Научно-исследовательская работа
« Tatar literature through the English
language”
Выполнила учитель английского
языка высшей квалификационной
категории
Лукманова Наиля Вахитовна.
Казань 2019
Contents
1. Translation
as the object
2. The
establishment of the translators’ club;
3. Learning
some biographies of classical writers
4. Learning
famous translators’ work
5. The
English language penetrating Tatar literature
6. Conclusion.
Similarities and peculiarities of two languages
Introduction
We were
born in a Tatar family in Tatarstan. Our family
and close relatives speak Tatar and we Are really
upset that there are people who don’t know ournationality
even in Russia. “Those who know nothing of foreign languages know nothing of
their own” – said Goethe. It’s really so. This made us
take translating fiction into English. We
have always loved Tatar with its stylistic devices and choices of amazing
words. We
have
always wanted to express it in English in order to introduce people of other
nations and nationalities with our native
literature. Therefore, we made up our
mind to arrange a club of translators from Tatar into English to go further in
introducing the whole world to the distinctive culture of Tatar people. We
began translating the works of famous Tatar classical and modern writers.
1.Learning some
biographies of classical writers
ShafigullinFayeelKhafizovich
• Famous
Tatar writer. He was born in Karasham village, worked in “Kazan Lights”
journal, in 1975 becomes a manager of department of literature translation of
the journal called “Scorpion”.
• Shafigullin
F.K. wrote books for adults and children as well. Most of his fairy-tails are
written in children’s language, that’s why them so bright, kind and unique.
AimatRamis
• Famous
Tatar writer. He was born in Karasham village, worked in “Kazan Lights”
journal, in 1975 becomes a manager of department of literature translation of
the journal called “Scorpion”.
• Shafigullin
F.K. wrote books for adults and children as well. Most of his fairy-tails are
written in children’s language, that’s why them so bright, kind and unique.
2. The establishment of
translators’ club
To begin with, we have a club of
translators at school No.139, the task of which is to translate the works of
Tatar classical and modern writers. It began its work 4 years ago, when the
whole world celebrated Tukai’s birthday, who is an outstanding celebrity. We,
students, know and hear about him a lot. Rabit Batulla's work, which we have
translated, is a narration with the help of which he wants to bring up literary
tastes in students. The author introduces Tukai's character to us through his
work. There are national features expressed
·
by the ancient Tatar song
Жаныкаем
ла, сиңа ни бирәем,
Мәкәрҗәдинкилгәнлә
малым җук,
Мәкәрҗәдинкилгәнлә
малым җук.
Җаннарымныҗарып
та бирерлә идем,
Җандинүзгәҗөрерләхәлемҗук,
Җандинүзгәҗөрерләхәлемҗук.
·
by the Tatar musical instrument (моңлыкубызтавышындәвамитәбашлады)
·
by statements peculiar to the Tatars (көйнеңсалмаккынаяңгыравы)
Taking into account all these national
feelings we have translated them this way:
1)
My bony, what shall I give you,
I don’t have the wealth brought from
Makarjadin,
I don’t have the wealth brought from
Makarjadin.
I would give you my soul,
But I was hardly able even to walk.
I have even given my soul,
But I’m feeling so bad that I can’t even
walk.
2) the tune of the song was followed by
the cubyz
3) the tune flowed calmly and softly
When we were translating the song we tried
to make it sound close to the original. Rabit Batulla wrote his narration
expressing the great loss of this celebrity and how he missed him. We see it in
his description of Tukai's clothes, which is given in details.
The words “кубыз”, ”кара казаки”,”чәче
арткы тарафка таралган”, “тыңлаусыз чәч”, “киез ката”,”ястык кадәрле
кабартылган мендәр” which can be met only in Tatar. We
translated them this way: cubyz, a black jacket, Tukai's hair brushed together
back, it rose as it was stubborn, felt boots made of black wool, as huge as the
mattress made of birds' feather two pillows.
The classical writer Makhmut Galau's
reminiscences also express his great love to this incredibly talented person.
We can't help reading the lines from his work both in Tatar and in English:
Тукай җаны
тыныч
чакта
яланбаш,
икекулынчалбаркесәләренәтыгын,
уйланыпйөри...
- He had a habit of walking along the corridor and meditating when his soul was
calm. At that time his head was uncovered, he was wearing a waist coat with
both hands put in his pocket.
Тукайныңмаңгаеҗыерчыклы,
әкүзләреялтырый...
- his wrinkled forehead and shining eyes...
Ә кайгы,
борчу
килсә...Тукай
сөйләшми,
телсез
кала,
әйтәсе
сүзендә
әйтми.
Ләкинсоңыннансаранганыбулсадайөрәгендәгенаңлата.
- When you were asking him about something in details, he would keep mum, even
what he was about to say he wouldn't utter. If he began saying something, he
was sure to say it after some silence passed. He didn't speak openly or
willingly, nevertheless, he would tell you what he had deep in his heart after
all.
The Tatar literature is very rich in
repeated past actions, which should be expressed by means of English
constructions : used to Infinitive, would Infinitive.
E.g.
“Казанда Харитонов
типографиясендәэшләгәнчагым. Көндез, эштәнтуктап, икесәгать ял итәбез.
Ашашарөчен “Болгар”гайөрим.
Тукай гадәттәгечә корридорда күренмәсә,
мин аның хәл белән кызыксына идем. Аштамәм булгач, узышлый номер ишеген ачып карыйм.
Әгәр Тукай кроватьта булса, кереп, хәлен белеп чыгам, 40нчы номерның ишеге һич бер
вакытта да бикләнми иде. ”
(Махмүт Галәү “Тукай турындагы истәлекләрдән
бер кисәк”)
And our translation
is:
“It was the time when I worked at the
Kharitonov ‘s printing-house. We used to have a break for a rest in the
afternoon. I would go for dinner to ‘Bolgar’.
When Tukai didn’t do his usual promenade
in the corridor I would go and see him and ask about his health. When the
dinner was over, passing by his room I used to open his door. If Tukai occurred
to be in bed, I would enter the room and was interested in his health. The door
of Room 40 was never locked”
(MakhmutGalau “The reminiscences about
Tukai”)
Makhmut Galau greatly missed Tukai and his
great respect to him he showed through his sincere love, because Gabdulla Tukai
is a really distinguished poet of all times.
3. Learning famous
translators' works
To translate works of authors of any
language is a really challenging work; it doesn’t mean to translate
word-by-word and sentence-by-sentence. Therefore, we had to learn scientific
works of famous translators:Voskoboinik, Alexeeva, Wezbicka, Komissarov,
Semenov.
While
translating from one language into another you should follow Relativity of
Translation.
Identity
is an epistemic goal of translation. Translation is supposed to search for
identity between different languages and cultures.
“Identity
is an ideal, absolute goal of the translator`s activity, which isimposed by one
of the basic philosophical principlesof intellectual and practical activity
operatingat the level of subconsciousness” (Voskoboinik,2007: 43). “Fidelity of
translation”, just like truthfulnessof a picture or plausibility of
motivations– allare reflections of one common category, which can be determined
as gnosiologically generic category”(Levy, 1974: 47).Nowadays the conception of
correlationbetween the original text and translated textfocusing its attention
on the relativity of translation as the main principle is consideredto be a
more preferable choice for most scholars(Alexeeva, 2004) The idea of relativity
of translation is a naturally
determined
result of searching for solutionsto the problem of translation identity. It is
well
known
that even ancient Romans used to say:«mediotutissimus ibis»– the middle road is
thesafest one.
Similarly,
A. Wezbickarises a question about the correctness of the initial thesis
concerning translatability \ untranslatability: “Acorrectly formulated question
should not be “Canthe sense be translated from one language intoanother” and
should actually be “To what extentit can be translated” or even differently “To
what extent languages are determined by the biologyof humans and to what extent
by our culture?(Wezbicka, 2011).
Translatability
is regarded as a “dynamic category”,which lies in the middle between
conceptions of total untranslatabilityand total translatability. The category
of translatability should be considered asa dynamic notion, since, on the one
hand, the idea of total translatability is nonsense, because ofobjectively difficult
texts for translation, and, onthe other hand, the idea of total
untranslatabilitycontradicts the practice of translation. Here thescientists
write: “even if something cannot betranslated right here and right now in a
particularsituation, however it can be translated in otherplace and time, in
the past or the future state of thetarget language and the target culture.
In
order to illustrate the dynamics oftranslation we shall refer to the words of a
famous
Spanish philosopher JoséOrtega y Gasset:
“I wanted to stress the poverty of translation, defineits difficulties, its
impossibility, but the onlyreason I did it for is not to stop, but to searchfor
the brilliance of the art of translation...”
In
the current paper we cannot but agree withthose who support the conception of
translationrelativity. It is apparent that interlingual translation does exist
and there is a part in the original and a part in the translation which
areidentical (the fact that these parts are almost neverequal to 100% is a different
story). This thesis corresponds to the words of V.N. Komissarov:
“...any
original text can be considered to beuntranslatable due to the lack of absolute
identitywith the translation and can be considered to betranslatable since we
can create its functionalanalogue in the translation language and canconvey any
part of the original content, the partwhich a translator regards as an
important one for the current act of interlingual communication...”(Komissarov,
1976: 15). Thus, a more fruitful wayto look at the relationship between the
originaltext and the translation text lies not in the matterof translatability
or untranslatability, but in thelimits of translatability.
You
should also be aware of Factors Influencing Translation.
The
conception of relative translatability and the conception of total
translatability are separatedby a number of factors, which have their impacton
the process and result of translation. Its nature, according to E. Nida, is
determined by two mainreasons: human language and human culture. Thisposition
is actually supported by A. D. Shveitser:“One should bear in mind that
translation is not just a recording of a source text into a target one, itis
not just a mere change of the language code, butit is also a shift in
orientation, a new orientationfor a new reader, not only linguistic, but also a
cultural adaptation”
Factors
influencing translation identity demand close scrutiny. For example, the
naturalasymmetry of the form and the content indifferent languages is one of
such factors.
Let
us have a look at the cultural factors, which complicate the process of
translation.
A.L
Semenov points out that “the quality oftranslation is usually determined by the
depth ofknowledge of the translator when dealing withtranslational concordances
and discrepanciesin the context. However, it is the context, which quite often
causes difficulties in understanding by different cultures» (Semenov, 2005:
32).
Consequences
of the Interaction is also very important to be known to the translator.
The
process of translation can be viewed asa process of interaction between
languages, or as
a
language contact (since the translator is always“in the middle”, he\she has to
switch betweentwo (or even more) linguistic codes).
To
sum up, it’s necessary to highlight the fact that the factors influencing the
process of translation in the course of time result in new changes in the
target language. The changes, on the one hand, reflect geopolitical preferences
of a particular nation in this or that period of time, on the otherhand,
linguistically they act as precious material.
The
study of the consequences oflanguage contacts is believed to bring more
fruitful resultson the question: how does a language operate inour mind?
4. The English
language penetrating Tatar literature
I made my first steps when I was in the 8th
form. I attempted to translate fairytales. One of them was by a classical
writer Abdullah Alish “Slim Waist” (“Нечкәбил”)
and another one was FanisYarullin’s “The Forest Fairytale” (“УрманӘкияте”).
In order to translate from one language
into another you have to know both languages very well, you should be very
shrewd to be able to penetrate into the author’s language, whose work you’re
translating, and the language into which you’re translating should also be
known perfectly. You are to see similarities and peculiarities of two languages
both in grammar and vocabulary and the way of writing. Having translated all
those extracts I noticed that Tatar authors generally speak to the readers and
keep them on focus as if they always want to be in the readers’ mind.
E.g.:“Каршыгызда, менә күрәсезме, нәрсә
соң ул, беләсезме?
Шашка шакмаклары төсле тезелеп киткән
йортлар. Ул йортта
яшиләр
кортлар.
Кортлар? Нинди кортлар?”
(Абдулла Алиш
“Нечкәбил”)
And our translation
is:
“In front of you, can you see it? Do you
know what it is?
Here are houses looking like a chessboard.
In these houses insects live.
Insects? What insects?”
(Abdullah
Alish “Slim Waist”)
Another
example:
“Әллә
күрми дә калдыгызмы? Фирүзә шул иде бит инде. Шул үзе Фирүзә. Әйе, көмеш
керфекле, ефәк чәчле, ачык йөзле кар бөртеге Фирүзә шул иде.”
(ФәилШәфигуллин
“Фирүзә”)
And
my translation is:
“Didn’t
you manage to see her? It was Firuza. It was just Firuza. Her eyebrows are
silver, her hair is silk and her face is open and clear.”
(
Fayeel Shafigullin “Firuza”)
This device is used to draw the reader’s
attention.
There are a lot of dialogues in these
fairytales, because they are written for kids. Long monologues are not for them
as they can’t concentrate for long on the contents of them. Dialogues are light
and easy to percept and read, listen and understand. As a translator, I should
get into the Tatar authors’ spirit and keep playful and light mood of their
works.
E.g. “Аларның йортларын мәк чәчәге кебек
кызылга, үлән төсле яшелгә, ком сыман сарыга, күк төсле зәңгәргә, төрле-төрле
матур төсләргә буяганнар. Әнә зәп-зәңгәр офык читеннән, көлә-көлә, алтын кояш
та күтәрелә. Аның шаян нурлары, җиз уклары умарта өйләренең стеналарына тияләр
дә:
- Торыгыз, торыгыз, эшкә тотыныгыз, -
дияләр.”
(Абдулла Алиш
“Нечкәбил”)
And our translation
is:
“Their houses are painted in red like
poppy, green like grass, yellow like sand, blue like the sky and other
different beautiful colours. Here is the smiling sun rising from the edge of
the blue skyline. Its cheerful rays like brass arrows touch the walls of the
bee’s houses and say:
·
Get up, get up, set to work!”
(Abdullah
Alish “Slim Waist”)
A tremendous amount of Tatar epithets,
metaphors and similes are expressed in the English language which are also
popular in it.
E.g.:”‘Хәйләкәр төлкедән сорап карыйк,
аның дөньда белмәгән нәрсәсе булмас’ – дип уйлаган ул һәм алгы тәпиен авызына
кабып бик каты сызгырган. Аның сызгыруын гына көткәндәй, куаклар арасыннан
атылып-бәрелеп Төлке килеп чыккан.”
(Фәнис
Яруллин
“Урман Әкияте”)
And our translation
is:
“ ‘I can ask the sly Fox, there is nothing
in the world he doesn’t know’ – he thought and put the front pad into his mouth
and whistled hard. The Fox, as if he had just waited for it, jumped out of the
bushes.”
(Fanis Yarullin “The forest fairytale”)
In 2015 a student from our school
participated
in such a really exciting contest named after Sharaf Mudarris and won the 1st
prize. We
are very fond of translating fairytales and Shafigullin’s
“Firuza” (“Фирүзә”) was also a good
example to test our skills of translation.
Translating Ramis Aimat’s poem was a
striking experience. Aimat’s poem is a combination of an incredible lightness
of style, aspiring flight of rhythm, original images and at the same time – it
brings a deep philosophical profundity, rich semantic concentration, great
range of human’s feelings. His poem “One Reminiscence” is extremely interesting
in its composition. Aimat doesn’t speak of faraway moments as a simple
narrator; the poet concentrates on his past emotions and feelings that torture
him. After having translated Ramis Aimat’s poem “One Reminiscence” we
were impressed and mesmerized. It was both complicated and
exciting.
E.g. “Искә төшә... Инде онытылды дип,
Уйлыйсың да, кабат яңара.
Җилләр җан индергән учак кебек.
Тотына ул узган яшьлегемнең
Садә минутларын санарга.”
(РәмисАймәт)
Our translation is:
“It comes back… after it is forgotten
You think.
And with a new force it returns
As if the wind awakens the sleeping fire.
And helps to break it out again
And it begins to count
The moments of my youth
That had passed long-long ago.”
(Ramis Aimat “One Reminiscence”)
Shafigullin’s “Firuza” attracts you with
the way of writing and involving the reader into his work. It is full of
special features as it is closely concerned to the author’s writing style.
Despite the children’s language, anyway,
there are moments when it is difficult to express some Tatar cultural
peculiarities into English. These factors complicate the process of
translation.
E.g. “һай,
шаян
абый”
was translated as “hey, man’ (because it can’t be an “uncle”);
“кунам-кунам”
as “was about to fall down”;
“орынам-орынам”
as “was going to touch” ;
“ыгы-зыгыда”
as “in a great mess”.
The most important and essential stylistic
device, that Shafigullin uses the whole story long, is a dialogue between the
reader and the story-teller.
In future we
would like to keep on translating Tatar works into English, because there are a
lot of English speaking people and they are to know Tatar people with its
cultural heritage. We would like to
devote our
life to introducing the Tatars to the whole world.
Literature of all nationalities is a
mirror that reflects their habitats, their way of living, their customs and
traditions and their cuisine.
5. Similarities and
peculiarities of two languages
The process of translation has a lot of
peculiarities in its structure.
1. Firstly, Tatar authors mostly speak to
readers in order to keep them tightly on focus and to make them being absorbed
with
their narration.
2. Secondly, such constructions as 'USED
TO' and 'WOULD' are widely used in our
translation
in order to show repeated actions in the past. E.g. USED TO
E.g. “Әкияттәге ике бала кебек,
Каен башларына үрмәләп,
Ике штансыз малай дөнья белән
Танышыпйөргәнидекбергәләп...”
‘Just like two boys from a fairy tale,
We used to climb the birches' tops,
Two pantless boys
Get acquainted with the world…’
E.g. USED TO
“Әкияттәге ике бала кебек –
Икебездә кара борынлы,
Зурлар кебек, кулны артка куеп,
Йөри идеек
таптап
болынны...”
‘Just like two boys from a fairy tale,
Both with black noses,
We used to walk trampling the meadow,
Grabbing hands behind aback like adults did…’
E.g. WOULD
‘Кем уйлаган шушы шаярулар
Синдә кәсеп булып калыр дип,
Уйнап башланган эш тормышыңны
Һәлакәткә алып барыр дип...’
‘ Who could even imagine, those games
Would remain in you as a lifestyle,
Starting a playful childhood
Would lead you to a complete failure...’
The emphasize with a help of DO, DID are
also used in our translations. The
author's deep sorrow about Mokamai, his friend, is reasonably expressed by DO,
DID emphatic phrases of the English language. While translating Tatar works
into English, both languages must closely come into contact in achieving the
best result. We should penetrate in peculiarities of both languages taking into
account their GRAMMAR and VOCABULARY.
E.g. “Ник, Мокамай, соң
син
тормышыңны
Чабатаңдай матур
үрмәдең!!.
Син гомереңне
усал
исем
белән,
Канлы пычак
белән
чикләден”
‘Why, Mokamai, you couldn’t arrange your
life as skillfully
As you did weave your bast-shoes?!.
You did paint your life with a grey name
And a red bloody knife...’
3. Thirdly, Complex subject was widely
used in the translation of Nabi Dauli's work 'Between Life &
Death'.
E.g.
“Аның сүзләрен аңлап җитмәдем бугай...”
“I didn’t seem to realize what he had
said…”
“Мин биредәге авырулар, яралыларның гөмере
өчен үземне җаваплы саныйм.”
“I am supposed to be responsible for the
lives of the sick and the wounded.”
“Василий Петрович
чыннан да доктор булып чыкты.”
“Vasiliy Petrovich turned out to be a real
doctor.”
“Ул Казанның бик күп урыннарын, хәттә
шәһәр читендәге күлләрен дә белә икән.”
“He happened to know a lot of places of
Kazan, even the lakes in its suburbs.”
4.
Parallel constructions are both widely used in the Tatar and English languages.
We can see them in “Мokamai”
by Khadi Taktash.
E.g.
Бер җирдэ юк андый ак каеннар,
Бер җирдә юк андый урманнар,
Бер җирдә юк камыш сабаклары
There
are no such birches,
There
are no such forests,
There
are no such reeds —
Һәрбер нәрсә безгә яңа иде,
Һәрнәрсәгә исебез китә иде,...
And
everything was new for us,
And
everything drew our attention,
Thanks
to all these happy findings we came up closely to the language of Tatar
authors. The goal was to arouse the same emotions in the souls of
English-speaking people. All these peculiarities can be successfully used in
any other translations. Authors of different cultures depict even the
appearance and features of characters of the nation they belong to.
6. Enclosures
“Mokamai”
by Kh.Taktash was the last translation of our club. It is supposed to be the
best and the most successful one. That’s why we enclose it into this scientific
research.
Һади Такташ
Мокамай
Белмим,
Әллә күпкә,
Әллә бик озакка,
Ахры, мәңге онта алмамын
Тамбов урманнары уртасында
Усак яфраклары шаулавын...
Алар мәңге минем хыялымда
Шаулый-шаулый яфрак ярырлар,
Карт имәннәр, калмый минем арттан,
Кая барсам, озатып барырлар...
Бер җирдэ юк андый ак каеннар,
Бер җирдә юк андый урманнар,
Бер җирдә юк камыш сабаклары –
Андагыдай шаулый торганнар...
Әкияттәге ике бала кебек,
Каен башларына үрмәләп,
Ике штансыз малай дөнья белән
Танышып йөргән идек бергәләп...
Беребез сары чәчле, беребез – кара:
Сары чәчлесе – ул мин идем;
Кара чәчле, коңгырт кара күзле,
Кәкре аяклы дустым, җанкисәгем,
Ул, Мокамай бәгърем, син идең...
Ак каенга аслып менгән кебек,
Мин тормышта һаман яктыга,
Югарыга табан юл алдым;
Менгән саен җирнең матурлыгын,
Яктылыгын күбрәк күралдым...
Ә син менәлмәдең,
Калдың,
Югалдың...
Әкияттәге ике бала кебек –
Икебез дә кара борынлы,
Зурлар кебек, кулны артка куеп,
Йөри идек таптап болынны...
Һәрбер нәрсә безгә яңа иде,
Һәрнәрсәгә исебез китә иде,
Бернәрсә дә бездән качмый иде,
Бар нәрсәгә кулыбыз җитә иде...
Күпме кыен күрдек шуның өчен,
Күпме тал чыбыгы ашадык;
Әкияттәге ике бала кебек,
Күпме “җафа чигеп” яшәдек...
Кем уйлаган шушы шаярулар
Синдә кәсеп булып калыр дип,
Уйнап башланган эш тормышыңны
Һәлакәткә алып барыр дип...
Хат язсам да хәзер соңга калдым,
Укымассың минем хатымны,
Ләкин минем бурчым, Мөхәммәтҗан,
Йөлу синең яман атыңны!
Син гомереңне усал исем белән,
Канлы пычак белән чикләдең...
Әллә ничек булды синең гомер,
Син, Мокамай, әллә нишләдең!..
Әкияттәге ике бала кебек,
Каен башларына үрмәләп,
Ике штансыз малай дөнья белән
Танышып йөргән идек бергәләп...
Ак каенга аслып менгән кебек,
Мин тормышта һаман яктыга,
Югарыга табан юл алдым;
Менгән саен җирнең матурлыгын,
Яктылыгын күбрәк күралдым...
Ә син менәлмәдең...
Калдың, югалдың...
Үткәннәрем авыр әкият минем, -
Ул әкиятне әгәр сөйләгәндә,
Чаглып китсә синең күләгәң,
Юк, юк,
Мин ант итәм: һичбер вакытта да
Сине карак итеп сөйләмәм...
Син яшәргә хаклы кеше идең,
Син яшәргә җирдә теләдең.
Тик син ачлык тырнагыннан,
Түбәнлектән
Чыгу юлын гына белмәдең...
Ә бит
Бергә чабаталар үреп йөргән чакта,
Син остарак миннән үрәйдең,
Минем матур итеп үрәлмәүне
Булдыксызлыгымнан күрәйдең...
Ник соң бу болай булды әле,
Ничек һәлакәтең күрмәдең,
Ник, Мокамай, соң син тормышыңны
Чабатаңдай матур үрмәдең!!.
Син гомереңне усал исем белән,
Канлы пычак белән чикләдең;
Әллә ничек булды синең гомер,
Син, Мокамай, әллә нишләдең!..
Ә бит безнең гомер матур урманнарда
Май аедай матур башланды;
Әкияттәге ике бала кебек,
Икебез ике якка ташланды...
Синең тормыш авыр әкият булды,
Ул әкиятең соңгы битләрен
Син зур исем, мәңге онытылмаслык
Эшләр белән бизәп китмәдең...
Син адаштың,
Ләкин син яхшы идең,
Синең яхшы иде күңелең,
Тик белмәдең тормыш баткагыннан
Ялгыз чыгу мөмкин түгелен...
Син белмәдең,
Кешеләр җирдә тормыш баткагыннан
Чыгу юлын бергә эзлиләр;
Ялгыз калып, ачтан үлмәс өчен
Күмәк тормыш җирдә төзиләр...
Үткәнемне әкият итеп сөйләгәндә,
Чаглып китсә синең күләгәң,
Юк, Мокамай, һичбер вакытта да
Сине усал итеп сөйләмәм...
Син ярлы идең, ләкин эш сөя идең,
Синең яхшы иде күңелең, -
Син белмәдең сыйнфый бөлгенлектән
Алай чыгу мөмкин түгелен...
Khadi Taktash
Mokamai
Translated by Guzel Nurullina,
Student 11B,
School No.139
I don't know,
Whether for a while,
Or forever,
Maybe, I will never forget
The rustle of aspen leaves
In the centre of Tambov's forests...
They are forever in my dreams -
Ever rustling with leaves coming out,
The old oaks are chasing me,
Wherever I go, I am always in their
company...
There are no such birches,
There are no such forests,
There are no such reeds —
Here is the only place to hear such
rustles.
Just like two boys from a fairy tale,
We used to climb the birches' tops,
Two pantless boys
Get acquainted with the world…
One of us was fair-haired, the other one
was dark,
The fair one was me,
The dark-haired and brown eyed,
My bandy-legged friend, my soulmate,
Were you, Mokamai, my sincere friend…
Like going up a white birch,
I've always strived for the light
And the best.
Every step up let me see
The beauty and the light more and more...
But you couldn't climb upwards,
You were stuck below,
You were lost...
Just like two boys from a fairy tale,
Both with black noses,
We used to walk trampling the meadow,
Grabbing hands behind a back like adults
did…
And everything was new for us,
And everything drew our attention,
Nothing slipped away from greedy eyes,
We devoured everything on our way…
What hardships we did face because of it,
How many willow rods we did taste,
Just like two boys from a fairy tale,
We did live right through the torture...
Who could even imagine, those games
Would remain in you as a lifestyle,
Starting a playful childhood
Would lead you to a complete failure...
Writing a letter is too late now,
As you won't read, I know,
But my duty, Mohatzhan,
Is to justify your mean action!
You did paint your life with a grey name,
And a red bloody knife...
Your life was full of mess,
What have you done, Mokamai!..
Just like two boys from a fairy tale,
We used to climb the birches' tops,
Two pantless boys
Get acquainted with the world…
Like going up a white birch
I've always strived for the light
And the best.
Every step up let me see
The beauty and the light more and more.
But you couldn't climb…
You were stuck, you were lost downwards...
My past is an oppressive story,
So when the story is told
And your shadow flashes there,
No, no,
I swear: I'm never saying
A word of you being a thief...
You were a human deserved to live,
You longed for life on the Earth.
But you didn't know the way out
Of claws of starvation,
And disgrace...
But do you remember
A time, when we weaved bast-shoes together
You coped with it more skillfully,
And you did think of me incapable
Because of my awful job...
Why everything had to end like that,
Why didn't you see your downfall?
Why, Mokamai, you couldn’t arrange your
life as skillfully
As you did weave your bast-shoes?!.
You did paint your life with a grey name
And a red bloody knife...
Your life was full of mess,
What have you done, Mokamai!..
Our life happened to begin in beautiful
forests,
As fascinating as spring May days,
Just like two boys from a fairy tale,
We were thrown away to different sides...
Your life was an oppressive story,
You failed to paint the last pages of the
tale
With a bright name and memorable work...
You lost your way,
But you were kind,
Your soul was pure,
How sorry I am, you weren’t aware,
Of getting out of life’s quagmire
Was really challenging when you were
alone...
You weren't aware
That people seek a way out of troubles
together
In order to never die from hunger
They build a common life on the Earth...
And when the story of mine is told like a
tale
And your shadow flashes there,
No, Mokamai, I swear, I'm never
Saying a bad word of you...
You were poverty-stricken, but willing to
work,
Your soul was fairly pure,
The only thing that you didn't know
Was not the way you had chosen…
Used literature:
1.
A.L. Semenov “Text Analysis in
Translator Training” (1993)
2.
Voskoboinik
“Fidelity
of translation” (2007)
3.
V.N. Komissarov
“Theory of Translation” (2008)
4.
Makhmut Galau
“The reminiscences about Tukai” (in Tatar)
5.
Fanis
Yarullin “The Forest Fairytale” (in Tatar)
6.
Abdullah
Alish “Slim Waist” (in Tatar)
7.
Ramis
Aimat “One Reminiscence” (in Tatar)
8.
Khadi
Taktash “Mokamai” (in Tatar)
9.
Fayeel Shafigullin “Firuza”
(in Tatar)
10. Nabi
Dauli “Between Life and Death” (in Tatar)
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