1
ISSUES OF LITERARY TRANSLATION AND INTERCULTURAL COMMUNICATION
ПРОБЛЕМЫ ЛИТЕРАТУРНОГО ПЕРЕВОДА И МЕЖКУЛЬТУРНЫХ
КОММУНИКАЦИЙ
PROBLÉMY LITERÁRNEHO PREKLADU
A MEDZIKULTÚRNEJ KOMUNIKÁCIE
Recommended by the Research Institute Abai at Al-Farabi Kazakh National University, Department of Translation Theory and Methodology (Kazakhstan) and Eurasian Academy (Slovakia)
ISSUES OF LITERARY TRANSLATION AND INTERCULTURAL COMMUNICATION
Monographic publication
ПРОБЛЕМЫ ЛИТЕРАТУРНОГО ПЕРЕВОДА И МЕЖКУЛЬТУРНЫХ КОММУНИКАЦИЙ
Сборник научных статей
PROBLÉMY LITERÁRNEHO PREKLADU A MEDZIKULTÚRNEJ KOMUNIKÁCIE
Zbierka vedeckých článkov
Bratislava 2015
Editorial board :
Zh.Dadebaev (Кazakhstan), Т.Еsembekov (Кazakhstan), А.Zhaksylykov (Кazakhstan), А.Таrakov (Каzakhstan), PhDr. S. Benčič doc. PhD. (Slovakia)
Managing editors
L.Мusaly, А.Zhaparova, S. Bobocka
Zostavovsteľ:
Zhanna Amershina
Recenzenti:
PhDr. E. Melusova CSc.
Mgr. Irena Kosirelová, PhD.
Issues of Literary Translation and Intercultural Communication - Monographic publication. Bratislava, 2015. – 108 p.
Problémy literárneho prekladu a medzikultúrnej komunikácie - zbierka vedeckých článkov. Bratislava, 2015. – 108 s.
Проблемы литературного перевода и межкультурных коммуникаций - сборник научных статей. Братислава, 2015. – 108 стр.
ISBN 978-80-971536-4-9
Monographic publication is prepared on the basis of the work results carried out in 2014-2015 by the Department of translation theory and methodology at Al-Farabi Kazakh National University, Ministry of Education and Science of the Republic of Kazakhstan in the framework of the research project Modern problems of Kazakh Translation in global intercultural space:
the intellectual potential and development prospects. It examines the current scientific issues in the field of intercultural relations and comparative literature.
Research work is intended for researchers, students, postgraduates and doctoral students investigating the issues of intercultural relations.
Obsah/Содержание
Foreword 5
Part 1. Poetics Of Translation A. S.Tarakov, I. K. Azimbayeva
Specifics of Phraseological Units as an Object of Translation (on the Basis of M. Auezov‘s Novel
"The Way Of Abai")
8
Zh. Dadebayev, A. Zhaparova
Peculiarities of Metaphors in Abai's Poetry
20
S. Ashimkhanova
The Concept of Time in the Colour and Lightaura of
―Message Found in a Bottle‖ by E. A. Poe
39
Zh. Zhaksylykov, N. Saparkhojayeva
Man in the Mirror Reflection: the Poetics of Prose of O.
Mark
45
T.U. Esembekov, Z.K. Bakirova Poetic Text as the Translation Subject
59
Part 2
Problems of International Communication T.U. Esembekov, E.M. Soltanaeva
Prospectives of Interpretary Translation of Shakerim‘s Poem ―Leyliya and Medzhnun‖
65
G.K. Kazybek
Cultural Identity and Its Re-Creation of the Original in the Translation Process /Material on Kazakh into Russian/
74
L. Musaly
National and Cultural Specificity of the Original and Translation Problems
83
S.D. Seidenova
The Educational Materials‘ Specifics in the Formation of Translation Competence
91
A. S. Aitmukanbetova
Peculiarities of Translation and Classification of Phraseological Units
98
FOREWORD
It is clear that due to current international relations and economical, cultural, scientific links of our sovereign country, necessity of translators and interpreters has increased, especially at Kazakhstan‘s main institute of higher education – Al-Farabi Kazakh National University. The Department of Translation Theory and Methodology at Al-Farabi Kazakh National University has been training professional translators for 20 years. According to Education reform of our Republic, the process of Education is conducted in Kazakh, Russian, English languages. The professors and teachers of the Department have published their articles at scientific journals with high impact factor. It is steady tradition to issue annual scientific-research collection of articles, monographs in neighbouring countries and beyond. One result of such kind of traditions is a collection of scientific articles, written in Russian- English languages, named as «Philological Theories and their application in translation and in practice», which was prepared by teachers of the Department and published jointly with Eurasian Academy of Bratislava, Slovakia. We would like to express our gratitude to the colleagues from Eurasian Academy for their cooperation. Professional and teaching staff of the Department wrote monographic publication named "Problems of Literary Translation and Intercultural Communication", written in English and now it is ready for publishing. The monographic publication was prepared on the basis of scientific-research project called
"Modern problems of Kazakh Translation studies in global intercultural environment: intellectual potential and development prospects." Our Department won the Project in the special contest conducted by Education and Science Ministry of Kazakhstan Republic. We believe that our partnership and collaboration with Eurasian Academy of Bratislava will be strengthened furthermore.
"Modern problems of Kazakh Translation studies in global intercultural environment: intellectual potential and development prospects." Project focuses on the analysis, evaluation and forecasting trends in the development of contemporary translation
studies in Kazakhstan with the urgent problems that require new comprehensive methodology and solutions within the new concepts and innovative approaches. Practical interest is the development of a conceptual and methodological base for the further development of translation studies in the country, as well as to prepare students, undergraduate students and doctorial PhD students of translation studies in Kazakhstan.
The aim of the project - to develop a model of analysis, evaluation and forecasting trends in the development of contemporary translation studies in Kazakhstan with the urgent problems that require new methodology of understanding and solutions within the new concepts and innovative approaches.
Objectives:
- Summarize the results of research in the field of translation of Kazakhstan in the last 20 years; consider the Kazakh translation studies as an independent scientific discipline and determine the periods of its formation and development, presenting it as a base to study;
- Explore, show developments and achievements and to identify promising areas in line with the world of translation;
systematically investigate the features of the emergence and development of translation in Kazakhstan; comprehensive study of the contribution of Kazakhstan translators to the development of modern theory and practice of translation;
- Organize the history of the domestic translation studies, taking into account international experience; conduct a comparative analysis of the current state of the domestic translation studies and translation studies abroad; conduct research and critical analysis of the theoretical concepts leading translation schools within individual areas and summarize the main directions of translation theory in general as the further development of this science problem, in particular, a comprehensive study theoretical and methodological aspects of translation in cross-cultural environment;
- Identify the main theoretical directions and concepts of translation in Kazakhstan; to characterize the modern period of
Translation Studies in Kazakhstan, select and organize the main problems of the national translation studies; in particular, to systematize the latest literary translations of the late XX and early XXI centuries, have become classics; compile an encyclopedia of personalities of Kazakh translators; address the problem of systematic translation of terms; to assess the quality of dictionaries of different profiles, with subsequent correction and possible reissue;
Collection of scientific articles is prepared on the basis of the work results carried out in 2014-2015 by the Department of translation theory and methodology at Al-Farabi Kazakh National University, Ministry of Education and Science of the Republic of Kazakhstan in the framework of the research project «Modern problems of Kazakh Translation in global intercultural space: the intellectual potential and development prospects». It examines the current scientific issues in the field of intercultural relations and comparative literature.
PART 1
POETICS OF TRANSLATION
A. S. Tarakov,
Doctor of Philological Sciences
I. K. Azimbayeva, PhD doctoral student
SPECIFICS OF PHRASEOLOGICAL UNITS AS AN OBJECT OF TRANSLATION (ON THE BASIS OF M. AUEZOV’S NOVEL
"THE WAY OF ABAI")
Abstract
The important ways and methods of transferring phraseological units from source language into target one are considered in the following article. The national and cultural features put in the phraseological unit often becomes the difficult phenomenon throughout the translation of a figurative steady turn from original language into language-analog. The phraseological picture of the world occurring in consciousness of one language community does not always coincide with attitude of another community. To search an acceptable option of understanding in case of contact of different cultures the translator resorts to methods of the descriptive interpretation which systematization is a task of this article. The significance of a translator‘s personality during translation is also emphasized in the given article.
Keywords
Phraseological unit, translation language, phraseological translation, non-phraseological translation, interpretation, сomparative studies, literary translation, reception, adequate reproduction, equivalent.
INTRODUCTION
In recent years, after analyzing the work of our scientists, we can note that interest and significance to rich and informative art of speech, which has been kept by our people for many centuries, has increased. In this connection there are plenty of problems in comparative literature and translation theory, which have been investigated and still are waiting for the research continuation.
Consequently, translation questions of phraseological units into other languages, study the level of their presence in general artistic translation are the most significant tasks in Translation Studies Science.
From the 1940s phraseological units have been examined in diverse aspects of Kazakh Linguistics, such as structural- typological, semantic-morphological and thematic. For the first time founder of Kazakh phraseology I. Kenesbayev laid the theoretical foundation for the General Turkic Phraseology Science. Currently, theoretical and practical problems of phraseological units (A. Kaydar, A. Bolganbayev, G. Kaliyev, S.Isabekova, A.Aldasheva, G.Smagulova, S.Satenova and others), their stylistic functions (M. Sergaliyev, G. Kusimova, G.
Boranbayeva), their use in work of fiction (O. Aytbayev, B.
Shalabay, Kh. Kozhakhmetova, M. Zhanibekov), classification of phraseological units by meaningful, thematic aspects (A.
Eleshova, R. Zhaysakova), particular categories of phraseological units (F. Orazbayeva, A. Baytaliyeva, R. Tayeva), phraseological units' dialectical features (Sh. Sarybayev, K.Kalybayeva, S.Mustafauly), comparative research of phraseological units with the data of peculiar languages (A. Amanzholov, Z.
Akhmetzhanova, R. Valikhanova, M. Abdigaliyeva, P. Dauletova and others) and other matters have been studied in various prospects of Linguistics. Nevertheless, comprehensive exploring of Kazakh language phrasicon is one of the basic points at the present time» (Avakova, 2009). Translation of phraseological units into other languages is one of the less investigated directions in Translation Studies Science. Among the first O.Aytbayev
studied the translation problems of phraseological units into Kazakh language in M.Gorky' work, in his research work
"Phraseological phenomenon in translation" he analyzed theoretical opinions concerning to translation of general set expressions. The scholar divided translation of the phraseological units, proverbs and sayings into 3 ways: "Firstly, if we totally present subject meanings of the words in proverbs and sayings it is possible to translate them exactly. Secondly, to translate subject meanings of some words just a bit changing them. Thirdly, it is necessary to use phraseological units, proverbs and sayings of the translatable language" (Аytbayev, 1975). Critic M.Karatayev studied explicitly the principles of idiom translation relating to translation of the novel "Quietly flows the Don" and expressed his correct solution to the point. Translations of idioms into Kazakh language in the work of N.V.Gogol, different methods of delivering were examined in the book of Candidate of Philological Sciences S.Talzhanov "About fiction translation". This question was also studied from all sides in the thesis work of prominent researcher R.Sarsenbayev. Besides, the research work and scientific articles of K.Sagyndykov, A.Aldasheva, G.Aytzhanova are devoted to the given problem. As one of the most unique investigation among them we can name a study guide of A.Aldasheva published in 2006 "Translation Studies: linguistic and lingvocultural problems". In the book the language of prose work translated from Russian into Kazakh language is studied from the scholars' views, from the aspects of linguistic and lingvocultural sciences. An accurate scientific analysis was done about translation and Kazakh national culture, the role of translation in the lexical- grammatical system development of Kazakh literary language, national view in translation, singularity of word selection in translation and so on. Apart from this, in the section named "Phraseological units in translation versions", national-ethnic characteristics in the semantics of phraseological units, their functions, equivalent phraseological units and phraseological locution translated word for word are given. The scholar believes that it is significant to pay attention to the
semantic structure of fixed phrase in the translation language and after studying other researchers' opinions the author came to a conclusion that: "Word for word, adequate and free translation methods are used to translate phraseological combination. Stylistic functions‘ transferring of phraseological units translated word for word, adequate and free differ from each other. The most significant feature of phraseological locution in each language is close connection between set of patterns which can be basis for phraseological combination and material, social and moral culture of the people. In other words, it is quite possible to know cultural- national customs and traditions of the people through meaning and etymology of the basic component of phraseological units.
Phraseological locution appeared from the people‘s worldview experience can have no adequate or close equivalent in the second language. For instance, fixed phrases used to denote symbolic function through the meaning, symbolic word-combinations which have national distinctive indications (rainy day, black envy);
phrases concerning to theological-religious concepts and notions (to fill up the cup, the salt of the earth); idioms (Cousin seven times removed, to twirl the goat horn, to tighten one's belt);
phrases based on national-daily philosophy (women‘s brain, goldfish memory); phraseological units centered around customs and traditions (to recruit smb) can have no exact and adequate equivalent meanings in Kazakh language as they are mainly related to the national-cultural entity of Russian people, it is quite common situation" (Аldasheva, 2006).
To translate phraseological units from one language into another is one of the most difficult tasks. It is not enough to transfer complete meaning of the idioms in the translation; a translator should try to convey national spirit of the fixed phrase.
Kazakh, Kyrgyz, Turkish scholars have common opinions about the given point. We can prove our view by the conception of certain researchers. Kyrgyz academic N.K. Abdyrakmatova considers that «to translate phraseological units from one language into another one includes national colour peculiarities, author‘s use of phraseological units in figurative meaning (author‘s,
personal), problems of correct transferring of the phraseological units used in particular historical time. A translator should know basic etymology of each fixed phrase, speech culture of the people and then choose a proper equivalent. In its turn, this equivalent should be equal in grammatical form, emotional-expressive meaning, internal structure and stylistic use» (Аbdyrakhmatova, 2011). According to A.Aldasheva, a translator should find suitable equivalent. For this purpose it is very essential to know to the letter and master «background information», «background knowledge», an idea and main content of an original, language- stylistic skill of an author, lexical-grammatical system of both languages. A translator must distinguish 2 languages, his proper and appropriate translation can raise quality level of translation version (Аldasheva, 2006).
MATERIALS AND EXPERIMENT METHODS It follows that a translator‘s principal duty is complete transferring of full content of an original, as factual resemblance of an original and translation version is very important. Fixed phrases are units which indicate national-cultural coloring of people; this is a reason that it is quite effortful to translate them.
To find an applicable substantial closeness between potential equivalence and real parity of an original and translation version is one of the primal tasks of a translator.
Both science and research methods are developing due to the flow of time. To distinguish, to differ phraseological units are rather complicated task for a translator. For example, meaning of the multicomponent set expression can be different; some of them can have historical information. During translation process rigorous meaning of phraseological units can be changed or even mispresented, if a translator does not know full-scale nature of an original language.
In order to analyze translation techniques of set expressions from the theoretical side, it is necessary to divide translation methods of all fixed phrases of the given language. Many scholars resort to this linguistic classification as an initiation, which
differentiate phraseological units as translatable and not transferable, in accordance with a number of compound parts and their metaphorical distinctions. We are aware of the following phrases: contraction fixed phrases (idioms), combined phraseological locutions (metaphorical units), accordant and phraseological words (In compliance with the classification of Sh.Bally, V.V.Vinogradov, B.A.Laryn, N.M.Shanskiy). In accordance with Ya.I.Rescker, this classification is convenient method in translation theory and practice. However, he considers only contraction fixed phrases and combined phraseological locutions. He contemplates that we should use complete variation method while translating contraction fixed phrases and image alteration way during interpretation of combined phraseological locutions.
S.Vlahov and S.Floryn show the following ways of translation of phraseological units from an original language into translation language:
1) To translate fixed phrases with the help of equivalents in translation language;
2) To translate phraseological units by means of variant (analog) in translation language;
3) To translate set expressions with the use of non- phraseological language means, If there is neither equivalent nor other version of the phraseological units in an original language (Vlakhov S.I. and Florin S.P., 2006).
Throughout studying special literature on translation phraseological units we have met the next types of them. They are phraseological translation and non-phraseological interpretation.
Phraseological translation is interpretation of set expressions of one language into another by means of those fixed phrases which exist in the second language, finding meaningful closeness between an original language and translation one, then presenting suitable phraseological equivalent. In other words, to translate set expressions in an original language with phraseological units of a translation language or to interpret phraseological locutions with phraseological units. We can find such appropriateness in both
languages. By way of example: To leave Koryk they hurried to ride horses at the crack of dawn. At dawn he himself woke up Baytas, who came to the city to take him with. All day long he did not get off the horse and was skipping ahead than other wayfarers (Auezov, 2007). Translation version: Last light transition was in prospect, and a boy, a pupil at medrese woke up all his fellow travelers with the first rays of the sun. They got on horses and left Koryk at first light, and the rest of the way the boy galloped ahead of all, at a distance of arm bullet (Auezov, 2007). The translation is exact.
Semi phraseological equivalent is existence of several versions of phraseological units translated from original language into translation one, namely if there are few components of the fixed phrase in an original language, then there will be many elements in a translation language and on the contrary, if there are a lot of units in a phraseological locution, in a translation language they can be just a few. This kind of interpretation can often be met.
To take one example: Baylayin bayladin (Байлауын байладың) - You said you did. Now, hey, talabin zher kilmandar (талабын жер қылмаңдар) do not put in shame the intention of my young children in front of strange people. You will not derogate from dignity if you serve the deceased. Forget quarrel and dissension, as soon as you are a man! Tirisinde algys almasan, endi, tym kurisa, oli aruaginan kargys alma (Тірісінде алғыс алмасаң, енді, тым құрыса, өлі аруағынан қарғыс алма) If you did not receive gratitude during their lifetime of, do not get damn from ancestors‘ spirits. Sons and my daughters-in-law, be attentive to people! Otymen kyr, kulimen shyk konaginnin! (Отымен кір, күлімен шық қонағының!) Be affable and courteous to your guests! True trial comes not in a battle and in a temper, but in an open-heartedness and benevolence! Even you are exhausted do not knit your brows! Kabak shytpa! (қабақ шытпа) Be glad and treat your guests properly! Do not become conceited and get worked up! Treat your guests silently and gently! Otherwise while all relatives are here «tort kozi tugel otyr goy» (төрт көзі түгел
отыр ғой) I am telling you, better I will die! One of you are called an idle talker, second is named like an ill-bred person, others are boasters, dare-devil, braggarts, many of you get drunk during such assembly and gathering, show rudeness and tactlessness and then get fame like this! (Auezov, 2007).
Translation: - You have made a decision. Now, my children, do not lose your face in front of people, when they come from a distance. One and all help my children, who try to make as many good deeds as possible. Be human-beings; do not lose your dignity, forget your altercation and discord, show your respect for the departed. If you had not done anything kind to him during the lifetime of, do it now, after his death. Do not incur curse of the late‘s spirit. My children be attentive and well-mannered to your guests! True man manifests his prowess not in a battle with enemies, but in noble communication with friends. Die from tiredness, but do not frown! Treat your guests with merry faces, smile, cheerfully and deftly. But do not lose your merit. Be well- wishing, do not be boasters and chatter-boxes. Show modesty and generosity! If not, I am telling you in front of all relatives, better I will pass away (Auezov, 2007).
Relative phraseological equivalent is the same in meaning but differ in syntactical structure, synonymous components, and morphological compound. Relative phraseological equivalent is not frequently met in translation. For instance: - Shukiman, erulige karuli bar (еруліге қарулы бар) There is always someone better for that who thinks he is the best. Both I and Erbol do not forget song «Topaykok» sang in that house. Translation: - Nonetheless, one good turn deserves another. Now you should sing. Both I and Erbol request you to sing «Topaykok» like you did it in that house.
Phraseological analog (adequacy) is a fixed phrase which is quite adequate to the phraseological unit in original language, but this phraseological locution keeps its own characteristics. For instance, Kadalyp kaldy (Қадалып қалды) – he stared at him, aktarila tusty (ақтарыла түсті) – to tumble out, to have a heart- to-heart talk; zhurekti, kayratty (жүректі, қайратты) – courageous, brave.
Non-phraseological translation is a type of interpretation done by non-phraseological means. In such cases these translation methods are used like lexical equivalent, loan translation, description, combined translation. These types of interpretation are used when no phraseological equivalent is found. Shortcomings of this kind of translation are that phraseological figurativeness, expressivity, informative colouring can be lost. Besides, antonymous translation and word for word translation can be also applied.
RESULTS AND DISCUSSION
Consequently, we have considered several methods of phraseological units‘ translation from one language into second one. According to translation order they can be divided in the following way. The first one is a fixed phrase which can be met in both languages. There is no need to translate them; it is enough to find suitable and proper phraseological locution from mother tongue‘s treasure. Sometimes they can match both in meaning and form. The second one is set expression that does not have ready samples in Kazakh language. We have to use free translation to interpret them, but keep their content and shape. But all peculiarities of proverbs and sayings should be kept. In other words, proportionality, consonance, richness of content, impression should be fully given; they all must impact on a reader.
The third is translation of phraseological units with the help of word for word interpretation. The forth is to turn set expressions by means of equivalents (adequate). The fifth is to use free translation to interpret fixed phrases.
Undoubtedly, problem of interpretation of phraseological units from one language to another is very significant and complicated task. We do think that it is possible and necessary to translate phraseological units. Usage rate of fixed phrases in creativity of each writer also shows to use translation ways as much as possible. We can name the next types of translation methods of phraseological units in epopee of M. Auezov «The way of Abai». The first: a translator tried to transfer completely
content and form, expressive-emotional impression; the second:
even the meaning of idioms is presented correctly, but there are some changes in lexical-grammatical structure of phraseological units. It implies that substantial- figurative meaning is kept not fully but half. The third: we can use fixed phrases as ready equivalents appeared as a result of life and situational similarity of two nations. There are plenty of such lexical-semantic groups in each nation. Just we will have to find them. There are also phrases which cannot abide by these rules. These idioms have national distinct colouring. If they are translated they can lose their national singularity, on the other hand we cannot leave them without translation. Judging by these features they can be added to idioms.
A. Kim also considered different methods of them. By and large, he tried to convey various difficult set expressions of Kazakh language by means of Russian language materials. .
Whilst analyzing features peculiar to M.Auezov‘s work, we have noticed that there are plentiful lingual devices that distinguish clearly his proper singularity and also that Russian language has sufficient opportunity to translate them into Russian.
It is vital to determine stylistic functions of phraseological units in the text. This translation played significant role in increasing of Russian Language Culture.
But not all translation is in exemplary level. Even there are enough disadvantages in transferring of the specific problem which we are studying currently. That is the reason that we should reconsider the translation and do it again appropriate to the present time.
To translate phraseological units in «The Way of Abai» it is essential to define their ranges, types, purposes. Because in accordance with main aim of a writer, fixed phrases fulfill stylistic functions. In that case we should examine the translation in concordance with stylistic intentions of a writer.
CONCLUSIONS
M. Auezov used phraseological units to identify clearly his characters‘ images. We can mention the following types of that
usage. M. Auezov sometimes used simple aphorisms of people without any changing, but according to the personages‘ actions, characters the author occasionally apply fixed phrases, vary and brighten them. He introduced a change into lexical-grammatical structure of the phraseological units. All in a breath, author‘s heroes speak in specific way, with absolutely new aphorisms. It is not easy to distinguish fixed phrases‘ form, kind, and emotional- esthetic effect. Judging by the translation, sometimes it is impossible to convey these peculiarities with the help of Russian language. According to A. Pushkin, a translator should transfer a writer‘s ideas, views. As for Gogol‘s opinion about translation, he believes that in order to become closer to an original text, sometimes a translator should move aside from original text‘s words. L.Tolstoy assumes that it is not enough to translate words and meaning, it is significant to convey an impression of the text.
K.I.Chukovskiy appealed to interpret laughter into laughter, smile into smile. Nevertheless, all the opinions above do not contradict general rules of a translation. There are text parts in each work that cannot be translated conventionally. I call it conventionally as sometimes it is quite impossible to translate some parts. These untranslatable parts are called like phraseological units.
REFERENCES
1. Avakova, R.A., (2009). Theory of Phraseology. Аlmaty, 292 (3).
2. Аytbayev, O., (1975). Phraseological phenomenon in translation.
Аlmaty, 228 (180).
3. Аldasheva, А., (2006). Translation Studies: linguistic and lingvocultural problems. Аlmaty, 248 (162-168).
4. Аbdyrakhmatova, N.К., (2011). Pecularities of interlingual transposition of phraseologiacl units (research of lingual-cultural specifics of the translation of novel «The Day Lasts More Than a Hundred Years» by Ch.Aytmatov into German and Kyrgyz languages).
Bishkek, 23 (11).
5. Vlakhov S.I. & Florin S.P., (2006). Untranslatable in translation.
Мoscow, 343 (232).
6. Auezov М., (2007). The Way of Abai. First book. Аlmaty, 368 (3, 234).
7. Аuezov М., (2007). The Way of Abai. First book (Translation of A.Kim). Аlmaty, 470 (3, 228).
8. Card index of idiomatic set expressions‟ translation into Russian language in «Abai» novel (I,II volumes) /Archives of M.Auezov‟s literary-memorial museum-house. LMMA. Kpr-1, file № 36.
9. Kozhakhmetova, Zh., Zhaysakova, R., Коzhakhmetova, Sh., (1988). Kazakh-Russian phraesological dictionary. Аlmaty, 224.
10. Kaliyeva, S.Е., (2007). Usage peculiarities of phraseological units in fiction prose. Аlmaty, 129.
11. Translation Studies and significant problems of literary comparative linguistics. (2009). The materials of International scientific- theoretical conference, Almaty.
Zh. Dadebayev,
Doctor of Philological Sciences, Professor
A. Zhaparova,
Senior teacher, PhD doctoral student
PECULIARITIES OF METAPHORS IN ABAI'S POETRY
Annotation: The paper tells about an actual problem of linguistics - a metaphor and its role in a poetic composition of the work.
The paper gives special attention to individual author's metaphors (actually-poetic ones), conceptual-thematic world picture in the light of individual-author metaphor. Individual-author metaphors of the great Kazakh poet Abai are studied in the reality of 2 semantic spheres:
«Man» and «Nature» On the material of Abai‘s poetic texts the meaning of individual-author metaphors is revealed. The paper tells about an actual problem of linguistics - a metaphor and its role in a poetic composition of the work. The paper gives special attention to individual author's metaphors (actually-poetic ones), conceptual-thematic world picture in the light of individual-author metaphor. Individual-author metaphors of the great Kazakh poet Abai are studied in the reality of concept spheres. On the material of Abai‘s poetic texts the meaning of individual-author metaphors is revealed. Diverse methods, ways and keys of metaphor translation, which were described by different scholars and researchers, are given in this article. Translation theory and cognitive linguistics give their own methods of translation metaphors. In the research called "translation metaphors", carried by M.A.Kunilovskaya and N.V.Korovodina, we can find 2 characteristics of translation metaphors, which are specified on the basis of papers by S.Moem, D.Pristliy, D.K.Dzherom. Much attention was given to the work of Peter Newmark (A textbook of Translation), especially to his ways of metaphor translation. In this article you can also meet some translation examples of Abai‘s metaphors. As a conclusion, the author of the article gives his own ways of translating metaphors.
Key words: metaphor, individual-author metaphor, image and poetic metaphor, semantic spheres «Man» and «Nature», concept spheres, translation.
Metaphors are used in daily life and poetic speech. Poetic metaphor differs from everyday metaphors with its freshness and novelty. In poetry and prose metaphor is not just a means of lexical expression, but it is a way of constructing images.
Penetrating into mind and sense in the meaning of each of the links of the metaphor, we are inevitably exposed to the powerful influence of poetry: a metaphor is a kind of lever that set in motion mind and soul of a reader.
Many types of metaphors can be met in Abai‘s poetry. A simple metaphor made with one word.
Look deep into your soul and ponder on my words:
To you I am a puzzle, my person and my verse.
My life has been a struggle, a thousand foes I braved,
Don‘t judge me too severely – for you the way I paved {1, 7}
Metaphors that come with the help of
In terms of genre distinctions, Abai‘s lyrics is manifold, multi-valued, faceted. They are rich in ideological content, bright topics, they cover a variety of lifestyles. We find the diversity of poems in the poetry of Abai on a variety of topics such as: destiny of the people, passage of time, social and political problems, love poems, philosophical poetry, satirical songs, description of the nature, dedicated poems to certain and definite individuals. In the poems of Abai everything can be found: a sense of joy, a sense of confidence, sorrow and sadness, the bitter truth and sharp criticism. Lyrics of mind state and mental attitude fascinate us with the poet‘s gentle lyricism, depth and severity of his statements, experience and wisdom. Reading these lines, you have the impression that you communicate with the poet himself, you talk to him.
Lonely heart, do not seek response On your road with calamities lined.
My soul, do not wander, keep still for once If no refuge from life you can find.
A feeling expressed is always false.
No voice responds to my calls.
Oh whither, my restless, unhappy soul, Do you draw me away from my native walls?
Friendship, happiness, peace and love On the market of life are not worth much.
The peddlars of honour won‘t put them above A copper ha‘penny—life is such.{1, 168}
The poet expresses his feelings and emotions through embodiment, metaphors and other figurative and expressive means. This makes it possible to convey his feelings and inner spirit through the skill, ability and grace of lyrics, it contributes to accurate and vivid transfer of his feelings. The author puts questions to himself, he soothes and comforts himself, looks for evidence - all points to the abyss and comprehensiveness of his thoughts and ideas on the impact and impressive excitement, awe and confusion. Using a variety of tropes, the poet turns the poem- initiation into a unique masterpiece. One of these poems begins with the words "What are you looking for, my heart, what do you seek?". To convey his thoughts in one quatrain, the author presents two metaphors here. «Life is a wave» and «good or bad it‘s all the same, it‘s full of poison anyway».
Life, after all, is a wave It all too quickly ebbs away, And good or bad it‘s all the same, It‘s full of poison anyway {1, 111}
The poet compares life with stream, current, flow, with wave. We agree with the author here, because life is ceaseless, continuous, uninterrupted and fleeting, it continuously passes away, its speed and irretrievability described in the given work.
The bad and the good things in life, the writer compares them with toxic poison. Probably because good and evil, happy and sad days take time, occupy our thoughts, sometimes poisoning our minds, filling it with doubt, fear, darkness. The author calls all the events
of our lives as poison, since all occasions are temporary, impermanent, quickly. You should not be completely absorbed by any event in life.
Another world of his poetry belongs to the natural lyricism.
Nature is the place where a human-being lives, exists, works. The theme of nature, its unique wealth, beauty, elegance, fullness take place in the poetry of every poet, writer, creative person.
Depending on age, time, place of residence, each author describes and praises nature in his own way. A poet, thinker, philosopher Abai considers the nature as a part of the microcosm, where there is harmony and order, and each of its part is perceived by us as a living, purifying element, vociferous band managed invisible conductor. The subtext of the poem through images are the sky, the earth, sun and water, they convey the idea of the unity of man and nature. Radiance and light, which is filled with art space, representing the beginning of uniting the world. Poems "Autumn",
"Winter", "Summer", "In the silent, luminous night" confirm loveliness of the great Kazakh poet‘s ouevre.
"Winter" by Abai Kunanbaev
Broad-shouldered, white-coated, powdered with snow, Blind and dumb, with a great big silvery beard,
Grandad Winter plods on with a frown on his brow, By everything living hated and feared.
The grumpy old fellow does plenty of harm.
His breath stirs up blizzards, brings snow and cold.
With a cloud for a hat on his shaggy head, He marches along, all the world in his hold.
His beetling eyebrows are knit in a frown.
When he tosses his head—dismal snow starts to fall.
Like a crazy old camel he acts in his rage, Rocking and shaking our yurta‘s thin wall.
If the children run out to play in the yard
He pinches their noses and checks with cruel hands.
No sheepskin can keep out (he freezing cold;
With his back lo the wind, the shepherd stands.
The horses in vain try to shatter the ice—
The hungry herd scarcely shuffle their feet.
Greedy wolves—winter‘s henchmen—bare their fangs;
Watch, or disaster your flocks may meet!
Drive them off to safe pastures—don‘t wait until day.
You won‘t die if you sleep less—come, quicken your step.
Kondibai and Kondai* aren‘t as wicked as wolves—
Don‘t let old man Winter, feast in our steppes.
Abai skillfully depicts and outlines the picture of harsh winter. The author compares severe, austere, terrible, cold winter with a callous, cruel, implacable man. Winter is inappropriate, uncomfortable weather for cattle, winter is blind, dumb power. In this poem Abai displays and expounds winter in the form of a man. Previously, before the season called winter had not been described in this way. Abai creates images, according to the perception of the people, ethno-linguistic and cultural concepts of the Kazakh people. Winter is an old father of son-in-law or daughter-in-law, who always is not happy and morose. When you read this poem, involuntarily feel frost, chill, bitter cold. Winter is very unfavorable time for a shepherd, for livestock, for all hard- working people. Author notices this process very aptly and masterfully. Abai likens the winter with a father of son-in-law. As you know, "father of son-in-law" is important, honorable man for the Kazakh people. As Kazakhs say, "husbands for a hundred years, father of son-in-law is for thousand years." The Kazakhs always treat this esteemed and distinguished person with honor and dignity, they meet him with smile on their faces, appreciate and revere him; try to please him. Winter comes with chills and heavy snow. Frost holds down the ground, and snow covers it with white veil. There are so many varieties of descriptions of winter season. But Abai found proper and exact metaphors, right and solid word and depicted winter comparing it with father of the son-in-law.
Abai's poetry varies with abundance of a diversity of metaphors, it is traditional metaphor, as well as author-individual metaphors of talented and gifted Kazakh poet Abai Kunanbaev.
Metaphor is the main constructive techniques, the dominant style of his work, the hallmark of Abai, in general.
Abai's poetic work distinguishes with its unique, peculiar features. Metaphor is not only tool of creating poetic images, metaphorical meaning is concrete thought, idea, conclusion, result.
No doubt that words with figurative meanings in Abai's work are used to transfer descriptive, figured beauty of his notions.
Metaphor is used to donate ideas and thoughts with accurate and precise lucidity.
First of all, metaphor differs with cognitive content, its main purpose to create beauty, as well as to show some aspect of life from the other side [2,15].
Principal functions of metaphors in Abai's poetry:
1. Nominative function 2. Сompressive function 3. Expressive function 4. Evaluative funсtion
Nominative function. Nominative metaphor creates nicknames and aliases of individuals, which can then turn into proper names, for instance, Owl, Gold, Speed. Assertaining the nominative function, the metaphor loses its imagery. The metaphor in this case is the technical method of extraction of the new name of the old vocabulary. Abai's poem "The tick of a clock is not something slight" ("Sagattyn shikildagy emes ermek") has deep philosophical significance. This oeuvre is complete metaphoric replacement. Magnificent picture of the poet's world is in the сontent-conceptual information of the text. "The clock is a theft ticking", / "Without showing it steals life day by day" are lines that depict main information of the text: "the clock's thievery", "it steals life" are metaphors, stylistic usages in figurative meanings. There is hidden implicit seme in the semantics of the word "Clock": it is the thing, which steals the most precious for you untocicebly, it is a robber, theft; it ticks not for pleasure and fun, a clock's ticking is an activity, stealing action. It behaves itself like a burglar, acts like him imperceptibly, insensibly, invisibly. "One minute" is a metaphorical change. "A
minute resembles a man's life" / "Passed, died, there is no fate that returns". This is whole life of a person. Passing of a minute is like a human-being' s death. According to the author's conceptual perception, world's picture is seen exactly like this.
A distinguished scholar O. Kornylov said: "Each ethnic language is a unique collective work of art, integral part of culture of the people, the organ of self-reflection, self-knowledge and self- expression of national culture" [3,133]. We can also see the following concept in individual-author's metaphors of Abai Kunanbayuly.
Compressive function. Metaphor's function, which presents huge, enormous, tremendous information or meaning in succinct, terse and concise way. "Abai's individual abilities, peculiarities differ him from other people, Abai can substantiate separate word combinations, people. Abai takes grammatical combinations and certain sentences, sometimes even words, makes them as an object, then substantiate them" [4,12]. For example, Abai's metaphor "Men kalayga salynbau" stands for not to hesitate, to be resolute and determined. This extract was taken from the poem
"Zhastyktyn oty zhalindap". Other indicator words in the text also сlarify the meaning "not to hesitate, not to doubt". Therefore, in order not to be hesitant, we should be willful and forceful, the following implicit context is presented like here: "Kayratka senip kaktikpay.../ Maydanga shiksa zharasar; Kayratpen kirip zhalinbay, / Akylmen tauip aylasin". These lines lead us to be decisive and strong, emphatic and forthright. It is kind of direction-position. In the language personality of Abai, every word has tangible, considerable, convincing weight. Pragmatic question, which comes from the thought of the text: "What gives us not to hesitate? What for is it? What purpose does it aim at?" Abai's response is on the 5th verse:
"Energy leaves the body, The youth is not eternal, The world is ancient.
Try to be happy in it"
Abai wanted to say us: "While we worry about not to doubt, life passes away, more important to reach your goal and take your place under the Sun." Abai's language personality can encompass many meanings, notions, the poet can submit complex, sophisticated, exceedingly difficult thought concisely. Owing to appropriateness of words economizing, a new metaphor appears, as a result, thought becomes wide and deep, word - brief and neat, conclusion - profound and insightful. This is an outcome of compressive function.
Expressive function. In comparison to the words, which have weak expressiveness, units with expressive- emotional coloring make greater influence on us. Among lots of methods that are used skillfully in the thesaurus of language personality, metaphors actively sign in turnover. Expressive metaphors impact on a man's feelings, emotions, experience; they make him сoncern, bother, thrill, сontemplate, muse. Expressive influence, undeniably, appear as a result of union of connotative components in the word's semantics.
We believe that unbounded, unlimited possibility of a man's сognition and his ability to think associatively can be soil for occurrence of expressions with emotional power, strength, emotionality. A person сombines basic meaning of words and plenty of associations, then this process can open way for creating new metaphors, new concepts. It is clear that poetry's firepower is in its aesthetic loveliness. Let us take lexeme "drunkenness". In Abai Kunanbayuly's poem "Mensinbeushi em nadandi", сore and mainstream thought is collected in lexemes like "drunkenness",
"drunkard". These metaphors demonstrate author's сcomprehension and receptivity. The author tries to correct his people, his time, his epoch. Through the use of conceptual analysis, we comprehend that lexemes like "drunkard", "to be trunk" do not imply condition of a man, who drank too much.
These metaphors possess figurative, indirect meaning. It stands for passion, temptation for being wealth; infatuation for fun, pleasure, enjoyment, amusement; keenness for authority, power. Metaphor
"drunkenness" means an action in the meaning of сraving,
partiality, addiction, obsession. T.Zhurtbay expresses his opinion about the following poem thus: "Drunkenness is not being drunk due to strong beverages, addiction is not because of opium, drunked man is not, who uses alcohol. It is drunkenness for false and misleading praise, government, power, party. Speaking Abai's language, ...it is drunkenness for authority, revenge" [5,107].
Evaluative function. In the process of metaphorization, influence of the poet's view predominates. The author states his opinion, he can give his right or wrong, positive or negative viewpoint on event or occasion. Thanks to the strong link of emotional and expressive components, a new side of language unit. During so many years, metaphor's this function is reviewed like image method. For instance, speaking Abai's metaphors, a sad person can have "zhabiranky soz" (which denotes sombre, gloomy, murky), or according to Abai's metaphors a word can be
"kuatty soz" (potent ant robust word), "nurly soz" (radiant and luminous word), "erke soz" (warm word). Metaphors assist us to demonstrate our сcomprehension of the world around us. They append colouring, vivacious imagery and perhaps emotion to a sentence.
Nature pictures are used as poetic images in Abai's poetry.
Scenery descriptions in the content structure of the poem are not simple, ordinary details, they play definite cognitive role.
Language units, which turn up in metaphoric, figurative meaning present us new poetic images. Landscape descriptions in the text indicate grief and sorrow, depression and misery of a man, his delight and joyfulness, they fulfill cognitive function here. His poem named "Kolenke basin uzartyp" starts very short and brief, although it has deep, immense philosophical thought. When there is shadow, gloomy afternoon, when it is grey around, all these are descriptions of nature, as well as these are feelings of a person. 2 enormous worlds are bound, there is psychological parallelism between them. Shadow or shade is a dark, obscure area or shape cast on a surface by the interception of light rays by non- transparent body. When the Sun goes down, it is not bright and shiny outside, it reminds us that after spending pleasurable,
cheerful days, a person also has some darkness and gloominess in his soul, spirit. Metaphoric combination "gloomy, murky mood" is a main cognitive mark described scenery or landscape, basic features of it - sorrow and affliction, despondency and depression.
A man's physiological, social, moral singularities are closely linked with each other, one helps the second to develop. In this poem a person suffers, hurts, endures, we can notice his moral condition, he is like poisoned by all around. Major and principal semantical mechanism is a metaphor (gloomy mood, grey dusk). It is noticeable that a man in Abai's discourse differently accept time and space. Why does a man feel himself sad, tragic, deplorable, notorious, regrettable, lamentable, distressing? Because after sunset and sundown, one more moment finishes, it turns into past.
As we observe, in the 3d verse it is written that "past life becomes
" gloom and dusk, here a man's suffering begins, he turns into the past and tries to give a report to himself: What has he done? Who did he help? What good things has he done?
The connection and tie between the poet and the reader, those two great of one reality, depends upon skilful language—
figures of speech, figures of thought. Poetry evokes a language that moves beyond the literal and, accordingly, a mode of thinking that moves beyond the literal. Abai's metaphor grant and bestow esthetic gratification and relish, enjoyment and delight. Metaphor is an effective tool in his poetry. His metaphoric combination is concrete thought, result of his view, glance, viewpoint, glimpse. It goes without saying that his metaphors have multiple functions, like nominative, conceptual or cognitive, descriptive, pragmatic, сontextualize, cultural, informative, predictive or hypothetical and many others. The above functions of metaphor confirm its central role in the structure of Abai's discourse.
It stands to reason that, translators face complications and challenge during translation of metaphors, as a metaphor is a stylistic device, a trope, figurative and descriptive language tool.
Throughout the history of science, scholars of Translation Studies indicate principal and substantive obstacles of translation metaphors, suggested their own methods and ways of tackling
them. Thus, an English professor of translation Peter Newmark in his book named "A textbook of Translation" mentioned сore and mainstream hurdles of translating metaphors.
To put it a nutshell, Peter Newmark introduced seven tactics to convey metaphors into another language:
1. Reproducing the same image in the TL
2. Replacing the image in the SL with a standard TL image which does not clash with the TL culture
3. Translation of metaphor by simile, retaining the image 4. Translation of metaphor (or simile) by simile plus sense, or occasionally metaphor plus sense
5. Conversion of metaphor to sense
6. Deletion. If the metaphor is redundant or serves no practical purpose, there is a case for its deletion, together with its sense component
7. Translation of metaphor by the same metaphor combined with sense. The addition of a gloss or an explanation by the translator is to ensure that the metaphor will be understood {6,107}
Dean of the Graduate School of Translation at Moscow State University, Doctor of Philological Sciences, Professor N.Garbovskiy offered 5 types of translation mistakes and their reasons of occurrence. They are as follows.
1. Mistakes, conditioned by misunderstanding of the meaning of the source text
2. Miscomprehension at the level of "sign - concept"
3. Misunderstand at the level of "sign - a complex concept"
4. Lack of understanding at the mark of "sign - judgment "
5. Misconception of an objective situation {7,514-524}
To the mistakes emphasized above by professor N.Garbovskiy, we can add our additional 2 reasons of misconception made at the time of translation.
1. Confusion of ethno cultural peculiarities of metaphors inherent to each nation
2. Incomprehension of author-individual metaphors intrinsic to a poet or a writer.
On the strength of the specificity of the poems, translators must meet certain quality and possess special knowledge and skills. Based on the fact that poems refer to specific genres of literature, it is natural to assume that specialists in the sphere of translation must possess definite literary talent. Along with this, being a poet, you need proper and sure knowledge of the languages (source language and target one), because the reinstatement of the poem on the interlinear will be rather a variation on a theme, but not a translation as such. The fact is that, without knowing the language, it is infeasible and impossible to identify all the subtleties and nuances of meaning and determine what is the characteristic manner of writing of the original author.
In addition, translators ought to master their native language and make up sentences in accordance with the rules of grammar, style and vocabulary of the target language. If we talk about other skills necessary to an interpreter or a translator, you should name the accurate hearing, which can capture the music and rhythm of the poem, a vivid imagination, the ability to see and display the image that created by the author in the original, and possession of a word in order to accurately express any thought , the slightest shade of meaning of words.
Translation of poetry, notably its main figure like metaphor is very arduous, crucial, responsible work, which requires careful preparation of an interpreter or a translator. However, the fulfillment of all conditions can not eliminate all the problems of poems translation. Owing to its specificity, the translation of poetry is a process that causes a number of difficulties and problems, the main of which are paradoxical. These common matters should be allocated as follows:
- Preservation of national identity;
- Keeping the spirit and time of the work;
- Choice between accuracy and beauty of translation;
- Preserving basic levels of comprehension: level of recognition, phonemic-phonetic level, grammatical and semantic sense, level of auditory sensation - perception - conceptual.
In the book "Metaphors we live by" written by George Lakoff and Mark Johnson, it was written that the conceptual system of human-being‘s mind that monitors and oversees how we reflect on and ponder over; the way people conduct themselves is metaphoric in nature. The authors of the book "Metaphors we live by" assume that metaphor as a complex device. We look at the things through the prism of our feelings, emotions, experience.
Thus, Therefore, any metaphor has two sides like source and destination. In the metaphor ‗You are warmly welcomed‘, the source is ‗sense of touch‘ and the destination is ‗friendship‘. {8, 10-37}.
In Translation Theory, there are some ways of transfering figurative-expressive means of language.
• Full translation of metaphorical units is implemented, when language and cultural traditions are the same in both languages.
• When grammatical norms of the two languages do not match each other, structural renewal method can be used. It indicates that, when it is impossible to translate metaphor keeping all the rules of grammar, this method is applied.
• When a metaphor does not have an independent distinctive feature, then a metaphor will be changed in terms of semantics and translated into a target language.
• When two languages of metaphorical units are not suited to each other in terms of style, functional method is used in relation to those metaphors.
• When a metaphor in original language has no equivalent in the target language, we have to make fresh and new metaphor again in the target language.
Summarizing all said above, we can notice that, metaphors can be translated by means of the following methods like:
Сoncretization;
Generalization;
Modulation;
Grammatical changes;
Lexical-semantic changes;
Loan translation or calque;
Word-for-word translation;
Antonym translation;
Explication or descriptive translation;
Compensation.
Poetic art is the most valued, appreciated, respected one among the Art of Words; it is the highest measurement of creative willpower and genuine talent that a poet possesses; it is beautiful world of poetic strength, where delectable poetic tradition and poet's inspiration meet. Therefore, brilliant world of its translations can show its entire essence. Accordingly, poetic skills and abilities of those poets, who сooperated to develop Kazakh translation, made a contribution with their own author originality and distinctiveness.
To do translation, to turn precious treasure of one nation, which they are proud of, from one language into another, to make it available for your people, to serve such noble thing like translation, deserve one's respect and deference.
A translator is a creative individual. He is a representative of his epoch, his native literature. Hence, he glorifies the content and ideas of his age in his own way, he accepts all these happenings in his own way, we can hear his voice in his translations. Otherwise, content and ideas of original text can go with one path, with the same system, this way a translator is not considered like an individual person. That's why, during translation of any work, diverse translators try to add some changes into original text, they alter essential parts of the text or they narrate original text on their own. Translation of one artistic work from one language into another is truly difficult task, complicated and arduous path, tough challenge. It is world, where personality of an author and a translator personalities, their thoughts and notions, essences, their inside spiritual worlds, individual perceptions, their tastes in transforming thoughts into words, styles of 2 poets, their abilities, skills, knacks can be met.
M.Auezov wrote in his article named "Some matters of artistic translation": "In the sphere of translation, many duties and
tasks are fulfilled in concrete method, in order to present whole singularities of original text, a translator uses multiple methods, by how skillfully he applied all these methods, we can judge about the translation; singularities of text are intonation, rhythm, imagery and figurativeness (here we can name figurative meanings of synonyms, idioms, proverbs and sayings, aphorisms) and other elements like that, as well as various and different peculiarities of national forms, historical features". It means, that among complex problems of Translation Theory, the author of the article highlighted transferring author‘s style like the most significant matter. But it doesn't mean that in order to present genuine style of original text, we can damage systems of Kazakh language or make incorrect, wrong, improper and inappropriate sentences. The matter is to keep individual author style and to make it sound in real Kazakh language. It is extremely hard task.
It demands creative deliberation, exceptional and extraordinary talent, experience and knowledge. But for true creative translation, somehow freedom is necessary. If not, a translation will be literal:
word for word or interlinear, it will be incomprehensible, unclear, obscure, and inexplicable to read and understand. If do not follow a word, sentence, way of an original text, its style, manner, character, feature, generally speaking, its total spirit, one cannot achieve adequate translation. Well then, veritable and perfect creative translation is a combination of freedom and accuracy; a translator should be able to connect 2 major components equally and evenly. Creative freedom denotes when a translator does not exceed the limits of an original text, he keeps style of an author, his aptitude and competence to do translation, which is easy and appealing to read. Right here, a translator shouldn‘t be influenced by an original text, but nevertheless, a specialist in the sphere of translation, has to convey all originality, sense, inner meaning and implication of an original text into the second language. All said above requires creative freedom.
Abai Kunanbayuly‘s first collection of poems was published in 1909 in Peterburg, in publishing house named I.Boraganskiy. Kakitay and Turagul Kunanbayuly prepared the
