Освободить истерзанную грудь.
От засоряющих ее придатков.
Макбет:
Бу балодан қутқар уни. Давосини топ.
Миясига уя қурган қайғу қуртини.
Ўлдирмоғу онгидаги хотира – хатни
Ўчирмоқ – ла, биратўла, унутишимда.
Юрагини ғижимлаган шу чиркин азоб
Чангалидан озод этмоқ чорасин изла.
(С.А.) (130 б)
Макбет:
Даволашнинг йўлини топ. Яхшироқ ўйла.
Қандай қилса, хаста идрок тузалур буткул,
Қандай қилса, андуҳ учиб кетар хотирдан,
Мия фориғ бўлур ҳасрат битган ёвуздан.
Дори берки, қувват йиғсин ўзни унутиб,
Ва тош бўлиб юрагига чўккан ғуссани
Кўкрагидан юлиб ташла. (Ж.К.) (218 б)
Over the centuries comes the quiet answer, convincing us, as so often the words of this part so strangely do, that nothing further can be said.
There is the patient
Must minister to himself. (V. II. 45–46).
Врач: Тут должен сам больной помог.
Табиб: Бундай дардга чора фақат хастанинг ўзи. (С.А.)
Табиб: Ўз-ўзига мадакордир беморнинг ўзи. (Ж.К.)
Conclusion
In our Summary and Suggestions we want to talk about our wishes for further improvement for understanding Shakespeare’s text. For better understanding his text as early as in the eighteenth century in spelling, punctuation, and stage directions, very few emendations by the eighteenth and nineteenth century editors have been adopted; and these with the more important variations from the very First Collections (the First Folio, for example), are indicated in the textual note. These notes are printed immediately below the text, so that a reader or student may see at a disputed reading, and have definite understanding of the seasons for those differences in the text of Shakespeare which frequently surprise and very often annoy such an arrangement should be of special help in the case of a case of a play which as wialely read and often outed; and interpreters and actors seldom agree in adhering to one text. Uzbek translations should have special such kinds of notes as well. A consideration of the more poetical, or the more dramatically effective, of two variant readings will often lead to which results in awakening a spirit of discriminating interpretation and in developing free creative criticism. In no sense in this a factual variorum edition. The variants are seven only those of importance of high authority.
The index of words and phrases has been so arranged as to serve glossary and as a guide to the more important of the grammatical differences between Elizabeth and modern English.
This kind of work should be carried out in our Uzbek translations.
Shakespeare was the creator of colloquial prose, of the prose most appropriate for drama (Churton Collins)
Next time we think that is necessary to give special attention to the principles that underlie Shakespeare’s transition from prose to verse and from verse to prose. In I.III. 220. When Brabantio recalls the Duke to deal with the business on hand, – «I humbly beseech you, proceed to the affairs of state», – the Duke, who usually speaks in verse, at once uses prose as the medium of expression. So when Emilia drops into gossip in her confidential talk with Desademono (IV.III. 70) her diction changes from verse to prose.
Macbeth is really one of the most famous tragedies. It is put in equal line but after «Hamlet», «Othello», «King Lear», «Romeo and Juliet». This tragedy has two translation versions: the first belongs to Sadulla Ahmad and the second to Jamol Kamol, consecutively they were performed in 1983 and 1991/
When speaking about these translations we have to keep in our mind that the main hero of this tragedy sometimes speaks with splendid solemnity, and such cases also should be kept in mind. Macbeth uses the word «robes» = «одеяния» as a splendid word but Banquo simply says «garments» – «одежды». Macbeth speaks about poisoned chalice and he also speaks about Banquo simply says «garments» – одежды. Macbeth speaks about poisoned chalice and he also speaks about «vessel of peace». These units bring us to King’s palace, and sometimes to gothic temple.
Macbeth Calls his soul as eternal gem». Sometimes Macbeth speaks as if he is a great artist. He uses «golden view» instead of «a kind view». Instead of «pale liver» he uses «lily – white liver», (the word pale). Because the word pale was considered as «the sign of cowardness» instead of «blush on the cheeks he uses «ruby – coloured the cheeks».
Literature
1. Асқад Мухтор. Даҳо асар. Вильям Шекспир. «Макбет». Тошкент. Ўзбекистон. ЛКСМ марказий комитети «Ёш гвардия» нашриёти 1987.
2. Вильям Шекспир. «Макбет» 1987. «Ёш гвардия» Publishing House. Tashkent.
3. Вильям Шекспир. «Макбет». Трагедия. Перевод с английского. Издательство «Художественная литература». Москва.
4. Саломов Ғайбулла.» Тил ва таржима». Тошкент. Ўзтекистон ССР «Фан» нашриёти 1966.
5. Саломов Ғайбулла. «Таржима назариясига кириш». Тошкент. «Ўқитувчи» нашриёти. 1978.
6. Саломов Ғайбулла. «Адабий санъат ва бадиий таржима». Тошкент. «Фан».1980
7. Саломов Ғайбулла. «Таржима назарияси асослари». Тошкент. «Ўқитувчи» нашриёти. 1983.
[1]Асқад Мухтор. Даҳо асар. Вильям Шекспир. “Макбет”. Тошкент. Ўзбекистон. ЛКСМ марказий комитети “Ёш гвардия” нашриёти 1987
[2]Асқад Мухтор. Даҳо асар. Вильям Шекспир. “Макбет”. Тошкент. Ўзбекистон. ЛКСМ марказий комитети “Ёш гвардия” нашриёти 1987
[3]Вильям Шекспир. “Макбет”. Трагедия. Перевод с английского. Издательство “Художественная литература”. Москва
[4]Вильям Шекспир. “Макбет”. Трагедия. Перевод с английского. Издательство “Художественная литература”. Москва
[5]Вильям Шекспир. “Макбет”. Трагедия. Перевод с английского. Издательство “Художественная литература”. Москва
[6]Вильям Шекспир. “Макбет”. Трагедия. Перевод с английского. Издательство “Художественная литература”. Москва