry
into prose is widespread. For example, Lutfi wrote "Zafarnama" into verse, Babur
translated Khoja Ahrar Vali's treatise "Volidiya" into verse. Many prose
translations of "Shahnoma" were created. Ogahi translated Nizami's epic "Hasht
Bihisht" into prose. The arbitrariness, putting an end to every situation was put to
an end only when realistic translation was decided.
The importance of the theory of translation is that it put an end to the
arbitrariness of translators who work in different directions, and gave them an
acceptable method of literary translation that has been tested in practice. It shows
how to approach translation, what methods to use in the translation process, how to
solve this or that problem. The science of translation studies, which has developed
12

certain principles and rules based on the analysis of the achievements and
shortcomings of the centuries-old history of translation, is a common way for any
translator. Based on these general rules and regulations, each translator solves the
specific problems that arise in the translation of a concrete work individually.
There are many big and small principles of artistic translation, and the following
can be distinguished as the main ones:
1. The translation should be an artistic and creative reflection of the original; it
should be its "portrait" .
2. The translation should be perfect in all respects to the original and become a
phenomenon of human literature.
3. It should fully reflect the national form and spirit of the original in the native
language.
4. In addition to having knowledge of the original and translated language, and the
ability to translate, the translator is required to know not only the original, but also
the life covered in it, not the text, but what is described "behind the text".
5. It is necessary to achieve translation and re-creation of not only the ideological
content, but also the aesthetic meaning of the work. This means that the reader of
the translation should have the same pleasure and impression as the reader of the
original.
6. Translation is not imitation, copying or competition, but creative re-creation:
- not words with words, but giving ideas with thoughts; maintaining the
grammatical structure of the works;
- to recreate the style of the writer;
- to give with an image;
- maintaining unity of form and content.
13

7. Each literary genre has its own requirements that the translator must follow. In
addition, each translator has his own principles of translation. This is due to his
attitude towards translation and his knowledge of the laws of translation. Some
advocate accuracy in translation. For example, the Russian translator V. Bryusov
translated Virgil's "Aeneid" six to seven times. Every time he used a new
principle: at first he translated freely, then clearly, and at the end he translated.
"The next option was known by Shoim himself as "high accuracy". To achieve this
"high accuracy, he works over and over again on every sentence, every expression
and phrase, showing fine art like a jeweler, and all the polishes of his work". 8
However, according to researchers, his last translation was the most unsuccessful
translation. It is known from the history of literary translation that word-for-word
translation has never been successful.
Some translators he is a supporter of freedom in the translation. They treat
the translation like the original work and make changes as they wish. For example,
the famous Indian epic "Kalila and Dimna" by the Uzbek translator Muhammad
Temur, who lived in the 17th century, was renamed "Anvori Suhaili" by Husayn
Vaiz Koshifiy, based on this principle, he makes Uzbek from the copy translated
into Persian, and in the process of translation, he changes the text of the work to
the extent that it does not resemble the original, in other words, he creates a work
based on the work. Most translators advocate translation as a place of freedom and
creativity. In this case, freedom does not serve the purpose of changing the work,
but creative reworking, bringing it into line with the original. That is, freedom is at
the level of showing the creative power of the translator as a creator, because
creativity cannot be achieved without certain freedom.
1.2. The concept of equivalence and its importance in literary translation.
8
I.Gafurov, O.Muminov “Theory of translation”, Tashkent-2012. - 79 p
14

The specificity of translation, which distinguishes it from all other types of
linguistic mediation, lies in the fact that it is intended to fully replace the original
and that translation receptors consider it to be completely identical to the source
text. At the same time, it is obvious that the absolute identity of the translation with
the original is unattainable and that this does not at all prevent the implementation
of interlingual communication.
Due to the lack of identity in the relationship between the content of the
original and the translation, the term "equivalence" was introduced, denoting the
commonality of content, i.e., the semantic proximity of the original and translation.
Since the importance of maximum coincidence between these texts seems obvious,
equivalence is usually considered as the main feature and condition for the
existence of a translation. 9
Three consequences follow from this. First, the equivalence condition must be
included in the translation definition itself. Secondly, the concept of "equivalence"
acquires an evaluative character: only an equivalent translation is recognized as a
"good" or "correct" translation. Thirdly, since equivalence is a translation
condition, the task is to define this condition by indicating what the translation
equivalence is, which must necessarily be preserved when translating.
In the search for an answer to the last question in modern translation studies,
one can find three main approaches to the definition of the concept of “equivalent”.
Until recently, the leading place in translation studies belonged to linguistic
theories of translation, in which the traditional idea that languages play the main
role in translation dominates. With this approach, the tasks of the translator can be
reduced to the most accurate transfer of the original text by the target language in
its entirety. Some definitions of translation actually replace equivalence with
identity, arguing that the translation must fully preserve the content of the original.
A.V. Feodorov, for example, using the term “fullness” instead of “equivalence”,
9
Catford J., A Linguistic Theory of Translation. – London: OUP. 1965. – 2 2 7 р.
15

says that this fullness includes “an exhaustive transfer of the semantic content of
the original”. 10
However, this thesis does not find confirmation in the observed
facts, and its supporters are forced to resort to numerous reservations that actually
contradict the original definition. So, Barkhudarov stipulates that immutability
“can only be spoken of in a relative sense”, that “losses are inevitable in
translation, that is, there is an incomplete transmission of the meanings expressed
by the text of the original”. From here, Barkhudarov draws a logical conclusion
that "the text of the translation can never be a complete and absolute equivalent of
the original text". 11
This approach to translation gave grounds for the emergence of the so-called
theory of untranslatability, according to which translation is generally impossible.
Of course, the uniqueness of the vocabulary and grammatical structure of each
language, not to mention the difference in cultures, allows us to assert that the
complete identity of the texts of the original and the translation is impossible in
principle. However, the assertion that translation itself is also impossible is highly
debatable.
The second approach to solving the problem of translation equivalence is to
try to find some invariant part in the content of the original, the preservation of
which is necessary and sufficient to achieve translation equivalence. Most often,
either the function of the original text or the situation described in this text is
proposed for the role of such an invariant. In other words, if a translation can fulfill
the same function or describe the same reality, then it is equivalent. However, no
matter what part of the original content is chosen as the basis for achieving
equivalence, there are always many translations that have actually been made and
provide interlingual communication, in which this part of the original information
is not preserved. And, conversely, there are translations where it is preserved,
10
Kristen Malmkjaer "Equivalence in Translation: Between Myth and Reality" Oxford:Oxford University Press-
1996. – 56 p
11
Бархударов, Л. С. Язык и перевод / Л. С. Бархударов. - М., 1973.
16

however, they are not able to fulfill their function as equivalent to the original. In
such cases, we are faced with an unpleasant choice: either to deny such translations
the right to be translations, or to recognize that the invariance of this part of the
content is not a necessary feature of translation.
The third approach to the definition of translation equivalence can be called
empirical, it is presented in the works of V. N. Komissarov. 12
Its essence is not to
try to decide what should be the commonality of the translation and the original,
but to compare a large number of actually performed translations with their
originals and find out what their equivalence is based on. Having done such an
experiment, Komissarov concluded that the degree of semantic closeness to the
original is not the same for different translations, and their equivalence is based on
the preservation of different parts of the content of the originale. In his book
"Theory of Translation (Linguistic Aspects)" V. N. Komissarov formulated the
theory of equivalence levels, according to which, in the process of translation,
equivalence relations are established between the corresponding levels of the
original and the translation. Komissarov singled out five content levels in terms of
the content of the original and translation.
1. Level of purpose of communication. Any text performs some kind of
communicative function: it reports some facts, expresses emotions, establishes
contact between interlocutors, requires some kind of reaction or action from the
listener, etc. The presence of such a goal in the communication process determines
the general nature of the transmitted messages and their linguistic design. The
equivalence of translations of the first type lies in the preservation of only that part
of the content of the original, which indicates the general speech function of the
text in the act of communication and is the goal of communication. Translations at
this level of equivalence are performed when a more detailed reproduction of the
content is impossible, and also when such reproduction will lead the translation
receptor to incorrect conclusions, cause it to have completely different associations
12
Комиссаров В. Н. Современное переводоведение / В. Н. Комиссаров. - М., 1999.
17

than the original receptor, and thus interfere with the correct transfer of the goal of
communication. The relationship between originals and translations of this type is
characterized by:
• incompatibility of lexical composition and syntactic organization;
• impossibility to link the vocabulary and structure of the original and the
translation by means of semantic paraphrasing or syntactic transformation;
• the absence of real or direct logical connections between the messages in the
original and the translation, which would make it possible to assert that in both
cases “the same is reported”;
• the smallest commonality between the content of the original and the translation
compared to all other translations recognized as equivalent.
2. The level of description of the situation. In this type of equivalence, the common
part of the content of the original and the translation not only conveys the same
goal of communication, but also reflects the same extralinguistic situation, i.e., the
totality of objects and relationships between objects described in the statement.
Any text contains information about something, correlated with some real or
imaginary situation. The communicative function of a text cannot be realized
otherwise than through a situationally oriented message. A more complete
reproduction of the content of the original does not mean the transfer of all the
semantic elements of the original. The preservation of references to the same
situation is accompanied in translations of this type by significant structural and
semantic discrepancies with the original. One and the same situation can be
described through various combinations of its inherent features. The consequence
of this is the possibility and necessity of identifying situations described from
different angles. Sets of statements appear in the language, which are perceived by
native speakers as synonymous, despite the complete mismatch of their linguistic
means. People are able to recognize the identity of situations described in
completely different ways. The second type of equivalence is characterized by the
18

identification in the original and in the translation of the same situation with a
change in the way it is described. The basis of the semantic identification of
multilingual texts here is the universal nature of the relationship between language
and extralinguistic reality. The second type of equivalence is represented by
translations, the semantic proximity of which to the original is also not based on
the commonality of the meanings of the language means used. In such statements,
most of the words and syntactic structures of the original do not find direct
correspondence in the translated text. Thus, the relations between originals and
translations of this type are characterized by:
• incompatibility of lexical composition and syntactic organization;
• impossibility to link the vocabulary and structure of the original and the
translation by means of semantic paraphrasing or syntactic transformation;
• preservation of the purpose of communication in translation;
• preservation in the translation of an indication of the same situation.
3. Level of utterance. Comparison of originals and translations of this type reveals
the following features:
• lack of parallelism in lexical composition and syntactic structure;
• impossibility to link the structures of the original and the translation by syntactic
transformation relations;
• preservation in the translation of the purpose of communication and identification
of the same situation as in the original;
• Preservation in the translation of general concepts, with the help of which the
description of the situation in the original is carried out.
The latter position is proved by the possibility of semantic paraphrasing of
the original message into the translation message, revealing the commonality of the
main semantics. Preservation of the way of describing a situation implies an
19

indication of the same situation, and equating the described situations implies that
this also achieves the reproduction of the goal of communication of the original.
The commonality of the basic concepts means the preservation of the structure of
the message, when the same features are chosen to describe the situation in the
original and in the translation. If in the previous types of equivalence, the
translation retained information regarding “what the content of the original is
reported for” and “what is reported in it”, then here it is already transmitted “what
is reported in the original”, i.e. which side of the described situation constitutes the
object communications.
4. Message level. In this type, along with the three content components that are
preserved in the third type, a significant part of the meanings of the original
syntactic structures is also reproduced in the translation. The structural
organization of the original provides certain information that is included in the
general content of the translated text. The syntactic structure of an utterance
determines the possibility of using words of a certain type in it in a certain
sequence and with certain connections between individual words, and also largely
determines that part of the content that comes to the fore in the act of
communication. Therefore, the maximum possible preservation of the syntactic
organization of the original during translation contributes to a more complete
reproduction of the original content. In addition, the syntactic parallelism of the
original and the translation provides a basis for correlating the individual elements
of these texts. The use of similar syntactic structures in the translation ensures the
invariance of the syntactic meanings of the original and the translation. Thus, the
relationship between originals and translations of the fourth type of equivalence is
characterized by the following features:
• significant, although incomplete, parallelism of the lexical composition -
for most of the original words, you can find the corresponding words in translation
with similar content;
20

• use in the translation of syntactic structures similar to the structures of the
original or associated with them by relations of syntactic variation, which ensures
the maximum possible transfer of the meaning of the syntactic structures of the
original in the translation;
• preservation in the translation of the purpose of communication, indication
of the situation and the way it is described.
If it is impossible to fully preserve syntactic parallelism, a slightly lower
degree of invariance of syntactic meanings is achieved by using in translation
structures associated with a similar structure by syntactic variation relations. In the
fourth type of equivalence, there are three main types of such variation:
• use of synonymous structures connected by relations of direct or reverse
transformation;
• the use of similar structures with a change in word order;
• the use of similar structures with a change in the type of connection
between them.
5. The level of linguistic signs. In the last type of equivalence, the maximum
degree of similarity between the content of the original and the translation that can
exist between texts in different languages is achieved. The relationship between
originals and translations of this type is characterized by:
• a high degree of parallelism in the structural organization of the text;
• maximum correlation of the lexical composition: in the translation it is
possible to indicate the correspondences to all significant words of the original;
• preservation in the translation of all the main parts of the original content.
To the four parts of the content of the original, preserved in the previous
type of equivalence, is added the maximum possible generality of individual seems
included in the meanings of the related words in the original and in the translation.
21

The degree of such generality is determined by the possibility of reproducing in the
translation of individual components of the meaning of the words of the original,
which, in turn, depends on how this or that component is expressed in the words of
the source language and the target language, and how in each case the choice of a
word in the translation is affected by the need to convey other parts of the original
content.
Thus, according to the theory of V. N. Komissarov, the equivalence of
translation consists in the maximum identity of all levels of the content of the texts
of the original and the translation. The original and translation units may be
equivalent to each other at all five levels or only at some of them. Fully or partially
equivalent units and potentially equivalent statements objectively exist in the
source language and in the target language, however, their correct assessment,
selection and use depend on the knowledge, skills and creativity of the translator,
on his ability to take into account and compare the entire set of linguistic and
extralinguistic factors. In the process of translation, the translator solves the
difficult task of finding and correctly using the necessary elements of the system of
equivalent units, on the basis of which communicatively equivalent statements are
created in two languages. Komissarov also distinguishes between potentially
achievable equivalence, which is understood as the maximum commonality of the
content of two multilingual texts, allowed by the differences in the languages in
which these texts are created, and translation equivalence - the real semantic
closeness of the original and translated texts, achieved by the translator in the
process of translation. The limit of translation equivalence is the maximum
possible (linguistic) degree of preservation of the original content during
translation, but in each individual translation the semantic closeness to the original
to a different degree and in different ways approaches the maximum. Differences
in the systems of the source language and the target language, and the peculiarities
of creating texts in each of these languages, to varying degrees, may limit the
possibility of fully preserving the original content in the translation. Therefore,
22

translation equivalence can be based on the preservation (and, accordingly, loss) of
various elements of meaning contained in the original. Depending on which part of
the content is transferred in translation to ensure its equivalence, there are different
levels (types) of equivalence. Nevertheless, the main thing remains that at any
level of equivalence, translation can provide interlingual communication.
With the equivalence of the translation to the original, something similar to
the conclusion of doctors in general certificates occurs. Doctors write: "Practically
healthy," i.e. e. the patient can work, although theoretically God knows what kind
of ailments he has. So it is with translation equivalence. A professional translator
will always achieve practical informational equivalence of the translation to the
original, but in theoretical terms, this equivalence is very different. 13
It can be
argued in advance that any translation will never be identical to the canonical text
of the original.
The equivalence of a translation to the original is always a relative concept.
In addition, the level of relativity can be quite different. The degree of convergence
with the original depends on many factors: on the skill of the translator, on the
characteristics of the compared languages and cultures, the era of the creation of
the original and translation, the method of translation, the nature of the translated
texts, etc. We will be interested in the last of these factors. But first, let's
understand the terms.
In the theory and practice of translation, such similar concepts as
equivalence, adequacy and identity are used. In a broad sense, equivalence is
understood as something equivalent, equivalent to something, adequacy - as
something completely equal, and identity - as something that has complete
coincidence, similarity with something. Apparently, this lesser semantic
categorization of the word "equivalence" has made it preferable in modern
translation studies1. Although, of course, the concepts of adequacy, identity,
13
Susan Bassnett "The Problem of Equivalence in Literary Translation" London: Routledge- 1999. - 66 p.
23

usefulness and even similarity remain in the same semantic field as the term
"equivalence" and sometimes duplicate each other. In our opinion, equivalence in
translation theory should be understood as the preservation of the relative equality
of content, semantic, stylistic and functional-communicative information contained
in the original and translation. It should be emphasized that the equivalence of the
original and translation is, first, a common understanding of the information
contained in the text, including that which affects not only the mind, but also the
feelings of the recipient and which is not only explicitly expressed in the text, but
also implicitly referred to subtext. The equivalence of a translation also depends on
the situation in which the original text was generated and reproduced in the target
language. This interpretation of equivalence reflects the completeness and multi-
level nature of this concept associated with semantic, structural, functional,
communicative, pragmatic, genre, etc. characteristics. Moreover, all the parameters
specified in the definition should be preserved in the translation, but the degree of
their implementation will be different depending on the text, conditions and
method of translation.
It is known that translation materializes in two forms, oral and written. The
level of equivalence between oral and written translated texts is quite different.
Firstly, let's consider the field of interpretation, which is usually divided into
consecutive (including paragraph-phrase) and simultaneous. The most difficult
thing to achieve equivalence is simultaneous translation. The very essence of this
type of translation does not allow achieving a high degree of equivalence. Indeed,
with simultaneous translation, oral translated speech is generated almost
simultaneously with the perception of an oral message in the original language. It
is the temporal (temporal) factor that primarily affects the decrease in the level of
equivalence. The synchronistic is late in conveying the meaning compared to the
speech of the original, the so-called "in-phase", a phase shift occurs. On the other
hand, the translator must complete the translation in the same time frame as the
speaker. The inevitability of a phase shift and a temporal (temporal) limiter obliges
24

the translator to find an opportunity for linear (horizontal) syntactic
transformations, for verbal compaction (compression, folding) of the transmitted
information and for reducing semantic redundancy, if it exists in the speaker's
message. By linear syntactic transformations, we mean, for example, the use of a
word instead of a phraseological unit, or instead of a verbal turnover, or the
transformation of a complex sentence into a complex one or into an independent
sentence, or the removal of pronominal repetitions, etc. All this allows you to get
the necessary reserve of time for simultaneous translation. For the same purposes,
methods of compacting information are used, that is, transmitting it with a smaller
volume of lexical units, and reducing semantic redundancy if the speaker sins by
using introductory words and expressions that are characteristic of him and, in
principle, clog his speech. Of course, a simultaneous interpreter saves time on the
so-called probabilistic forecasting, i.e., the ability to predict the meaning of a
phrase by its initial lexical units, keywords, and also by increasing the pace of
one’s own speech compared to the speaker’s speech. This is an important
technique, although it comes with a certain risk. The researchers calculated that if a
simultaneous interpreter has to speak at a rate of 150-200 words per minute, then
omissions and errors are inevitable. It should also be mentioned that during
simultaneous translation the personal characteristics of the speaker's speech, the
timbre and modulation of the voice, the expressiveness of intonation, etc. are lost. 14
Simultaneous translation can also be carried out from a sheet, when the interpreter
not only listens to the speaker, but also sees the text of the speech transmitted to
him.
Another type of interpreting is consecutive, which is done phrase-by-phrase
or paragraph-by-paragraph and may be accompanied by the interpreter's shorthand
or notes on key concepts. However, all these types of oral translation retain an
incompleteness of equivalence similar to simultaneous translation itself. So, the
14
Nida E. and Taber C. The Theory and Practice of Translation. United Bible Society. 1969. – 12 р.
25

equivalence of an oral translation to the original should be defined as a reduced
relative equivalence.
1.3.Author and translator: the problem of finding a language
It is very important for the translator to study the work thoroughly, to work
on its vocabulary and realism, and it also requires him to be a scientist and
researcher to a certain extent.
The Uzbek language has a multi-meaning phrase "finding a language". They
say to find a way into someone's unlocked heart. It is also expressed by this
expression that two people understand and know each other well about some work
or problem in life and act accordingly. It also expresses the meanings of mutual
agreement and agreement.
It is necessary to have such a rapport between the author to be translated and
his work and the translator. By finding a language, we understand the deep
understanding of the author's peculiarities and the artistic features of a certain work
and organizing the process accordingly. Finding a language is of great creative
benefit only when the translator loves the author to be translated and his work, and
knows that it will be of great spiritual benefit to his reader.
Umberto Eco, one of the greatest European writers of the 20th century,
whose works have been translated into many world languages and who himself
made translations, and even explained what translation is and gave exemplary
examples from the experiments of his creative laboratory "Exactly saying.
Experiments about translation" What is the translation of the sentence still in the
book? starts with the question. "What is the meaning of translation?" asks Umberto
Eco, who knew very well what translation is in his practice. translation" ("IL", No.
10, 2005). 15
This is a very primitive, very simple and at the same time the most
accurate definition of translation. In this definition, on the surface, it seems that the
15
Еsеnboyеv Z. va boshqalar “Tarjima san’ati. Toshkеnt: Adabiyot va san’at nashriyoti”. - 1978. - 280b.
26

secret of translation - its secret as creativity and art - is completely lost. But even
this simple definition cannot deny that translation is a very mysterious and very
complex and difficult field. Even the fact that a world-famous writer with great
literary experience comes up with such a definition shows that translation is a
mysterious field.
The famous writer of Brazil and Argentina, Jorge Luis Borges, is one of the
fascinating and mysterious representatives of world literature. About the language
and style of his works, the Peruvian writer Mario Vargas Liosa writes: "Borges'
stories and works could only be written in such a clever, sarcastic, mathematically
precise, measured language. "They reflect calmness, elegance and courage.
Intelligence and wisdom prevail over emotions and experiences" ("IL", issue 10,
2005). 16
Let us now think about these words in relation to our translation. Well, how
can the language of Borges, whose intellect and knowledge prevail over emotions
and experiences, and whose bravery and extreme coldness are reflected in the
modern Uzbek language? After all, such a language did not exist in our literature,
which was brought up in the spirit of centuries-old Eastern traditions! The fact that
some examples of Borges translated into Uzbek in the following years are very
rare, and the fact that there is no Borges left from Borges shows that Borges has a
very difficult, even impossible task for any translator.
When we say that translation is a mystery, we also mean such apparently
untranslatable phenomena. But there is no way to overcome this wall, as it cannot
be overcome, there is. Let's remember that he has a deep knowledge of two
languages - here Spanish and Uzbek - he deliberately learned Spanish to translate
the poet Shavkat Rahman Lorca and translated it into Uzbek from Spanish, and
most importantly - Borges's very finding sarcastic and sarcastic language. "Finding
a language" can be a real guarantee of translation success.
16
.Ibrohimov S.I. Nutq madaniyatiga oid masalalar to‘plami. –Toshkеnt: Fan. -1973. -190b.
27

2. Only when the translator, like a talented writer, has great life experiences, his
words in the translation will come out as clear, juicy and clear as the words of the
writer. In this case, it seems that Navoi's famous words about "clear and open ado"
should not be forgotten.
Only when the translator, like the writer, has the ability to imagine and
fantasize about things and events, the human psyche, and only when the ability is
strengthened by deep knowledge, will his work become reliable, understandable,
highly expressive and impressive. Lack of knowledge about life, lack of
knowledge about the original work and the biography of the writer who created it,
creativity, artistic style, lack of knowledge and opinions about the original work,
ignorance of the debates - there is no doubt that the general art of the translation
has a strong negative impact on the quality level.
A comprehensive study of the work to be translated without going into
translation, preliminary work on its vocabulary and artistic features, unique
material about the work's internal structure, images, socio-historical environment
in which the characters act, artistic representation tools, style , creating references
lays the groundwork for a successful translation.
As a writer consistently collects material for writing a new work, the translator-
writer also collects such material, creates his reference book about the work and its
author.
Russian translator Nikolai Lyubimov used the concept of "writer-translator". He
sees translation as inextricably linked with creativity and artistry in creativity. The
word "writer-interpreter" or, more precisely, "translator-writer" imposes a great
responsibility on the owner of the profession. While recreating the work in another
language, he assumes the responsibility of the writer, becomes his ambassador and
representative in another language environment. As those who read the work in the
original received it, will those who read it in the translation also receive it? Or will
the context of the work be lost in the translation, and the readers will be deprived
28

of being affected by it? The translator is responsible for the artistic level and
quality of the work before the student of another language.
Preparation for translation is a great creative process - Abdulla Kahhor was
in Russia before starting the translation of Lev Tolstoy's novel "Urush va tinchik",
where he got acquainted with and studied the places where the events described in
the work took place, the circumstances that remind the environment where the
heroes lived. The writer-translator took a deep look at the life that inspired Tolstoy,
the sources of this inspiration. How would Leo Tolstoy write "War and Peace" in
the Uzbek language of the 20th century? - asked the question. Therefore, the
Russian life described by Tolstoy, all the subtleties, graces and beauties of the
inner and outer world of Russian people, were deeply embodied artistically
through the means and riches of the Uzbek language.
When he dared to translate Dostoyevsky's novels into Uzbek, the author of
these lines realized at every step how important it is to deeply study the work in
advance, to enter into the secrets of Dostoyevsky's image, to sharpen imagination
and concepts, and how great creative value it is. forgave How to create the XIX
century Dostoevsky language environment, its spirit? After all, the spirit and flow
of the language environment of that time, the present time (from the environment
and spirit of the Uzbek language of the 60s) is drastically different from the spirit
of our language, isn't it? - how to release it? When Cholpon wrote Shakespeare's
"Hamlet" in the 30s, he didn't make the language of the work archaic in vain? - he
tried to reflect the spirit of the language of Shakespeare's time with language tools,
even though it was sought!
When Gabriel Garcia Marquez, the Colombian writer and Nobel Prize winner,
sat down to translate the modernist fascinating novel(Buzrukning ko’zi) "Buzruk's
Eye" into Uzbek, he was in Colombia, Latin American countries, and saw the
events and atmosphere similar to the one in the novel. I read much more than I
could follow, and in many places I had great difficulty in bringing out the color. In
this case, I realized that only when approaching the text with a natural (intuition)
29

approach, it opens the way to get rid of difficulties. I dared to do this great work
only in the shadow of the human and cultural need to convey one of the most
beautiful examples of fascinating realism literature to the Uzbek reader.
Conclusion Chapter I
Thus, summing up the presented theories and aspects of the specification of
literary translation on the material of the Russian, English and Uzbek languages,
we can briefly formulate the following conclusions:
1. Literary translation is the process of translating creative poetry and prose into
other languages. The aim is to make literature accessible to a wider audience base.
Literary translation also includes translating ancient literature and modern fiction
to other languages to make them available to more people at a time. Translation of
literature is fundamentally different from other categories. This is because the main
principle of literary translation is the dominance of poetic communicative function.
It means that in addition to rendering information to the reader, literary translation
also has aesthetic functions.
2. When a word or phrase means exactly the same thing in both languages, we call
that an equivalence, and it's understandably one of the first things professional
translators look for. This requires a deep understanding of both cultures, not just
the language. Equivalence represents the solution, the point of balance between
two opposites which are, on the one hand, the best possible accuracy with respect
to the source text, and on the other hand, linguistic accuracy, according to the
context, in the target language.
3. It is very important for the translator to study the work thoroughly, to work on
its vocabulary and realism, and it also requires him to be a scientist and researcher
to a certain extent. The Uzbek language has a multi-meaning phrase "finding a
language". They say to find a way into someone's unlocked heart. It is also
expressed by this expression that two people understand and know each other well
30

about some work or problem in life and act accordingly. It also expresses the
meanings of mutual agreement and agreement.
A comprehensive study of the work to be translated without going into
translation, preliminary work on its vocabulary and artistic features, unique
material about the work's internal structure, images, socio-historical environment
in which the characters act, means of artistic representation, style , creating
references lays the groundwork for a successful translation.
CHAPTER II.
THE STUDY OF LINGUISTIC PROBLEMS IN THE TRANSLATION OF
THE NOVEL.
2.1. The peculiarities of studying equivalences in a work of “Scorpion from
the Altar”
31

Literary translation is the highest type of translation studies at the level of
the most creative art, which ensures the freedom and skill of the creator in
translation studies. Literary translation usually does not require a literal translation,
but the most important aspect is that the form, structure, content and situation of
the original text must be preserved. The process of artistic translation of works is a
special direction in the work of translators. This direction involves the written
transformation of a work from one language to another. The difficulty is that it is
necessary not only to convey the content of the text, but also to preserve the
originality of the author's style. It is important to convey the atmosphere and
richness of language techniques to the reader.
Nowadays, many people love and read works of world literature with
interest. Masterpieces of the world literary art are taught in schools and
universities. The role of skilled translators in translating literary and artistic works
is incomparable. Thanks to their hard work, we are familiar with the books and
stories of literary geniuses of different countries.
Therefore, equivalence represents the solution, the point of balance between
two opposites which are, on the one hand, the best possible accuracy with respect
to the source text, and on the other hand, linguistic accuracy, according to the
context, in the target language.
The most difficult task of a literary translator is to clearly convey the content
of the text without losing the author's style and atmosphere. It is important for the
translator to preserve the image of the character or nature. The reader should
accept the translated work with all its meaning and emotions. Only then will the
translator achieve his goal.
“In translation studies, there are very few cases where one concept
corresponds to one concept. Many studies show that word for word, word for
word, and word for sentence may be correct in translation. Based on this, we can
understand a word and a combination of words by a lexical unit in translation, or
32

even a phraseological unit corresponding to one word. In this case, a
phraseological unit consisting of two or more words must correspond to the
meaning of one word. If one word corresponds to the original word in the
translated language, then the meanings of the words in the two languages are
considered to be completely equivalent. Such words usually include proper nouns,
geographical and place names, enterprise, organization, institution, office, ship and
hotel names and so on. In most cases, equivalents are monosemantics, that is,
words that have one meaning”. 17
The literary translation process is based on the following:
 It is translated taking into account the stylistic diversity of the work
through comparisons;
 When working with epithets, the word described and its use in its
composition are taken into account;
 When translating neologisms, new modern words are taken into
account while preserving their original meaning;
 Names of places and people should retain their meaning and surprise
the reader.
The main difficulties in literary translation - The translation result largely
depends on the specialist's subjective understanding of the work. The work is
extremely versatile and belongs to a certain type of intellectual activity. It requires
not only knowledge of foreign languages, the culture of the country, but also the
ability to work with various stylistic tools.
There are four main difficulties in working with literary texts:
 difficulties in translating certain lexemes;
 the impact of the translator's personal qualities on the process;
 uncertainty in evaluating the result when working with literary texts;
17
Aznaurova Е.S Translation thеory and practicе. Toshkеnt: O‘qituvchi. –1989. – 109 p.
33

 the need for quality transmission of meaning, logic, narrative style while
observing national characteristics.
In theoretical computer science and formal language theory, the equivalence
problem is the question of determining, given two representations of formal
languages, whether they denote the same formal language.
Skilled translator I. Tuhtasinov skillfully translated the work of our famous
writer A. Kadiri "Mehrobdan Chayon" into English. The English title of the work
is "Scorpion from The Altar".
In the translation of this work, lexemes, adequacy, equivalences are widely
used. The first chapter is called "Rano's owner" . This is a literal translation. But
there is a very deep meaning hidden behind it. Here Rano's owner is symbolically
meant to be her future husband. This work of Kadiri has a very deep meaning.
When translating this work word for word, the originality, meaning and spirit of
the work may become abstract to the reader. Therefore, it would be more
appropriate to find an adequate word for each word, and use equivalent words if
there is no adequacy .
In literary translation, we can easily use different types of translation. The
most important thing is to accurately convey the author's opinion to the reader
while preserving the originality of the work.
In the translation of the work "Scorpion from the Altar", both equivalent and
adequate translations are side by side, complementing each other. For example:
"It looks like it won't be sold until you hand over the Rano to its owner," said
Nigoroyim . 18
In English: "I guess Rano will not get serious until she gets married." - said
Nigoroyim.
Here Rano's owner (Rano's owner) - her husband is meant.
18
A.Kadiri “Scorpion from the Altar” translated by I.M.Tuxtasinov //Tashkent:Mashhur-Press. -2019. 5-p.
34

The phrase " hand over to the owner" corresponds to the English phrase "get
married". This is just one example of an equivalent translation.
The second chapter is called "Amir Umarkhon's Housemaid" and
translated into English as "Amir Umarkhon's Housemaid". In my opinion, this is a
somewhat rough translation. The word "housemaid" is usually used in English to
refer to a female domestic servant who is paid a salary. As for the word concubine,
it is considered to be a captive woman who has been deprived of her freedom, and
who has fulfilled her current duties. It would be a more perfect translation if we
take the historical word "concubine" which is closer in meaning to this word.
Since this work is a historical work, we should turn to their historical-archaic
words when we turn to English.
The word "corridor", which is more common in the words of another
Central Asian, is more equivalent to the word "anteroom" than the word
"corridor" in English. The problem of such equivalences is very common in the
work. However, despite this, the translator tried to make the translation as perfect
as possible. He used a simpler language and style to reach the reader.
Sometimes literal translation does not give the desired result. A translator
must know the national features of the language, understand methodological tools,
and have a vocabulary. A well-crafted text can convey the author's skill and
unique style to the reader.
Translation of words that do not have an equivalence - There are several
ways to translate such words. The easiest way to translate words that do not have
an alternative is to transliterate the words, that is, to give and save the
pronunciation of the word. This method is widely used in transliteration of names
of people, place names, geographical names, positions, names of newspapers and
magazines, that is, names of periodicals, names of enterprises, organizations, firms,
companies, names of ships and hotels.
35

Sometimes transliteration is used for a specific purpose. Existing literature in
translation theory suggests that the use of transliteration has advantages because
transliteration provides the pronunciation of the word used in the original.
Transliteration takes into account the graphic aspect of the word. For example, the
English word Hamlet is given to the Uzbek language in two ways - Hamlet and
Hamlet. The second method is close to the rules of the Uzbek language, but its
pronunciation is similar to the English language. If we give this word in
transliteration, it will have the form Hemlet. It does not meet the above
requirements. Sometimes the same name needs to be given in more than one way.
In most cases, this directly depends on the method and genre of the text. In
addition, it is very important for the translator that the event or event being
described is taking place in which period and in which country. In many cases, the
name is also transliterated depending on the period and the genre of the text. For
example, let's take the name of the city of Samarkand. The name of this city in
Uzbek can be given in two ways. In English, this name can be transliterated as
Samarkand and Samarkand. The word transliterated in the first way is mostly used
in historical texts, while the second way is used in modern texts. It should be
mentioned that the second method is known to have come to this form mainly
under the influence of the Russian language. The English word Isaac also has
several transliterated forms. In the religious text, this name is given as Isak, and in
the scientific and artistic text, it is given as Isaac. In Uzbek, it is given as Isa in
religious texts, Isaac in scientific and artistic works, and Isaq or Ishaq in other
cases. Here, in addition to the style and genre of the text, transliteration,
transcription and tradition are taken into account.
“In addition to laws and regulations, there are also cases where tradition or
sometimes an incompetent translator's mistake has not been corrected and spread
to the general public. In our opinion, the name of the city of Fergana in the Uzbek
language can be a proof of our opinion. There are two transcriptions of this word in
English. If this word is directly transcribed from the Uzbek language, it should
36

have the form of Ferghana, and if it is done through the Russian language, it
should have the appearance of Fergana. However, the Ferghana form of this word,
which is neither Uzbek nor Russian, is used now. Again, we should pay attention
to the combination of the letter gh in English, which proves that this word is
incorrectly transcribed. This combination of letters corresponds to the transcription
of the letter "g" in Uzbek. Compare: Afghanistan - Afghanistan.” 19
It should not be forgotten that additional information not provided directly in
the original is provided by the translator in footnotes and explanations. For this, the
translator must have very deep knowledge. The translator should show
resourcefulness in translating the words obtained by creation, new combination,
and copying, but these things should not contradict the rules of the language and its
use should be required by the context.
The next way to translate a word that does not have an alternative in the
language being translated is to translate the meaning by approximating the
meaning. This can also be referred to as translation by analogy. If the translated
language does not have an alternative to the word used in the original, a word
similar and close to the meaning of that word is chosen in the translation. For
example, when translating the Uzbek words "halim", "holvaytar" and "sumalak", it
is recommended to follow this way. For this purpose, a word synonymous or
similar to these words in a foreign language is chosen. A phrase can be used
instead of a single word. There is no equivalent English word for the Uzbek word
"halim", but you can choose the name of a similar food that is boiled for a long
time with wheat. If there is no suitable word, it can be given in the form of
porridge with wheat and stewed meat. It can also be called nutritious meat
porridge. Which word to choose depends on the context and the skill of the
translator.
So, let's consider five ways of translating words that have no alternative –
19
Ko‘chiboyеv A. Bilvosita va bеvosita tarjima tahlili. –Samarqand: SamDCHTI nashriyoti. - 2006. -154b.
37

1) transliteration,
2) footnotes and explanations,
3) copying,
4) translation with similar words,
5) figurative translation.
We went out all of them have their own drawback. In some translations,
words and phrases may remain only within the scope of the same translation, while
annotations and explanations increase the volume of the translation text, and
similar translation undermines the quality and accuracy of the translation.
However, the wise use of the above methods leads to keeping the
information given in the translation as accurate as possible and increasing the
quality of the translation. When choosing a translation method, the stylistic and
genre characteristics of the text are taken into account, and special attention is paid
to the possibilities of forming word combinations of each tone.
2.2. The linguistic features of “Scorpion from the Altar”.
When we think of the great writer Abdulla Kadiri, his novels "Gone Days"
and "Scorpion from the Altar" come to mind. Every image in the work appears
alive before our eyes. Some of them earn our love and some of them earn our
hatred. This proves that the writer has the ability to give life to words. A.Kadiri is a
writer who has a very rich vocabulary, understands the essence of each word, can
find its subtle aspects, and skillfully uses the bouquet of wonderful words. The
artistic skills characteristic of A. Kadiri's style are also clearly visible in the
description of the appearance of the characters in his works. In this, the writer
arranges the items in his treasure so skillfully that as a result, his character along
with his external qualities are reflected in the reader's imagination, and from this it
is known what kind of person he is.
38

The importance of language in literature is immeasurable. If the writer does
not have his own style and artistic language, the work written by him will not have
a sufficient impact on the reader. A.Kadiri attached great importance to language
and its artistic-aesthetic and social role, and he demanded the same from young
writers: "It is not a virtue to weave sentences from every word that comes to mind.
Let the word be the mold, and let the thought be the brick poured into it, and let it
be the foundation of the porch of a new life when the majority matures out of it.
Therefore, the quality and value of an artistic work is determined by the writer's
individual style, unique descriptive skills, and attractive, colourful language.
Looking at author’s novel "The Scorpion from the Altar", we can be sure that the
words chosen by the writer from the treasury of our native language to express the
story of the work and reveal the character of the characters are natural, the way
they are used and the fluency of the writer's language. Writer skillfully used the
language of the characters and the author's speech. In this regard, he effectively
used dialectisms and archaisms, folk proverbs and expressions, puns and
phraseology. He embellished the language of the work with similes, adjectives,
meaningful exaggerations and other similar visual tools. 20
In the novel "Scorpion from the Altar" writer widely used visual tools. Of
course, the people described it using colloquial speech. In particular, he skillfully
painted the appearance of the heroes of the work like an artist. And, of course, he
made these drawings using the riches of the living vernacular. For example, let's
look at the image of Mullah Bakhtiyar in the work: "One of those who came out
was a small, round, plump creature. In addition to the fact that his body was so
"skinny", his body was similar, and his throat was gurgling like a melon. If the
example of his body is a bubble, then a large water gourd was placed on top of this
bubble to be his head. And on the face of this shiny pumpkin there were eyes, two
shriveled cheeks in the sun, a mouth in the mouth, a giant frog crawling upwards in
the place of the nose, and two ears of the water pumpkin. There were two cooks
standing on their laps.
20
Ochilov Е. Tarjima nazariyasi va amaliyoti. Toshkеnt: Ta’lim nashriyoti. -2012. – 292 b.
39

In short, Abdulla Kadiri clearly shows that he is an image painter through
his works.The main characters depicted in writer's novels fascinate people with
their vitality and naturalness, with their unsurpassed heart, extraordinary charm,
and mysterious poetics. Rano is one of them. First of all, she is considered a
symbol of Uzbek women. Rano, in the full meaning of this word, is sincere,
gracious, beautiful not only on the outside, but also on the inside.
The analysis of the image of Rano, one of the main positive images in the
novel "Scorpion from the Altar", can be started by reading the following passage,
which expresses the main purpose of A.Kadiri's creation of this image: "Rano's
courage," says the writer, "is his rebellion against the Khan ... worthy of praise not
only for his time, but also for our current century, and Rano is an example to our
young girls."
“Rano's name was very suitable for her body and personality... this beautiful
girl was created in the color of pale Rano flower or white-yellow color... her hair is
sulfur-black, that is, even if it looks black in the sunless places, in the sun it looked
a little yellow... the witch's eyes looked hard at the person, and instead of black,
they emitted another kind of reddish light”. 21
“Under her eyelashes was an elegant
ring of silver. Although it looked as if the eyebrows were connected, there was a
graceful rise between the two swords lying crosswise. In proportion to not giving
his nose to any critic, the upper part of his elegant lips, which always stood in a
shy smile, had imperceptible hairs. Her face is not elongated, it cannot be said to
be oval; If you look at the person smiling, under the red apple, two luscious forms
are formed, as if a real saffron flower appeared to us in its open state. Her hair is
very dark, innumerable curls lay down her back and right, her waist is between
long and short, henna flowers in the silence of her chubby fingers; in any case, this
girl was not only in Kokand, but in general she was praising Fergana's tunes.
At school, Rano studied the works of Alisher Navoi, Amiri, Fazli, Saadi,
Khoja Hafiz, Mirza Bedil, the epics "Devoni Fuzuli", "Layli and Majnun", Arabic
21
A.Kadiri “Scorpion from the Altar” translated by I.M.Tuxtasinov //Tashkent:Mashhur-Press. -2019. 18 p
40

features as insulting and condemning a person. We can consider this with the help
of the following examples from Abdulla Qadiri's "The Scorpion from the Altar". In
the play, Salih Makhdum, Safar Buzchi, Samad Buqoq, Domla Niyoz, Mirza
Anvar, Mullah Shahodat Mufti, Mullah Navroz, Sultanali Mirza, Mullah
Abdurahman, Olim Zukuk, Shukur Sufi, Mamarajab Mirzaboshi, Rajabbek Racer,
Salim. We can find such nicknames as the painter, Abdurahman Oftobachi,
Valikhan Tora (Zakir-gov), Khudoyar Udaychi, Muhammad Rajab Munshi, Amir
Omar Khan, Amir Bahadir, Mullah Muhammad Niyaz. "Samad Buqoq and Shukur
Sufi were listening to the words of Imam Effendi gently, clicking on the same
position one by one and typing a line."
In the works of the great word magician author, we find a lot of artistic
nicknames. By looking at the work of Abdulla Kadiri, we can see that the
importance of nicknames in fiction is incomparable. He was able to show his
artistry in giving nicknames to the heroes of the work. As an artist of artistic
words, he used nicknames for various stylistic purposes. In short, A.Kadiri is a
writer who has succeeded as a creator of wonderful nicknames. By using these
nicknames, the writer succeeded in enriching the work with more natural and
truthful, stylistic colors, strengthening nationalism, and showing the spirit of that
time. That is why the works of Abdulla Kadiri are still not in the hands of readers.
2.3. Unique literary-linguistic processes in the translation of "Scorpion from
the Altar".
“The structure, subject and composition of the work of art, language
features, the way of telling the story, the style of expression, the methods and tools
of the image, the tone, all these make up the poetics of the work. The creator's
artistry and originality are determined primarily by his poetic invention and skill.
Moreover, each true work of art is distinguished by its artistic brilliance, one does
not repeat the other at all.” 22
22
Catford J., A Linguistic Theory of Translation. – London: OUP. 1965. – 198р.
42

During the reading of "Scorpion from the Altar", you will hear the sounds of
some elegant, lively, charming folk songs. And in "Obid ketmon", it seems as if
the sounds of folk songs are heard, which are a little "rough" - common ,
humorous jokes, sarcasm. It is not for nothing that Anvar, both a khan and a lower
class man, is the main character in “Scorpion from the altar”. Through Anvar, on
the one hand, there is an opportunity to show the conflicts in the army, the life of
the Khan's family, and on the other hand, the life of ordinary workers and
intellectuals. The engagement of Rano, Anvar's lover, to the khan worsens the
situation. In this process, the identity of all the characters in the novel is revealed.
In the description and interpretation of these complicated events, the writer's
mastery in creating the structure of the work, interesting plot lines, character
development, and imagery, as well as the subtlety and impressiveness of the
image, are revealed. The poet's lyrical, romantic, sarcasm-cuts, and humorous
expressions give the work a strange spirit. In the novel, the writer gives even
historical information in an artistic way. Thanks to this, "Scorpion from the Altar"
becomes a unique masterpiece of art. Concepts of analysis and interpretation,
about their relationship in the process of understanding.
In literary studies, the concepts of analysis and interpretation are widely used, they
are interrelated aspects of the process of understanding a work of art. Analysis and
interpretation are always present in the process of understanding a work of art and
its essence. The term analysis is usually understood as a synonym of the term
"analysis" in science. And analysis, as is known, involves dividing it into parts in
order to understand the whole, studying the essence of the part in the whole, its
relationship with other parts and its place in the emergence of the whole.
Some compare the work of art to a living organism, and argue against the
analysis, relying on the view that "dismembering it into parts is nothing more than
turning it into an inanimate body. " However, this view is unfounded. After all,
reading an analysis in literary studies is only understood as reading a work of art as
43

a researcher. In this kind of reading process, the researcher divides the work of art
into parts, studies its existence as an artistic phenomenon, the factors that affect the
reader's mind and psyche, and are the basis for its understanding in one way or
another. We also understand the term "interpretation" as a synonym of
"interpretation". 23
Interpretation means to interpret an artistic work, to perceive its
essence, the artistic concept in it. In a broad sense, the word "interpretation"
means to understand the content of a word spoken by another or a written work
(scientific, philosophical, religious, artistic, etc.), is an explanation ) means. In this
sense, the meaning of the word "interpretation" in our classic literary studies, in
general, in the science of the past, is partially given by the terms "commentary"
and "tafsir". To be more precise, interpretation is to turn the "language of images"
in the artistic work into the "language of logic", to understand and explain the
content expressed by means of images. We said above that in the process of
understanding the work of art, analysis and interpretation are always present, they
are two sides of the process of understanding. Let's say, "the student understood
the work of art" means, in essence, "the student interpreted the work in his own
way." At the same time, there are elements of analysis in his understanding of the
work, because even an ordinary reader in the process of understanding the parts of
the work (for example, separate episodes, characters, their behavior in different
situations, sayings, etc.), their reading imagines meaningful relationships between
them. As we said before, a concrete work of art can be understood differently by
different readers. However, it is also clear that there are common points that
summarize thousands of interpretations in the minds of readers. So, no matter how
diverse the interpretations of a concrete work are, there is a certain basis that
defines their limits, let's say there is a nucleus (javhar), around which all
interpretations are formed.
This core is the artistic work itself, the artistic text materializing the
phenomenon of art. It became clear that the process of understanding a work of art
23
Ko‘chiboyеv A. Bilvosita va bеvosita tarjima tahlili. –Samarqand: SamDCHTI nashriyoti. - 2006. -154b.
44

consists of objective and subjective beginnings: if we consider the person who
interprets as a subjective beginning, then the artistic text is an objective beginning.
From this comes the conclusion that if the interpreter does not know the artistic
text sufficiently, cannot imagine the parts of the work and their interrelationships,
his interpretation becomes subjective. On the other hand, if we take into account
that fiction is thinking through images, and the image is a product of associative
thinking, it is a clear fact that interpretation does not exist without a subject.
Because the content aspects of the image created as a product of the creator's
associative thinking and reflected in the work can be restored only in the mind of
the subject (that is, on the basis of his associative thinking).
What has been said is a clear evidence of the presence of analysis and
interpretation in the process of understanding. Unlike an ordinary reader, a literary
critic relies on analysis while interpreting a work of art, and his interpretation is
considered scientific because it is based on analysis. In this sense, analysis means
reading and studying the work of art as a researcher. It is clear from the above that
the goal of the analysis of the work of art is to understand the work (evaluation of
the work is a secondary goal). So, what is meant by "understanding the work"? In
this matter, there is a difference in literary studies: some people mean to
understand the content imposed by the author on the work, while others mean to
understand the content arising from the things described in the work (objective
origin). According to the first of these views, analysis is the leader in the process
of understanding, while in the second, the position of interpretation is more
important; the first one requires the study of the work of art taking its internal and
external relations together (contextual analysis), while the second is limited to the
study of its internal relations (immanent analysis) looking at the work of art as a
separate existence.
However, both of these views cannot be absolute, it is more correct to
recognize that an "intermediate" position is occupied, the existence of analysis in
both directions, and that they are different from each other in terms of their goals
45

and importance. “The main rule of hermeneutics, a field that studies the theoretical
problems of the process of understanding, is that it is necessary to understand the
whole through the part and the whole through the part.” 24
This rule is equally
related to both of the above methods of analysis. Only in this case immanent
analysis limits the concept of "context" to the scope of the work, while in
contextual analysis the scope of the concept of "context" expands (concrete work
belongs to such contexts as "biography of the writer", "conditions of the period in
which the author lived", "creative heritage of the author", "literature of the period
when the work was created", "national literary traditions"). If the contextual
analysis opens the way to understand the content imposed by the author on the
work, the immanent analysis allows the reader to form his own content based on
the things described in the work (and, of course, the image of the author in it). In
contrast to a specialist, ordinary students' understanding of the work is dominated
by elements of immanent analysis (therefore, there are various interpretations of a
concrete work in the minds of students). After all, for most readers, it is not
important for what purpose and under the influence of what factors a particular
work was written, they only recognize the work itself and enjoy it. On the
contrary, all these things are important for a literary critic, because the conclusions
made by examining the work based on the principle of historicity and on the basis
of biographical or sociological methods (contextual analysis) are of decisive
importance in the development of literary-theoretical thinking. Naturally, they
have an indirect influence on the development of artistic literature and the
education of artistic taste, and trying to directly influence artistic taste with such
conclusions is more likely to harm literature.
How to understand this? The fact is that during its social life, an artistic
work faces different interpretations, because each concrete period actualizes one of
its layers of content. On the other hand, readers have different possibilities of
24
Norton G.P. Some remarks on Translation and Translators. – Oxford: Oxford University Press, 1984. –
236 р.
46

creative reading, so readers are always able to discover aspects of the content of a
truly artistic work that no one has paid attention to yet, and to see its connections
with reality that no one has yet developed. If we consider the interpretation made
based on biographical or other methods to be the only and the most correct one,
and if we want to inculcate this interpretation in all students, then we will limit the
possibilities of creative reading and cause serious damage to the artistic taste. .
For example, the interpretations of the works written during the “Shuro period”,
which were made in that period, have been accepted by most of the people. This is
the basis for a certain perception and attitude about the literature of the period,
which, based on the above considerations, cannot be called scientifically correct.
So interpretations need to be updated. After all, the task of a literary critic is not to
know the existing interpretations, but to interpret and evaluate the work from
today's point of view, relying on them (sometimes agreeing with them, sometimes
denying them). 25
In conclusion, it is possible to understand (analyze and interpret) an artistic
work both as a separate whole and within the context, but it is necessary to
remember that both of them have their place, task and purpose. In the contextual
analysis of the work of art, it is possible to approach it from different aspects, and
on this basis, it is possible to talk about a number of analysis methods. The
method of sociological analysis directs the researcher to study such issues as the
relationship between the reality of the artistic work and the real reality, its
historical authenticity level, the relationship between the reality of life and the
artistic reality. This kind of approach analyzes the ideological and ideological
aspects of the work, the character traits of the characters, the nature of conflicts in
the work, the system of images, reveals the social roots of artistic elements. The
sociological approach serves as the basis for the study of problems related to the
creative process, such as the process of turning the reality of life into an artistic
25
Z.D.Lvovskaya “Tarjimaning nazariy muammolari” . M : Ilm - fan, 1985. – 45 p.
47

reality, character and prototype, the image of a historical person, and the attitude of
a real historical person.
2.4. Presentation of lexical stylistic means in original and translated text.
Before talking about the translation of a lexical unit, it is necessary to clarify
what the concept of a lexical unit represents. In most cases, a word is understood
as a lexical unit. This understanding of the lexical unit is correct from the
lexicological point of view. However, the lexical unit does not justify itself when it
is understood as above from the point of view of translation. “Explaining the
lexical unit from the point of view of translation is directly related to solving the
concept of translation unit. According to L.S. Barkhudarov, all the units that exist
in the language, that is, phoneme, morpheme, word, phrase, and sentence can be a
translation unit. Stepanov believes that frames (word and sentence structure) can
be taken as a unit of translation.” 26
In our opinion, the above-mentioned points are correct to a certain extent,
because there are cases where language units and translation units coincide, but
this is not permanent. Considering this, before we define a translation unit, we
need to know what a lexical unit is in translation.
It is known that stylistics is a branch of linguistics, which studies different
methods of selection for different conditions of language communication and ways
of organizing language units into a single content, as well as the differences that
determine the types and styles of language use in these principles and methods, and
their system. Stylistics is very important in the description of various events,
objects, characters of the work in the literary text. 27
26
Бадиий текстда тил воситаларининг функциялашуви ( илмий мақолалар тўплами ).- Самарқанд :
СамДУ нашриёти , 1989.
27
Tim Parks. "Translating Style: A Literary Approach to Translation” Cambridge – 2016. – 27 p.
48

The following are included in the stylistic tools that are considered the object of
stylistics in world linguistics:
1) phonographic stylistic tools: alliteration, onomatopoeia, punctuation,
metographic tools (underlining, font highlighting, capital letters);
2) syntactic stylistic tools: inversion, parcellation, repetition, rhetorical questions,
syntactic parallelism, anaphora, epiphora, inversion, ellipsis introductory words,
references);
3) lexical-stylistic tools: epithet, irony, simile, metaphor, personification, litota,
oxymoron, alliteration, allusion, amplification, amphibole, antithesis, pun,
gradation, exaggeration, sarcasm, synecdoche, periphrasis, parallelism, metonymy,
euphemism, etc. .
The above-mentioned stylistic tools have their own characteristics in terms
of their use in artistic style texts. It is possible to observe whether the work is
active or inactive in the use of stylistic tools according to the period of its creation,
genre, environment, and other factors. English and Uzbek are typologically and
genetically different languages. English belongs to the Germanic language group
of the Indo-European language family. The Uzbek language belongs to the Turkic
languages of the Altai language family. Morphological English has analytical
resources, Uzbek is an agglutinative language (formed as a result of adding affixes
of grammatical forms and artificial words to the root of the word). Word order is
strict in English. For example: Subject+object. Subjects are placed in 1st place, and
participles are placed in 2nd place. If the participle is expressed by a transitive
verb, in the 3rd place we can see the complement.
Subject+Object+Complementary. For example: Ben sent ten people. 28
Any change in the order of the parts of the sentence leads to the emergence
of meaning. For example: Ten men sent Ben.
28
Bain A. A higher English Grammar. Longmans: Green, -1873. - 219 р.
49

But in Uzbek, the order of the parts of the sentence is not fixed. They allow
words to be interchanged. For example: Ben 10 ta odam(ni) yubordi. 10
taodamni Ben yubordi. Yubordi Ben 10 ta odam .
Here we will analyze some grammatical changes in the translation of
"Scorpion from the Altar". Chapter 9 of the novel is called "O’pka va hazil" and
translated by translators as "Offence and Joke". Here, the “o’pka” is not a human
organism, but represents a human feeling and comes in the meaning of upset,
embrassed, and takke offence.
In original version: “Istiqbolning shirin xayollarig’a ko’milgan holda
maxdum asr namozi uchun tahorat olar edi. Tahoratda tartibni nioya qilish sunnat,
ammo maxdum tarki sunnat qilmoqda. Hatto o’quladirg’on duolarni ham o’runsiz
ishlatmakda edi. Maxdum shu yo’sin betartib tahoratlanib ichkariga kirdi.
Nigoroyim oshxonada mantilarni qasqong’a teribqozong’a uyar, Ra’no esa
ayvonda kichkina ukalari bilan ayvonda o’ynar edi.” 29
I.Tuxtasinov: Mahdum was having ablution thinking about the be carried
out in certain order , but Mahdum was violating these rules . He even was using the
blessing incorrectly . So Mahdum had carried out the ablution in this way and
entered inside . Nigoroyim was putting manti into the pot and Rano was sitting
with her younger brothers at the terrace .
My version: Makhdum would perform ablution for the Asr prayer, indulged
in sweet dreams of the future. It is Sunnah to follow the rules in ablution, but
Makhdum was not doing that. He even used the recited prayers inappropriately.
Makhdum then went inside after ablution. Nigorayim was in the kitchen and
putting the manti into the cauldron (for manti), and Rano was sitting on the porch
with her little brothers.
In original version: Necha yillar Anvarning ko’nglini mashg’ul etgan bir
muammo nihaoyat orzug’a muvofiq qilingandek, ya’ni shubha ichida qizargan
29
Abdulla Qodiriy. “Mehrobdan chayon”. -Тoshkent.: "Yangi asr avlodi", 2011-yil.
50

muhabbat g’unchasi visol xabari bilan ochilayotgandek va quruq tomosha bilan
kechgan uning oy , yillari bu kun Ra’no gulini iskash bashoratiga noil bo’lgan edi.
Darhaqiqat, buncha yillardan buyon maxdumning eshigida qolishi, opasi
Nodiraning : “ Men seni onamning uyiga charog’chi bo’larsan, deb suyungan
edim. O’z istiqboling uchun qayg’urmay, bir kishini semirtirib yurishing aqilli
yigitlarning ishi emas,Anvar” kabi ta’nalariga bo’yin egishi va hatto shu uydan
siljimaslik fikrida o’zi tilamagan vazifalarga urinishi yana shu bashoratni olish
uchun emasmidi?
I.Tuxtasinov: Anvar has been excited for several years , because constant
at last it started to come true . The flower of love that constrained doubts so long ,
now revealed towards to the enamoured . For months and years , Anvar could take
pleasure with its aroma . And so that not to receive this possibility , Anvar who
lived for many years in that house , agreed on the service , taking out reproaches of
sister Nadira : “ And I rejoiced , I thought , that you will light fire in the house of
mother again ... Silly , Anvar , not caring of the destiny to fatten others” .
In original version: Istiqbol so’zini har kim har turlik tushunadir. Anvar o’z
istiqbolini yolg’iz muhabbat orqali ko’rar edi. Ota onaning charog’ini yoqish
uchun avvalo o’ziga bir sham’i hayot topmoqchi va o’zi shamsiz turib, ota onag’a
charog’ yoqishni aslo tasavvur etolmas, ya’ni istiqbol Anvarning fardi hayotida
yolg’iz muhabbat edi.
I.Tuxtasinov: Happiness understands everyone in its own way . For Anvar
love to Rano was happiness . How it could light shine in the house of the father
and mother when it was not in a spark life ? He searched for it , and the love
became this spark for him .
In original version: Ra’no ayvonning ustuniga suyanib kitob o’qir ,
Nigoroyim o’choq boshida ovqat pishirish bilan mashg’ul edi. Ra’no o’ziga qarab
kelguchi Anvarga yer ostidan kulimsib olgach, biroz ko’rinib turgan oyoq uchlarini
sariq atlas ko’ylagi bilan yashirdi, atlas ko’ylakni yaxshigina turtib turgan sirlik
51

ko’kragi ustiga yon o’rim sochlarini olib tashladi. Anvar yaqinlashgach sekingina
kitobdan ko’zini olib, “hormang” dedi, yana kitobga yuz o’girdi. Anvar keldi va
uning qo’lidagi kitobga qaradi.
I.Tuxtasinov: Rano sat on verandah , stood by the column , and read the
book . Nigoroyim was cooking supper . Rano frowned , saw Anvar coming to her .
She smiled and hidden legs under a yellow satiny dress and threw on her breast
fitted by the atlas long plaits . When he has come nearer , she has slow ly looked
away from the book and said : “It's impossible to get tired of you !” And then again
inclined her face over the page . Anvar approached and glanced at the book .
In original version: Ra’no biroz eski kulavich va munaqqidlik holatiga
kirdi: - Siz beklashganingizdan beri... sizni ko’rsam uyaladirg’an bo’lib qolibman.
Terlashim ham sizdan uyalg’animg’a.
I.Tuxtasinov: Rano changed a little and said cheerfully : - Since you
became an important bek ... As I see you I am becoming confused . I am even
thrown into sweat with confusion!
In original version: - Kesatiq hunaring esdan chiqdimi, deb turgan edim.
Har nechuk yodingda ekan. Tag’in xo’sh?
I.Tuxtasinov: - And I thought that you have already been ready to tease and
sneer . It appears , still is not present . Well , what is further ?
In original version: - Xon janobning munshiylar munshiysi bo’lgan bir
yigitning salobati borligini kim inkor etsin. Albatta bu to’g’rida kanizingizga xaq
berarsiz deb o’ylayman.
I.Tuxtasinov: - Who will dare to deny power of the person whose name is
the head of all clerks of his majesty of the khan ?! I hope , you will allow your
servant to call you so ?
52

In original version: - Xo’b, haq berdik.- dedi kulib Anvar va o’rnidan turdi.
– Basharti, kanizimiz uyalmasalar bizning xam bir amrimiz bor: amr qilsak,
uyalmasmikinlar?
I.Tuxtasinov: - All right , I allow , - Anvar said laughing and stood from
the place . If our servant is not confused any more , now we will state it to our
command .
In original version: - Amringizga mahjubi inqiyod etishga kanizingiz hozir.
I.Tuxtasinov: - Your servant is ready to execute your command !
In original version: - Kanizlarning o’z xo’jalari bilan o’lturib muomila
qilishlari mumkinmi? Amrga inqiyod etishdan ilgari shu to’g’rida javob
bersangiz...
I.Tuxtasinov: - Whether it is necessary for servants to speak with the
master while sitting ? Answer at first this question before to carry out our
command .
Conclusion on Chapter II.
In A.Kadiri's novel, he approached the choice of each word responsibly,
compared the different alternatives (options) of each word, and used the most
suitable one in order to make the idea he wanted to convey clear and effective ,
replaced simple sentences with figurative expressions. A.Kadiri made good use of
the animation method in the novel, skillfully applied it, created new poetic symbols
and increased the work's effectiveness.
In the speech of each character in the novel, the author used proverbs and
expressions based on their character traits, which resulted in their goals and
objectives being more vividly revealed.The events in the work took place in the
Kokand Khanate in the 19th century, and the author successfully used archaic
words to give the spirit of that period.
53

The novel contains beautiful examples of metaphor, which is a transfer of
meaning. With their help, the idea to be conveyed to the reader is illustrated in a
figurative way. In the novel, the author's own personal metaphors are visible with
their unique language features.
CHAPTER III.
METHODOLOGICAL USE OF LEXICAL AND STABLE
COMBINATIONS IN THE NOVEL "SCORPION FROM THE ALTAR".
3.1 . Use of literary style and methods in the text of literary translation.
It is known that Uzbek national prose has its own historical stages. Literal
examples of prose, especially novels and short stories, formed at the beginning of
the 20th century, still occupy an important place in our national prose. The first
samples of our prose related to the names of Hamza, Fitrat, Abdulla Kadiri,
54

Chulpon continued rapidly in the next stages of new Uzbek literature, improved in
terms of genre, subject and style. In the development of new Uzbek prose in the
30s-80s, Gafur Gulam, Oybek, Abdulla Qahhor, Asqad Mukhtar, Adil Yaqubov,
Pirimkul Kadirov, Mirmukhsin, Shukur Kholmirzayev, Said Ahmad, Olmas
Umarbekov, O'tkir Hashimov and others the merits of writers have been great.
They created works on various topics in the form of essays, stories, short stories,
novels, epics and enriched the treasure of Uzbek literature. Abdulla Kadiri, one of
the bright figures of Uzbek literature, is a word artist who created a unique school
in the field of artistic language. There is no doubt that his unique language skill
was an example to many writers, and several generations of those who will step
into the world of artistic words will learn from the secrets of this artistic miracle. 30
It should be noted separately that Kadiri is a sensitive writer who made a
significant contribution to the development and enrichment of the Uzbek literary
language with his blessed artistic creation. In his poetic, prose, dramatic,
journalistic and other works, he was able to fully express the beauty, richness, and
endless possibilities of expression of the Uzbek language. 31
When reading these works, one can see how well the skilled writer mastered
the treasure of the Uzbek folk language, how he, as a unique creator of words, was
able to choose the elements of this treasure in accordance with his artistic
intention, how he was able to give even more polish to the expressions in the
language, the units in these units It is possible to be sure and be surprised again
and again that he was able to use the meaning incantations very masterfully. The
novel "Scorpion from the Altar", which is an example of Kadiri's artistic skills in
prose speech, not only shows the aesthetic perception of the writer, but also the
aesthetic essence of the Uzbek language as a whole. is a work that can show. On
30
Абдураҳмонов F. Адабий acap тилини ўрганиш ҳақида// Ўзбек тилини ўқитиш методикаси
масалалари.- Т.: Фан, 1966.
31
T.A. Kazakova “Tarjimaning amaliy asoslari” Toshkent: Akademnashr-2001. – 39 p.
55

the basis of studying the linguopoetics of this novel language, it is possible to show
the artistic language skills of Abdulla Kadiri. At the same time, the linguopoetic
study of this beautiful novel proves how well the Uzbek language under the control
of a master wordsmith fulfills its aesthetic function.
Kadiri finished "Scorpion from the Altar" on February 15, 1928, and it was
published in Samarkand in 1929. Abdulla Kadiri in his work "The Scorpion from
the Altar" adhered to the principle of "not increasing and decreasing" the historical
truth and persons, "showing them as they are", "writing the things that are there
without correcting the absence". It is known from history that the "sinister winds"
of the 1930s dragged Kadiri to its trap. They destroyed him physically, but they
could not destroy the spiritual wealth he created. The spiritual heritage created by
the writer - his rare works are eternal. The success of the prose examples created
during the past period was undoubtedly influenced by the traditions of folk art,
classical national and world literature. As a result, the prose works of the 50s and
60s became a rich source for literary studies. Within this source, the novel genre, in
particular the novels of Abdulla Kadiri, aroused special interest and was analyzed.
However, in the reviews of Kadiri scholars in the 1920s and 1930s, attention was
paid to the ideological direction and social interpretation of the novels, not the
linguopoetics. Since 1956, when Abdulla Kadiri's novels were published in their
entirety, the way to study them objectively and in their own way was opened, but
this work continued rather slowly. Although the scholar Izzat Sultan, who actively
participated in the study and promotion of Kadiri's works, had a great role, he
mainly examined the novels in a general way, based on the method, and their
linguistic features were not covered. The novels "By gone Days" and "Scorpion
from the Altar" remain unique works with their artistry, expression of language
richness, i.e., linguopoetics. It is exemplary not only in the national Uzbek novel,
but also in terms of its artistic, linguistic and aesthetic features, especially the use
of words, phrases and combinations in a literary work, and the skillful use of the
possibilities of the national language. This case testifies that the author is a great
56

connoisseur of language and art, a master of words. The writer's novels "Days gone
by" and "Scorpion from the Altar" are an example of a wide range of artistic
language skills. Already in his first novel, the writer met all the requirements for a
work of art with his language features, and the language of the novel was simple,
colorful, and the power of expression and imagery was attractive. This experience
became richer in the novel "Scorpion from the Altar", the scope of the writer's
talent in using language elements expanded. This feature, i.e., the linguopoetic
qualities and artistry of the novel, as noted by the well-known literary critic U.
Normatov, has not been sufficiently researched. In fact, even though both of the
author's novels are written on a historical theme, they do not lack specific ideas. In
particular, the novel "The Scorpion from the Altar" is unique in terms of its
narrative style and expressive tone. "The Past Days" is multi-toned, and a
restrained, analytical psychological image is the leader in it. Documentary prose,
comic-humorous, and lyrical-romantic styles combine and alternate in the scene in
"Scorpion from the Altar". This situation is also reflected in the artistic language
system, linguistic and aesthetic features of the work.
The use of spiritual and methodological-structural forms of words and
phrases is one of the achievements of the novel when it reaches artistic heights. In
this, the polysemantic (multiple) meaning of the word, the metaphorical feature has
a special place. It has always been a sign of skill to use a word in multiple senses.
In this respect, it is appropriate to remember that the great Navoi's work is an
example. Because the master poet used the word "ahl" in 183 meanings, the word
"head" in 61 meanings, the word "gem" in 42 meanings, the word "flower" in 59
meanings, and the word "jom" in 101 meanings. as he cried. In Qadiri's novel, the
technical characteristics of the word can be seen in the interpretation of words such
as "flower", "woman", "boo". The most important thing is that the metaphor in the
word continues from the beginning to the end of the work. There is a great
meaning in calling such a novel "Scorpion from the Altar". Mehrob is a sacred
place that needs to be kept clean. And the scorpion is a disgusting, poisonous
57

creature that inhabits the dirtiest and most abandoned places. Therefore, the
emergence of a scorpion from the altar is an extraordinary event. There are no
words "out" or "out" in the title, that's what they mean. As a result, the phrase
becomes shorter, the rhythm increases, and the power of expression increases. This
title expresses a generalized symbolic image, and the author thus relates to both the
image of the altar and the image of the scorpion, and gives an aesthetic
interpretation of the dictionary meaning of the words. 32
After all, the novel "The Scorpion from the Altar" is a work that embodies
all the features of the system of linguopoetics 33
of a prose work. It can be seen that
the linguistic-phonetic, morphological and semantic aspects of the artistic text are
fully used, and from the poetic point of view, each word and phrase is aimed at
artistic perfection. It should be noted that the linguistic analysis of the prose work
concerns all parts of the artistic text. In this regard, when approaching this novel,
first of all, the following situations of the artistic language characteristic of an epic
narrative are reflected: 1) prose (narrative); 2) imagery; 3) precision.
3.2. Connotative meanings of words in the novel "Scorpion from the Altar".
Abdulla Kadiri approached the choice and use of words and phrases with
great responsibility. He compares different equivalence (options) of each word and
uses the most suitable one in order to make the idea he wants to convey clear and
effective. With this, he pays attention to the harmony of form and meaning of
words and phrases, replaces simple sentences with figurative expressions. For
example, let's analyze the sentence "there are munshis, muftis and poets who have
been dedicated to this task for ten, twenty, maybe even thirty years." This is not an
ordinary news about munshi who aspires to career. Their hatred for this position is
meaningfully and impressively expressed by the expression "to make four eyes". If
32
T.Jurayev “The art of translation” Tashkent-1890. -18-19 p.
33
Арутюнова Н.Д. Языковая метафора (синтаксис и лексика), Лингвистика и поэтика. – Москва: 1979. – С.
149.
58

this expression was not used, the language and artistic character of the work would
have been damaged.
The phrase in the next sentence is related to a comparison, an analogy, in
which the subjective opinion of the character comes to the fore and acquires a
generalized character: "... the thing called happiness looks at a young man only
once in his whole life, if you don't hold on to it, you will always without the rear
leg of the horse. In this place, the words "happiness" and "horse's foot" are the
basic concepts. Linguistically, the meaning of this three-sentence whole is
expressed in the first statement, the second statement, and the third statement, and
the next verb is an infinitive. Poetically, the general idea is wise, and the rejection
of happiness is figuratively interpreted. It is known that phrases consist of two or
more words. The author follows this rule in the novel and strives to make the
expressions linguistically and aesthetically unique. It is also appropriate to use one
word in pairs in some phrases. For example, in the phrase "A bird knows the
language of a bird", the word "bird" is repeated in two places, allowing deepening
the original meaning. This phrase is related to the following incident in the novel.
When Nadira, who was struggling to feed young Anwar, brought her brother to
Salih Makhdum's house, she said to Mohlaroyim and Nigoroyim: "I came here
asking you to spare a piece of bread and care the orphan's head." The above
phrase can show the warm relationship between Nadira and the two women who
understood this request and agreed to show kindness.
The skill of the writer is also evident in assigning a great socio-artistic
meaning to a single word or phrase. In doing so, he uses the meanings of the
words, idioms and figurative interpretations. Below is one such example: "Until
now, Makhdum used to come to the weddings of Anvar and Rano in no
hurry... the reason is to prolong the wedding as long as possible and milk
Anvar in this way. Because if the wedding was held, there was a possibility
that this income (Anvar's salary) would be cut." Here the word "milking"
attracts attention. This word is usually used in relation to dairy animals
59

(cattle). By applying it to a person, the writer expands the meaning of the
word and makes Mahdum's character brighter.
In the following example, we see a different situation. Linguistic and poetic
harmony is created in it through the repetition of one word. Anwar ends his letter
to his friend Sultanali by saying "Bless you, bless us, bless humanity." It seems
that the word "barakallo" is repeated in three of the six words. Because the
main meaning in it is thanks. Linguistically, it has a complete thought and
exclamation tone, and artistically, it shows excitement and expressiveness. Any
other word or phrase could not convey such a strong tone and passion.
Synonyms are important linguistic units that show the individual characteristics of
the writer in the use of words.
In the novel, meaningful words are selected according to a specific
purpose and integrated into the artistic text. For example, this can be clearly
seen in the image of Makhdum's psyche: If Salih Makhdum becomes the
mirzaboshi of Anvar and receives a large amount of money, he will share it.
thinking about getting it, he gets worried, he strives for it. The condition of
the patient in this situation could be expressed by words with a negative
meaning, such as "disturbed", "worried", "began to feel nervous". But the
writer uses the phrase "the issue of money robs the heart of the makhdum like
a bee" instead of them. By this, firstly, it gives imagery to the text, and
secondly, it expresses that Makhdum's anxiety is strong and serious and
affects the reader's feelings. Kadiri's skill is particularly noteworthy when it
comes to using two or more words with similar meanings in the same text,
subordinating them to a specific artistic purpose.
Original language skill is well seen in his use of lexical meaning for the
purpose of clarity of image and emphasis on a certain point in the expression. For
example, in the following sentence, due to the fact that several synonyms of the
word "smock" are used in a row, this word is given a special emphasis: was No
60

matter how many times he cursed, scolded, scolded and scolded the children who
did not know their lesson, he won the love of all Kokand children. 34
The role of synonyms in the process of artistic speech is determined by the
fact that they express the concept at different levels. Because the words in the
synonomic line can express the sign of the concept in different degrees, and can be
differentiated according to their emotional coloring. These features allow for
colorful expression of ideas in an artistic work. In the novel, the phrases are also
used as synonyms and serve to increase the effectiveness of the text: "...Rano, the
innocent blood that is being shed there, the sighs that are always heard around
those forces break my heart and take away my peace" 35
In the novel linguopoetics, the method of saj (rhyming in prose) is also found. If
the chosen words are harmonious and tend to be musical, they are also
grammatically compatible (in person, tense, etc.).
For example, let's analyze the following passage from this point of view:
"My Majesty's states are few, his eyes are wet, his enemies are high, and his
stature is low" (138). In these words of the curious person to the khan, four
words rhyme with each other, each of which consists of three sounds and one
syllable. Among them, the first and fourth (kam, xam) belong to the adjective
group, and the second and third (nam, zam) belong to the noun group.
Poetically, the same hijo and sequence gave the text a special fluency and tone.
The skill of the writer is that he manages to reflect the spirit of the times and
the characteristics of people of different classes through every word and phrase.
Since the events in the novel took place in the Kokand Khanate in the 19th century,
the scene of the period is created in the interpretation of similar archaic words.
This allows for a realistic depiction of reality and the historicity of the work. For
example, in the social class system, we find the following archaic words referring
34
Salomov G‘. Til va tarjima. Toshk е nt : Fan . –1996. – 273 b .
35
Мерешкова Х.Р. Статус и функции английского предлога и его ингушских эквивалентов в тексте:
Пятигорск. - 2006. -142 с.
61

to the palace: khan, sarkarda, qazikalon, shaykh-ul-islam, mufti, munshi, rais,
ulama, qorboshi, dahboshi, khudaychi, etc. Some of the archaic words in the novel
convey a deeper meaning than their modern variants, while preserving the
brightness and color according to the situation. We can clearly see this in the
comparison of the words mursak and chapon. The author writes: "Gulshan bowed
down and served." The door opened, and Ahsan entered with an adras mursak in
his hand and stopped on Gulshan" (140). This place is much more common in the
archaic word "mursak" than the word "chopon" in the sense of a gift. Secondly, the
word "mursak" also contained the expression of respect for representatives of the
upper class. Also, in the novel sawm (fasting), ibotadan (first), ruku' (bowing),
gurabo (stranger), mahzar (application), koch (wife), jevak, yumma, nahv, uhda ,
munshiy, oftobachi, kalamrav, itmon, obdon and many other archaic words are
found and they reflect the characteristics of oral and written speech of that time.
The novel reflects Kadiri's high skill in using dialect words and a deep
understanding of the nuances of the national language. 36
Due to the fact that the
events of the work took place in the region of Fergana, phonetic, morphological
and lexical features specific to the valley take priority in the Roman language.
Lexical dialectics in the speeches of the author and the characters served to
emphasize the local color in the image. Below we will look at the features of
Khudoyar Khan's speech. It is known that Khudoyar Khan belongs to the Kipchak
clan. Therefore, in his speech, the expression style of words and phrases
characteristic of Kipchaks is manifested. In this respect, his speeches in appointing
Anwar to the post of mirzabashi and sentencing him to punishment at the end of
the work are characteristic:
"Do you like your work, sir?" asked the khan.
- In the blessing of his prayers, Qiblah, said Anvar.
36
I.A.Fatxutdinova Means of expressing the communicative purpose of equivalences in translation. Article-
2021 “Oriental Renaissance: Innovative, educational, natural and social science”
62

"This young man was well-known among our mirzas," said Khan (67).
Here, three words attract attention: the literary language "ok?" the word is
pronounced as "yakshima" in the Kipchak dialect, with the sound "yo" instead of
"ya", and the sound "a" instead of "i"; In the word "boy" the sound "j" is used
instead of "y". The word "Obdon" is also a dialectal word.
Second example: Khan said to Anvar:
- You betrayed us, you dog!
- I confess!
- You don't come back even from death. Do you have a bad job in the village,
you dog?!... (235).
In this place, the following words are an example of the Kipchak dialect and
show the uniqueness of the Khan's speech: "it uvli" (instead of "son"), "oluv"
(instead of "son") lim") "qigon" (the "l" sound is omitted from the word
"qilgon"), the pronunciation of the word "musulmon" in the form of
"pusulmon" is another form of Kipchak dialect. Another point is that the
phrase "it uvli" is repeated twice to emphasize the level of the Khan's anger.
We can see that euphemisms are used appropriately in the novel. The phrase
"Until you hand over Rano to its owner...", that is, until it is given to a
husband, has a stronger impact on the reader than hundreds of expressions
such as "until you give it to a husband, until you get married".
In the novel, Abdulla Kadiri carefully explained the subtle aspects of our
language based on various units. It is not for nothing that the writer pays special
attention to commentators. Commentaries are syntactic units loaded with specific
content in Turkic languages, including Uzbek. The place of use of these units
differs in the Uzbek language, that is, most of the commenters are placed after the
part being commented. Qadiri used a lot of commentators in order to better reveal
his hero's character, outlook, profession and behavior. When he uses interpreters,
63

he not only summarizes the characteristics of that image or character, but also fills
the events in the plot of the work with invisible content. In his work, the writer
described the uniqueness of the characters with the help of the following
commentators:
1. Salih Mahdum. "Mahdum" - Arabic, gentleman, master; employer, recruiter.
A title, nickname given to clerics and priests, pirs and teachers, and a person who
has this title.
2. Mohlaroyim. "Oyim" is a word that is added to the name or title of aristocrate(
oqsuyak) women or is a part of it.
3. Mirza Anvar. "Mirza" - in the form of "mirza" means "an official, a literate,
educated person who carried out writing and drawing work. Another meaning:
prince, son of a prince.
4. Salim bo’yoqchi. "Painter" is a person whose profession is painting. For
example: "At the same time, Anvar also began to live as a slob among the storks of
the painter Salim" (p. 48).
5. Safar bo’zchi. "Buzchi" is a gray weaver. "Safar Buzchi congratulated Anvar
with tears in his eyes."
6. Abdurrahman oftobachi. "Oftobachi" is an official person who holds oftoba
for khans, emirs and their guests while they are washing their hands in the palace
of the khans. (couldn’t find equivalence of this word,sothat we may take ‘servant’)
7. Dervish hudaychi. "Khudaychi" is an official who informs the khan and emir
about those who come to the khan and emir with business and applications and
conveys the answer of the khan and emir to them. page 88).
8. Sister Rano. "Sister" is added to the name of older and sometimes younger
women out of respect.
64

9. Brother Anvar. "Aka" is used when referring to a man who is older than him or
to respect him (in this case, it is used alone or with a word indicating the person to
whom the speech is directed).
10. Mulla Abdurrahman. "Mullah" is an educated, pious person. A person who
received madrasa education in the countries of the Middle East and Central Asia.
"Mullah Abdurrahman ran away to his city just like the lovers fell in love with
each other" (p. 82).
The polysemy of the word is one of the important features of the
linguopoetics of the artistic work. After all, one side of the writer's style is
reflected in relation to this event. This can be seen in the use of a number of words
in the novel in different meanings. Even such words can express other meanings in
the literary text besides their meaning in the dictionary. 37
For example, let's take
the word "flower", which is one of the most frequently and actively used words in
the novel. By using it in the text both in the composition of other words and on its
own, the writer has a semantic-grammatical and emotional-aesthetic relationship
with it.
According to the textual requirements of the word with the root of flower,
we find it in the following forms in the speech of the author and characters: 1)
Gulshan; 2) Gulchin: 3) Gulkhan: 4) Gulzor: 5) Gulistan: 6) Guli: 7) Flowers: 8)
Lolagul. It seems that even though the original plant meaning of "flower" has been
expanded with certain additions, the essence of the original meaning is preserved.
The additions -shan, -chin, -khan, -zor, -istan, -i, -lar, lola to this word
perform a linguistic and artistic function only in the word "flower" and
person, name, represents properties such as natural phenomenon, place,
plural and sign. In the same way, the Persian form of also found: Guli Rano.
In the novel, in relation to one of the main characters, Rano, the words
"Rano's flower" and "Rano's flower" appear more often in the speech of the
37
Abdulla Qodiriy. “Mehrobdan chayon”. -Тoshkent.: "Yangi asr avlodi", 2011-yil.
65

author and Anvar. Although this situation is according to the requirements of the
thought and image in the story, logically, the integrity of these two words
expresses the meaning of the girl's beauty. Let's pay attention to the emotional
description of Anvar's mental state: "It was as if the bud of love reddened in
doubt was about to open with the news of a rosary, and it was as if the past
months and years had fulfilled the prophecy of wanting Rano's flower today."
In this place, the leading figurative meaning is embodied in the concept of "looking
for flowers". After all, the meaning of the flower as a plant is not meant, but
Anvar's longing to reach Rano seems to be a feeling of longing for a flower. In this
image, the writer skillfully uses a simile, that is, comparing this unexpected news
to the "opening of a red bud of love", he achieved an increase in the artistic and
spiritual image. The logical closeness of the words "bud" and "flower" is naturally
embedded in the content.
Kadiri's skill in choosing and using words is clearly visible in all parts of the
novel, in the narration of events, description of nature, description of characters,
dialogue-monologue, etc. According to the text, the author uses the meaning of
each word and phrase to achieve a specific goal. 38
In this regard, the interpretation
of double and repeated words is noteworthy. In the novel, there are about 100 such
words aimed at performing linguistic and artistic functions, and each of them has
its own place. They can be conditionally grouped according to the expression of
meaning as follows:
1) Pairs of different words with exactly the same meaning:(yig’lab-siqtab) -
cry, (qo’rqa-pisa)-scare, (kam-kost) – a few-small, (qaqir-ququr) - fun,
(o’ylab-netib) - think, etc.;
2) Repeated pairs of the same word: (tilab-tilab)-wish, (yo’l-yo’l) -way,
(entika-entika) - breath, (sekin-sekin)- slow;
38
Musayеv Q. Tarjima nazariyasi asoslari. Toshkеnt: Fan. - 2005. - 352 b
66

3) A pair of words with opposite meanings: inexorable, bittersweet, big-small,
good-bad, perceptible-imperceptible, back-right, inside-outside, winter-
summer, press-press, etc.;
4) Two pairs of words that have a relatively independent meaning, but are
often pronounced together in oral speech: blanket-pillow, top-head, feed-
dress, naoorachi-trumpeter, house-support 'or, chatter, chattering, chattering,
having fun, etc.
The above examples are words belonging to word groups other than number,
among which the majority are examples of nouns, adjectives, adverbs, and verbs.
In the text of the novel, the words denoting the number mean a different amount,
even if they are written side by side with a hyphen (hyphen-) like double words.
For example: five-six, seven-eight, four-five years; once or twice; twenty or thirty.
Pairs and repeated words serve the writer to individualize the characters, show
their speech uniqueness, create positive and tragic situations, emphasize certain
things and events.
It should be noted that sometimes it is necessary to use two or more pairs of
words at once in one sentence. The following examples are proof of this:
1) Repeat twice: a) "Everybody prepares his share of food and water and
wraps the bride, greetings"; b) "Bahram shrugs his shoulder, taps his bare leg
with his bare leg,
He stepped on the ground and got inside."
2) It is repeated three times: a) "Mahdum will improve his household,
behavior, clothes and other aspects as well as getting a good reputation in
school" (p. 12); b) "One of those who came out was a tiny, round, slimy
creature."
It seems that the twice-repeated words belong to the noun and adverb groups, and
the three-timed words belong to the noun and non-adverb adjective groups.
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3.3. Analysis phraseological units in the novel of "Scorpion from the Altar".
Studying the language of a literary work is one of the urgent issues of the
science of philology. After all, he is equally good at linguistics and literary studies.
Linguistic and stylistic (methodological) research of the language problem is
widespread in this field. In the first of these, the gradual evolution of a specific
language, internal processes, in the second, the art of language, the use of the
linguistic capabilities of the people, and the analysis of the poet's skill are the main
objects. In this respect, the attitude to folk expressions, phraseological concepts,
proverbs, proverbs, metaphors and other visual means is characteristic. The works
of the famous writer Abdulla Kadiri, including the novel “Scorpion from the
Altar”, are an example of the skillful use of these elements in the folk language. 39
In each part of the novel, which consists of fifty-seven chapters, we can find
colloquialisms, aphorisms, polysemy, and translation interpretations typical of the
national language. They are appropriate in the epic narrative, speech of the
characters, depiction of images and other parts, and serve to increase the
impressiveness, expressiveness, imagery, and art of the century.
This feature is visible in the first scene of the novel. One of the protagonists
of the play, Salih Makhdum, the father of the play, who was upset that "Rano
participates in the mud game of his brothers, does not know that his swept hair is
in the dirt":
-...what will someone say if they see what you killed with your brothers? Inshallah,
you are close to becoming a home owner. Now you should set your scales
accordingly, my daughter.
39
G‘ofurov I., Mo’minov O. Tarjima nazariyasi. Toshkеnt: O‘zbekiston faylasuflari milliy jamiyati. –2012.–400b.
68

In this place, two forms of folk expressions are expressed - the different
meaning of the word and the stable combination. In the combination "householder"
it is understood that firstly, Rano is approaching adulthood, and secondly, it refers
to "becoming the mistress of the house". Translators expresses the responsibility
of this situation in a figurative way by reminding the phrase "tosh-u tarozi", in the
interpretation of "tosh-u tarozi" there is also a tone of advice in addition to
implying the condition of a mistress. If this idea were simply stated, the artistry
would be partially undermined. Secondly, another side of the meaning of the word
"owner" is clarified in the following speech of Rano's mother Nigoroyim:
"- It seems that the money will not be poured until you hand it over to the owner" .
It seems that the word "owner" in this place means the future bridegroom.
One of the expressions used relatively often in the novel is stable
combinations - phraseologisms. It is known that a word has a connotative
(denotative) meaning, which indicates an additional, stylistic and expressive
relationship to the word's own (denotative) meaning, and based on the opinion of
the speaker shows a positive or negative attitude. For example, we see the
expression of joy in the scene where Anvar asks Rano for permission to marry
him. Anvar describes his situation when he hears the word of consent from the girl
like this:
"- Rano's words seemed to lift the burden on Anvar" (121). Here, the main
emphasis is placed on the connotative meaning of the word "burden". The phrase
"carrying the burden" uniquely describes the situation in the psyche of the hero and
an important point in the course of the story in an impressive simile.
The semantic range of phraseological units is extremely wide. It reflects
surprise, admiration, joy, hatred, anger and other aspects of meaning. In the novel,
the phrase “Tarvuzi qo’ltig’idan tushmoq”- "Watermelon fell out of his
armpit//Watermelon fell out of his hand" is used in two places.
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The first is Sultanali, a positive character, and the second, a negative
character, is related to the Abdurauf-tunkotar movement, expressing feelings of
regret and anger. For example, Anvar's friend Sultanali Khan's "girlfriend" meets
Gulshan on the run and asks her not to tell Rano's faith to Khan. But let's
remember the situation when the woman heard the words, "After I liked the girl, I
came to the khan and proposed to the khan."
Although the combination "falling from the arm pit of a watermelon" in this
place, firstly, an unexpected situation, and secondly, it embodies the meanings of
disappointment and surprise, it cannot weaken the striving for the goal of the
character of the hero.In the next example, we will see a different situation.
According to the story, with the help of their friends, Rano and Anvar escape from
the khan's pursuit and go to Tashkent. The executioner, who was unable to bring
them to the khan in time, shows the angry mental state of the Tunkotar as follows:
"Abdurauf-tunkotar, who failed his work, stomped to the gates accompanied by his
servants with “tars-turs”." (266). In this place, the word "tars-turs" further
increases the feeling of anger in the mood of the character.
In the two mentioned examples, the negative meaning is reflected, and its
linguistic features are as follows:
1) the words "watermelon" and "from the armpit" in the fixed combination are not
in the sense of a thing, object, but in a figurative sense;
2) "watermelon" - the goal of the image, "armpit" - its means, and the word
"tushdi" means that the intention was not fulfilled;
3) this expression in the form of noun+noun+verb has only one-way semantics. 40
Some words and expressions in the novel have their own and figurative
meanings, the first of which is dimly understood, and the second is clearly
understood. For example, Salih Makhdum's words "S he turned me to the ground "-
40
Виноградов В.В. Основные понятия русской фразеологии как лингвистической дисциплины.
Избранные труды. М.: Учпедгиз, - 1977. Т. 3. Лексикология и лексикография. - 289 с.
70

“Yuzimni yerga qaratdi” in his angry state after Rano and Anvar fled to Tashkent
are characteristic. (His form "turned my face to the ground" is also found in other
works).
In this place, the main semantic emphasis falls on "pointing to the ground"
and it is manifested in two directions: it is natural for the father, whose daughter
has run away, to look at the ground in embarrassment. This is the first meaning;
But the main meaning is to be dishonored in front of the country, to be ashamed.
Therefore, spiritual migration is the leader in the phrase "looking at the earth ".
Proverbs, aphorisms, and phraseological combinations have a great place in novel
linguopoetics. They show that the author was able to skillfully use the
opportunities of the national language and increase the linguistic and artistic-
aesthetic value of the century. In particular, the scope of using proverbs and wise
words in the work is extremely wide. Researcher G. Permyakov emphasizes the
following features of proverbs: "On the one hand, proverb-language phenomena
are stable combinations that resemble phraseological turns in many ways. On the
other hand, they are logical units that represent complete or incomplete reasoning.
On the third hand, they are artistic miniatures that summarize the facts of
existence in a very bright image form ." Here, it is emphasized that proverbs are
close to stable units. This is evident in the following example:
1) "There is no pleasure in easy work";- “Oson ishda lazzat yo‘q”;
2) "We got rid of the snow and got caught in the rain."- “Qordan qutulib,
yomg‘irga tutildik
The first of these is a proverb, and the second is a phraseological
combination. A proverb expresses a complete meaning as a whole. It will have a
complete tone and meaning, both literally and figuratively. The proverbs used in
the novel are mainly used in their own sense. The second example is a
phraseological unit according to the context, and in this case it cannot express the
complete meaning, the figurative meaning determines its essence.
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Even if there are similarities between proverbs and proverbs, they do not
deny their differences. In particular, any proverb is a wise thought in a short,
compact form. Aphorisms are much freer in this regard. 41
Since the main attention
in them is focused on the meaning of the expressed thought, there is no limit in the
form. Differences between proverbs and aphorisms also differ according to the
meanings they express. Proverbs usually have their own and figurative meanings,
while proverbs can be used only in their original meaning. Such as " Blessing is
permission of God", -“Fotiha muhri xudodir”, "Poverty is not a
fault"-“Kambag‘allik ayb emas”, "A servant is always an excuse and a
mistake"-“Banda hamisha ma’zur va xatolikdir”.
The transferable properties of proverbs allow them to be used in different
interpretations. For example, let's take the proverb “Sut bilan kirgan ,qon bilan
chiqadi” - "Come out with the soul that came in with milk." When it is used in its
meaning, it means the duration of a biological characteristic in a person, which can
end only with death, and in a figurative sense, it also covers the physical, spiritual,
spiritual-mental and other aspects of this characteristic of a person. takes and is
mostly understood in a negative sense. In the novel, this proverb from the language
of Salih Makhdum is applied to Anvar. It is known from the events that Salih
Makhdum does not like Anvar's poor care and kindness to ordinary people, when
he sees Anvar "crushing" a poor person, he gets bitter inside and always acts low,
"The one who came in with milk" "Come out with your soul ", the proverb says
"many true words" and his neck would stiffen and he would go aside.
The meaning of this proverb is not important here. The lexical meaning of
the words "milk" and "soul" means a metaphorical reference to the essence, that is,
Anvar's need for the oppressed is suggested to be the fundamental quality of his
character. Only this proverb could adequately and figuratively express its
immutability. If the proverb were to be replaced by another phrase or sentence, the
depth of meaning and imagery would be much more blurred.
41
Ғ а фуров И. Таржимонлик мутахассислигига кириш. Меҳридарё , – Тошкент : 2008. – 132 б .
72

In the novel "Scorpion from the Altar", proverbs, wisdom and phraseological
combinations are found in different places according to the purpose of the author -
in the description of events, dialogue, character characterization and image. In
some films, we see them mixed up. In this regard, the following interpretation is
characteristic. "For several days, Safar Buzchi was happy. He laughed to himself
when a person like Mullah Abdurrahman was shaking like bread falling into water
with his own words : “Ko‘rpangga qarab oyoq uzat, mullavachcha!” - "Stretch
your legs towards your blanket, mullah!" it was small . Yesterday, Samad met a
deaf man on the street and scolded him : “Bir qo‘chqorning boshi ketguncha,
minglab qo‘yning boshi kesilar emish” "The water has gone under our
Mirzaboshi, watch your speech properly, Samad" , he said... "Tell the mullah that
the head will be cut off," he said. Samad did not say anything." This short passage
contains both the speech of the author and the speech of the character (Safar
buzchi), and several types of folk phrases and aphorisms are embodied in it:
1) Figurative phrase : “Suvga tushgan nondek shilqillash” - "Floating like bread
falling into water" describes the sad situation of gossiper Abdurrahman due to his
dismissal through the art of simile;
2) Proverb: "Stretch your feet towards your blanket." This proverb is an expression
of a cautionary opinion directed at a proud mullet who did not correctly assess his
situation;
3) Phraseological combination: Water has gone under Mirzaboshi. It is mentioned
in a sarcasm way that this statement made by the cowardly Samad against Anvar
came out. Watering is actually a hint that the word “buqoq” is a slander;
4) Folk phrase or word with wings: Thousands of sheep's heads are cut before one
ram's head is gone. In this figurative speech to Samad, which was told in the Safar
Buzchi language, Anvar Mirza was impressively told about the strength of the
people's faith and that he would not fall victim to the tricks of slanderers in vain.
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Based on the linguistic-aesthetic and artistic-logical nature of Kadiri's
proverbs, he preserves the traditional form of existing folk proverbs (brevity,
conciseness, generalization), sometimes changes them partially, sometimes
replaces some words and creates a new example. Such a proverb is first of all
aimed at a certain goal, an epic text or a convincing and impressive description of
the character of a character. For example, in the following passage, we observe
such an approach: "Safar Buzchi expressed his joy at the release of Mullah
Abdurrahman and made Sultanali laugh by saying that his lips were red."
- I'm laughing that you have so much trouble, why did you need to tie sand to your
tail. “Egri to‘nkaga-egri to‘qmoq”-“Crooked crochet-crooked crochet."
The spirit of exposing a negative character is embedded in the content of this
passage. Therefore, the expression "labi gazarib" is very appropriate, and its
continuation is further expanded with the next two proverbs, and the tone of
criticism enters. The meaning of the expression "Tie sand on the tail" is a
modified, somewhat condensed form of the proverb "The mouse can't fit into the
nest, the broom into the tail of the garden." 42
The word "Kumgon" was added by
the author, replaced by "broom", and social emphasis was given to the
interpretation. Mullah's image of a mouse is self-evident, even if it is not explicitly
stated.
There are about a hundred proverbs, proverbs and folk sayings in the novel,
none of them are randomly quoted, but perform a specific linguistic and artistic-
aesthetic task. The important thing is that regardless of whether they are described
in the speech of the author or characters, they all reflect the author's specific
purpose. Each proverb is chosen to match the character of a positive or negative
character. In particular, when talking about Khudoyor Khan's "administrative
skills", it is noted that he dug ditches, built sluices, and built a new fortress. But
those events were not for the common people, but "in order to show vitality to the
42
Popova T.G. Language Conceptualization; the Seventh Annual Conference of the Global Communication
Association “The Communication Galaxy: Discoveries, Boundaries and Opportunities”. – Ottawa, Canada, 2013. –
123 р.
74

Russian king, even more than his own mood, to keep Fergana in his hands with
shining honor", the author writes. the essence of these works is expressed in the
proverb "A lamp that goes out goes out."
The using of metaphor and archaic words in the “ Scorpion from the
Altar”
The metaphorical meaning of this is that no matter how hard he tries, the
tyranny of the khan will end, because he is doomed to go out like a lamp. Among
this proverb consisting of four words, there is also a variant that says, "A dying
patient seems to have recovered." 43
One of the proverbs in writer's speech is related
to showing the actions of Anvar's friend Sultanali, the positive hero of the work. It
is known that Munshi, who works with Sultanali Anvar, is a true friend and an
honest person. He is ready for any trouble for the happiness of Anvar and Rano.
The writer emphasized this feature in the situation when Anvar and Rano came to
Sultanali: "He saw their prospects in the dark, as if he was once again satisfied
with the fact that there was a strong love between them. In this situation, he did not
lose his courage and congratulated them on their heroism, as in the proverb
"Drink blood for your friend" . Among the right people, this proverb is more often
found in the form " Drink poison for your friend" . However, the writer replaces
the word "poison" with "blood" and the word "drink" with "yut,ich" . Because
the event in the novel required such a change, that is, Sultanali's willingness to die
and bleed for his friend rather than drink poison became believable and natural.
There are many proverbs in the novel from the language of the characters.
They serve to fully reveal the inner outlook, character, and psyche of each
character. For example, in the proverbs of Salih Makhdum's speech, it is shown
that he is a person who is arrogant, greedy, capricious, and puts his own interests
first.
43
Reza Kafipour "Linguistic and Cultural Equivalence in Literary Translation" Cairo: University Press-2015. - 45 p.
75

It is known that Anvar was generous to the peasants and the poor and
completed their work, but did not receive anything in return. Salih Makhdum did
not like this. He says, "He tries to get something even from the person who came
back with two words, `a cat does not come to the sun for free''... if you throw
something at me, I will give it to him myself." This proverb, which is extremely
popular among the people, was used in its own way and helped to imagine the
complete image of Makhdum. Salih Makhdum's characteristic vices of arrogance
and careerism are reflected in almost every word of his to a certain degree and
partially remind of the above saying. For example, in his speech, he often uses
proverbs such as "A beggar with a weak hand is better than a beggar with a
quick foot", "He who eats food slowly will also be slow at work", "Even if you
hang, you will hang on the heights" is an example of this can be.
It is clear from the above that the author often adapts proverbs to the main text
grammatically, i.e., person-number, tense, and integrates them into the fabric of the
text without harming the meaning of the proverb.
In the novel, some proverbs are translated into Arabic from the language of
muftis. We explain them in the form of the author's translation : "Mufti of
Shahadat says, "A lion dies of hunger in the jungle, but a dog is fed with bird
meat." On the other hand, Kalonshah Mirza continued this proverb and said,
"Tong' He used to say, "It sleeps on a bed while the wise sleep in the dirt." It
seems that both proverbs have a figurative meaning, and through the images of
"lion" , "dog", "dawn", "wisdom" the motifs of failure and injustice in society
are reflected. 44
It is known that aphorisms mainly serve to instill the spirit of wisdom into
their content, to prove a certain point and to emphasize their social importance.
Along with such traditional aphorisms, the novel also contains many wise thoughts
expressed by individuals, that is, by the author or characters. They mainly belong
44
Kunin I. English phraseology and phraseological unit. London:OUP-2019. – 228 p.
76

to the main character, Anvar Mirza, who embodies the fact that he is a real person,
a broad-minded person, an educated and fair lover. Some of these aphoristic
thoughts are views on domestic life and family: "Don't touch a wife's hearth
with a wheel", "A wife's head is a heavy stone in the house", "There is no
pleasure in easy work", "It's enough" and there is a big difference between
"sucking" and others.
The main part of the aphoristic thoughts expressed by Anvar Mirza are related to
issues such as social injustice, human dignity, justice, hatred of oppression. For
example, when Anvar heard that Khan Anvar was trying to take Rano, the girl he
loved, even if Anvar was angry, he would not lose his temper. Perhaps he will
expose the tyrant khan and explain his calmness and restraint with such wise
words: "The khan's stomach is a big animal that carries all the filth. There are
a lot of small insects around him, and they also want to be animalistic
according to themselves" . Similar to the proverb, in this sentence, the khan is
likened to an animal, and the people around him are likened to insects, and their
work is called animalistic. It is Anvar's original, humorous view, more precisely.
The conclusion about the impurities is reflected.
Anvar believes that no matter how strong oppression is, he cannot separate
him from Rano. He expressed this belief in great detail in the following instructive
thoughts: " No! A figurative divorce is not a divorce. Because we are
figuratively connected to each other, and the real connection cannot be
broken by the dirty." Continuing this wise idea, Anvar enriches himself with new
views on love, “visol and hijron”, and Rano is relieved : " The cure for love is
not a ‘vasl-hajr’ as people think. After all, marriage extinguishes the fire of
love, and hajr is the perfecting one." In this case, in specific sentences, the
main meaning is represented by the words "vasl", "hajr", two of them are
linguistically a noun in the main agreement, and the next two are verbs. It is an
example of the art of contrast, which represents a poetically contradictory meaning.
77

1. It is known that Uzbek national prose has its own historical stages. Literal
examples of prose, especially novels and short stories, formed at the beginning of
the 20th century, still occupy an important place in our national prose. The first
samples of our prose related to the names of Hamza, Fitrat, Abdulla Kadiri,
Chulpon continued rapidly in the next stages of new Uzbek literature, improved in
terms of genre, subject and style.
2. The above examples are words belonging to word groups other than number,
among which the majority are examples of nouns, adjectives, adverbs, and verbs.
In the text of the novel, the words denoting the number mean a different amount,
even if they are written side by side with a hyphen (hyphen-) like double words.
3. Studying the language of a literary work is one of the urgent issues of the
science of philology. After all, he is equally good at linguistics and literary studies.
Linguistic and stylistic (methodological) research of the language problem is
widespread in this field.
There are many proverbs in the novel from the language of the characters. They
serve to fully reveal the inner outlook, character, and psyche of each character. For
example, in the proverbs of Salih Makhdum's speech, it is shown that he is a
person who is arrogant, greedy, capricious, and puts his own interests first.
CONCLUSION
This dissertation presents the solution of a number of research problems that
have remained unresolved or are debatable in the scientific description of
equivalences of literary translation on the basis of English and Uzbek languages.
The original and translation units can be equivalent at all levels or at some of
them. Fully or partially equivalent units and potentially equivalent definitions
objectively exist in the original language and in the translated language, but their
correct evaluation, selection and application depends on the knowledge, skills and
creativity of the translator, his language and depends on the skill of considering
and comparing extralinguistic factors.
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Translation is a complex process that involves transferring meaning from
one language to another. It is a skill that requires not only linguistic proficiency but
also cultural sensitivity and an understanding of the context in which the source
text was written. The study of equivalences in translation aims to identify instances
where the translator has successfully maintained the original meaning and tone of
the source text. However, it is not always easy to achieve equivalence, especially
when dealing with languages and cultures that are vastly different from one
another.
This dissertation work focuses on the problems encountered in studying
equivalences in the English translation of "Scorpion from the Altar" by
Tukhtasinov from Abdulla Kadiri's Uzbek novel "Mehrobdan chayon". The study
aims to identify instances where the translator has failed to maintain the original
meaning and tone of the source text, and to explore the cultural and linguistic
differences between the source and target languages that have contributed to these
challenges.
The analysis of the translation has revealed several problems. One of the
most significant issues identified is mistranslation. In some instances, the translator
has used words or phrases that do not accurately convey the intended meaning of
the source text. This can lead to confusion or misinterpretation by the reader.
Another problem is the omission of information. The translator may have left out
important details that are crucial to understanding the story or character
development. Additionally, there are instances where the translator has added
information that was not present in the source text. This can alter the meaning of
the original text and create inconsistencies.
Cultural and linguistic differences between the source and target languages
have also contributed to the challenges faced in achieving equivalence. For
example, idiomatic expressions or cultural references may not have a direct
equivalent in the target language, making it difficult for the translator to convey the
intended meaning. Furthermore, differences in syntax or grammar can also pose
challenges in achieving equivalence.
80

To overcome these problems, it is recommended that translators pay close
attention to the cultural and linguistic nuances of both languages. They should
strive to maintain the original meaning and tone of the source text while also
taking into account the cultural context in which it was written. This requires a
deep understanding of both the source and target languages, as well as the ability
to navigate cultural differences.
In conclusion, the study of equivalences in translation is an important aspect
of ensuring accurate and effective communication across languages and cultures.
The analysis of the English translation of "Scorpion from the Altar" by
Tukhtasinov from Abdulla Kadiri's Uzbek novel "Mehrobdan chayon" has revealed
several problems, including mistranslation, omission, and addition of information.
Cultural and linguistic differences between the source and target languages have
also contributed to these challenges. To overcome these problems, translators must
possess a deep understanding of both languages and strive to maintain the original
meaning and tone of the source text. Ultimately, this study highlights the
importance of accurate translation and the need for translators to approach their
work with cultural sensitivity and linguistic proficiency.
When studying the translation of phrases, the translator's skill is clearly
visible mainly in finding equivalent and alternative options, because the words
given in Uzbek language in simple language are expressed by phrases in the
translation. It was observed that the meaning shifts in the equivalent phrases in the
original and translated text, and when the original phrases move to the translation
field, their meaning narrows and they take on a new meaning as an addition. The
translator originally translated the given similes in a manner specific to the culture
of Uzbek and English readers and understood the meaning in both languages.
Adequate interpretation of phrases in translation is one of the most complex
and, at the same time, very responsible issues of translation practice. Because, as
artistic and descriptive means of speech, they participate in the expression of
various methodological tasks more than a simple, neutral statement of thought.
From the research of many researchers, it became clear that phrases as a single
81

lexical unit of the language can be divided into grammatical, semantic, functional,
and even sociological.
It is shown that it is possible to learn. In addition, many expressions have a
national character, which creates difficulties for translators. Social events, moral
and spiritual-cultural norms, mental states, religious imagination, national
traditions and customs are reflected in the structure of each language phraseology.
Due to the complexity of the language in Kadiri's time, many difficulties
were encountered in the translation process. The reason is that some of the lexical
units found in "The Scorpion from the Altar" are now obsolete and are not used in
our mother tongue today. In addition, some concepts had to be explained in detail.
These concepts cannot be directly translated into English, leaving the reader
confused. Therefore, the explanatory dictionary of the Uzbek language, the
National Encyclopedia of Uzbekistan was a great source of support.
In conclusion, the study of equivalences in the English translation of
"Scorpion from the Altar" by Tukhtasinov from Abdulla Kadiri's Uzbek novel
"Mehrobdan chayon" has revealed several problems. The analysis of the translation
has shown that there are instances where the translator has failed to maintain the
original meaning and tone of the source text. The issues identified include
mistranslation, omission, and addition of information. Furthermore, cultural and
linguistic differences between the source and target languages have also
contributed to the challenges faced in achieving equivalence. To overcome these
problems, it is recommended that translators pay close attention to the cultural and
linguistic nuances of both languages and strive to maintain the original meaning
and tone of the source text. Overall, this study highlights the importance of
accurate translation and the need for translators to possess a deep understanding of
both the source and target languages.
82

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