Translation problems of the novel "The old man and the sea" by Ernest Hemingway

We assume that this research proves to be significant because some problems of literary translation connected with style are analyzed in it. Taking into consideration all mentioned definitions and unrevealed functions of the style, it will not be a mistake to say that style is one of the main things to pay attention to when we translate texts. It becomes an important issue to define the style of the text, the author's style, stylistic devices before translating it.

Translating the text, a person should know the specific features of the author, peculiarities of his language, stylistic devices he uses, especially in poetic work, vocabulary of his texts. It is obvious that a literary translation cannot be word for word translation because that kind of translation is very poor and will not give the readers the main idea of the author's text and it is difficult to read and to understand a translation if it is done word for word.

Speaking about translation it is important to say a word about such scientists as Baker M. Routledge, I. R. Galperin, V.A. Kukharenko, A.N. Morokhovsky, V.V. Vinogradov. They presented very important information concerning the translation. Their books are considered to be the most significant for the translation theory. The problem of translation was also studied by such linguists as: V.V. Fisenko, I.M. Chepurna, O.O. Mushnina, N.M. Rudnitska, O.O. Mikhaylenko. However, it should be pointed out that nobody has studied a comparison of the original text, its word-for-word translation and literary one.

As it was already mentioned, literary translation applies the delicate emotional connections between cultures and languages and further understanding of human beings across national borders. During the act of literary translation, the spirit of another culture becomes transparent, and the translator accepts and recreates the refined sensibilities of foreign countries and their people through the linguistic, musical, rhythmic, and visual possibilities of the new language. In fact, literary translation is such a work of literary translators, where an original subjective activity is at the center of a complex network of social and cultural practices. So, the imaginative, intellectual, intuitive writing of the author must be preserved in translation.

Thus, it is important for the translator to understand and feel special style of the author he translates. Using a different language from the author's the translator must reflect the author's emotions and feelings, his style and his features.

According to I.R. Galperin, stylistic problems of translation may be approached from several angles: language styles, their peculiarities, their goals and interrelation; stylistic meaning of words; stylistic devices, their nature and structure, their expressive function; foregrounding of linguistic means for stylistic purposes and its attention - attracting function.

Professors and linguists of Lancaster University Geoffrey Leech & Mick Short in their book “Style in Fiction: Linguistic Introduction to English Fictional Prose” while addressing literary text distinguish between authorial choices and stylistic choices. Authorial choices come under the larger concept of the authorial technique used in showing the fictional world accepted by the reader.

According to Leech and Short such authorial choices comprise:

1)The degree of specification, also described by Leech and Short as descriptive focus, referring to the amount and choice of information provided by a work of fiction and corresponding to the ideational function of stylistic choice;

2)The fictional point of view, referring to the way in which the fictional world is apprehended, corresponding to the interpersonal function of stylistic choice;

3)Fictional sequencing, referring to the order of cumulative progression of fictional information and corresponding to the textual function of stylistic choice.

In her work on Narratology Introduction to Theory of Narrative (2009) cultural theorist and critic Mieke Bal, points out: It is by the way of text that the reader has access to the story, and text is what is seen first. The textual level is also the one at which the translator produces the translation, and this means that concepts of narratology are linked to the study of translation primarily at the level of linguistic choices.

It should be mentioned that a translator dealing with a source text no longer needs to make such major authorial decisions as the narrator's/localizer's person or persons, since these have already been decided by the author.

Generally, the translation of texts relating to different functional styles of a language presents a comprehensive problem. The language style depends on the communication sphere and the aim of communication which defines the special choice of language means. These means are interrelated and form a system that is considered to be characteristic of each style. In fact, texts belonging to different styles of language assume distinctive stylistic features and thus they are easily recognizable although they may to some extent vary from language to language.

It is also very important to consider some ideas of translating literature (belles-lettres style), problems connected with translating of emotive prose and poetry and some examples of translating.

They were strange shoulders, still powerful although very old, and the neck was still strong too and the creases did not show so much when the old man was asleep and his head fallen forward.

Это были удивительные плечи - могучие, несмотря на старость, да и шея была сильная, и теперь, когда старик спал, уронив голову на грудь, морщины были не так заметны.

Bu yelkalar cholning keksayib qolganiga qaramasdan zabardast, bo`yni ham, undan qolishmaydigan darajada baquvvat va hozir, chol boshini ko`kragiga solintirib uxlagan tobda, ajinlari ham u qadar ko`zga tashlanmas edi.

The translator managed to present the author's character, features, emotions and feelings of his character. Authors always use different stylistic devices and figures to emphasize something important to their mind, to show their characters as they wish them to be.

If in previous example the author used different expressions with metaphor, epithet and simile, the next example will show the emphatic effect of repetition, made up by the use of a synonymous pair and by the addition of an intensifier.

- A policy of see no stagnation, hear no stagnation, speak no stagnation has had too long a run for our money.

- Juda uzoq vaqtdan beri siyosatga etiborsiz bo'lganimiz uchun va iqtisodiyotdagi stagnatsiya xolatini berkitganimiz uchun tavon to'lab kelmoqdamiz.

- Слишком долго мы расплачиваемся за политику полного игнорирования и замалчивания застоя в нашей экономике.

Another example: Stop! Stop! Stop! Stop! Stop!

- To'htang! Hoziroq to'htang! To'htasangizchi!

- Перестаньте! Сию минуту перестаньте! Да перестаньте же!

The five - fold repetition of the word stop, in Thomas Hardy's story Absentmindedness in a Parish Choir is compensated by addition of conditional words possessing the same degree of expressiveness.

In this example, we can say that the repetition shows strong emotions and willingness of a character, his dissatisfaction, irritation or even anger.

It should be noted that many stylistic devices are multifunctional: one and the same device may fulfill a variety of functions and produce diverse effects. These functions are sometimes not the same and may not correspond in English and in Russian. The same stylistic devices in two languages may reveal complete, partial and no concurrence at all.

In his article Style as a Specific Problem of a Literary Translation, Levchenko L. E. brought to our attention some examples of alliteration and other stylistic devices. In fact, alliteration appears to be one of the fundamental features of poetry. But alliteration in prose is more frequently used in English than in Russian and in Uzbek and cannot always be preserved. For example, it is not preserved in the translation of the concluding paragraph of Galsworthy's Indian Summer of a Forsyte by M.Lorie.

- Summer - summer - summer! The soundless footsteps on the grass.

- Жарко - жарко - знойно! Бесшумные шаги по траве.

It is one of the main tasks of a translator to be fully aware of the degree of expressiveness of stylistic devices used in the text. Such kind of distinction must be shown between what is stylistically trite and what is stylistically original. It especially refers to lexical stylistic devices: deliberate mixing of words belonging to different layers of the vocabulary, metaphors, metonymies, epithets, similes, etc. stylistic equivalence is a fundamental requirement.

According to Levchenko L. E., to translate poetry translator must have a sense of rhythm, rhyme or even must be a poet too. It is important to carry down to a reader the author's main ideas and feelings. And one more necessary thing is to select appropriate words, phraseological units, and stylistic devices in order to save the main idea of the poem and to save definite author's style. He notices that due to stylistics', a translator must know all the stylistic devices and have sufficient vocabulary and must be aware of the usage of these stylistic devices.

Thus, we can assume that word-for-word translation cannot be literary one, because it is even hard to read it and to understand never mind to memorize. That is why the translator should approach to translation of poems from the artistic point of view. It is important to find appropriate stylistic devices to make the image integrated and correct and to achieve proper acoustic effect with the help of phonetic expressive means and devices.

According to I.R Galperin phonetic expressive means and stylistic devices are used to provide musical effect to the poem, to emphasize the author's feelings, emotions, to make a poem sound pleasant and easy to memorize.

The translators of Shakespeare can face a range of technical problems, because they have to deal with many textual cruxes. They are the obscure cultural allusions, Shakespeare's archaisms and daring neologisms, his contrastive use of words of Anglo-Saxon and Romance origin, his use of homely images, of mixed metaphors and of multiple imagery, the repetitions of thematic key words, the personifications, puns, ambiguities and malapropisms. He used to play with y - and th - forms of address, his elliptical grammar and general compactness of expression, his flexible iambic patterns, the musicality of his verse, the presence of performance oriented theatrical signs inscribed in the text, and many other features.

Further we present the example of literary translation of Shakespeare's sonnet № 66 by Xurshid Davron:

№66

Tir'd with all these, for restful death I cry,

As, to behold desert a beggar born,

And needy nothing trimm'd in jollity,

And purest faith unhappily forsworn,

And guided honour shamefully misplaced,

And maiden virtue rudely strumpeted,

And right perfection wrongfully disgraced,

And strength by limping sway disabled,

And art made tongue - tried by authority,

And folly (doctor - like) controlling skill,

And simple truth miscall'd simplicity,

And captive good attending captain ill:

Tired with all these, from these would I be gone,

Save that, to die, I leave my love alone.

Men o'lim tilarman, rohatbaxsh o'lim,

Ne qilay, ko'nmasam ortiq xo'rlikka.

Siz tomon cho'zilmas tilanib qo'lim,

Boshimni egmasman endi ko'rlikka.

Ne qilay, pastkashlik yuksalsa yana,

Bokira or - nomus etilsa badnom.

Kuch iymon ustidan qilsa tantana,

Zaiflik Qudrat deb olsa agar nom.

To'g'rilik ustidan zo'r kelsa yolg'on,

Donolar nodonga egilsa, netay?

Mudom haqiqatning bag'ri bo'lsa qon,

Shafqat yovuzlikka qul bo'lsa, netay?

Netay, barchasidan dil bo'lsa bezor -

Faqat sening ishqing qo'ybermagay, yor.

It is obvious that the reader will notice easily that this translation sounds perfect and easy to memorize and the author's main idea is saved in this translation. The translator used a cross rhyme. So this translation is a literary one.

There is one more important thing we should pay attention to, this is the consideration of denotative phone which is necessary in case of polysemy of translation units for choosing the correct meaning. For example, the translation of the following sentence will be different depending on the situation:

- Several new schools appeared in the area.

If it is about appearance of new schools, then the translation can be:

Rus: В районе появилось несколько новых школ.

Uz: Bir necha yangi maktablar tumanimizda bunyod qilindi.

If this sentence is used in meaning of fishing, then the correct translation of the word schools will be косяки рыб, and in Uzbek baliq to'dasi.

- Bu erda bir qancha baliq to'dalari paydo bo'ldi.

A translator's true decision will be created after considering the denotative background while understanding transformations. Denotative or contextual verification is important in translation of proverbs that besides being quite acknowledged, always need corrections in translation to a modern language.

We try to analyze the English proverb:

- To kill two birds with one stone.

If we do a word for word translation into Uzbek it will sound as: Ikkta qushni bir tosh bilan o'ldir, which is not correct.

Thus, that this translation will not reflect the gist of the proverb to the Uzbek reader, who will understand it like killing a bird by revealing the useless cruelty. So, in this case, the proverb means that there are lots of ways of achieving one's goals. A peculiarity of the original meaning has its own historical roots and the correct translating came from through Russian which sounds as:

- Убить двух зайцев одним ударом.

– Bir o'q bilan ikki quyonni o'ldirish.

and to many people it can be irrelevant. It is better to translate the proverb by using synonymously, for example: Ikkovga bir ishton, qaytib chiqamiz qishdan.

As we analyzed some examples of prose and poetry, it must be accepted that, stylistic devices in almost all languages are similar still though their functions in speech vary. We have already mentioned above that identical stylistic devices are used differently in languages, usually they perform different functions and have different value in stylistic system of their language which is explained by their necessity when transformations in translation procedures cause to happen.

It should be noted that like grammatical and lexical changes the stylistic ones are necessary as well. In the process of grammatical or lexical transformation the translator is guided by the rendering grammatical or lexical meaning. In translation while rendering stylistic meaning of the source text a translator should be guided by the principle of creating the same impression that might be left by the original text.

Usually stylistic devices are based on the comparison of primary (dictionary) meaning and that created by the contextual environment; on the contradiction between the meaning of the word given and the environment; on the association between words in the minds of the language speakers and on the purposeful deviation from existing grammatical and phonetic rules. For example,

- Eggy trotted off like a lamb in a his - not - to reason manner, and we were alone together. (Wodehouse P.G., P. 32)

– Эгги удалился как ягненок, как бы говоря: «Мне нет до этого дела», и мы остались одни.(Translated by A.Y.Sergeyeva)

- Eggi huddi qozichoqday o'zini orqaga otdi, ikklalamiz bu erda uni hech qanday daxli bizga yoqday.

In this example a complex English epithet is translated very well, keeping the norms of the Russian and Uzbek language.

Alliteration in Uzbek, Russian and English used in prose and poetry can be taken as another example as well. Alliteration performs euphonic and logical functions, underlining the link among words, especially among epithets and qualifying words, for example:

- The ant has made himself illustrious through certain industry industrious. (O.Nash)

In this example an attribute illustrious and tautological combination of industry industrious, related to the subject the ant, strengthening the connection with the latter and shows the author's ironic relation.

The usage of alliteration in prose is mostly common to the English language than to Uzbek. That is why it is not necessary to save alliteration in English literary prose like in the following example:

Mary sat musing on the lamp - flame at the table. It was taken from “The Death of the Hired Man” by Robert Frost.

Mэри сидела у ярко светяший свычи.

Meri sham - chiroq tagida xayol surib o'tirar edi.

One of the main distinctive features of English prose is a wide use of different stylistic devices and tropes, and the most distributed one is a metaphor.

Preserving metaphor in translation is the main indispensable condition of adequacy. A translator in any case uses substitution or compensation of an original metaphor.

It can be supposed that a trite metaphor is overused in speech, because trite metaphors are usually fixed in dictionaries and have lost their freshness and often turn into idiomatic phrases, like seeds of evil; a rooted prejudice, a flight of imagination, in the heat of argument; to burn with desire, to fish for compliments.

The translation of metaphors has been treated as part of the more general problem of untranslatability. This trend builds on the fact that metaphors in general are associated with indirectness, which in turn contributes to the difficulty of translation.

For example: [...] he was extravagantly ambitious.

- Он был необыкновенно амбициозный.

- [...] u g'ayriodatiy tarzda izzattalab edi. In this case the translator compensates the metaphoric epithet extravagantly by the expression g'ayriodatiy tarzda, carrying the figurativeness.

The analysis of this type shows that in many cases language units of metaphoric word combinations of the original language are transformed on the basis of equivalence and according to their nominative functions they are the same, for example:

- My own house was an eyesore.

- Mой дом был тут как бельмо на глазу;

- Mening uyim ko'zga tushgan dog' day edi.

Along with the metaphor in English literature device of a metonymy is being widely used. Metonymy is based on a different type of relation between the dictionary and contextual meanings, a relation based not on identification, but on some kind of association connecting the two concepts which these meanings represent. Thus, the word crown may stand for “king or queen”. So, the translating of the sentences with the usage of metonymy is very difficult.

Sometimes a translator unreasonably makes some essential changes in a context, increasing or lowering emotional content of the original to achieve his own goals, which doesn't coincide with the professional ethics of the translator.

So, stylistic transformations while translating from English into Uzbek should consider a contextual background of the original work, individuality of an author's style, the peculiarity of a translating language, in terms of its stylistic norms and syntactic structure of a text.

2.2 Specific problems of fiction translation

Translators at working process should have an important skill for written communication that is the grammatical knowledge. There are different grammar rules and sentence formations in all languages (for example: using articles: in the Uzbek and Russian languages do they not exit, but in German they are used to show a case and gender, in English they are used to define the nouns). At translating activity there should not be any grammatical error, as translators are always required to be perfect with grammar of the target language.

Relying on practical work and experience famous linguists like V.V. Vinogradov, I.V.Arnold, L.S.Barkhudarov, A.V.Fyodorov, Y.I.Retsker, L.L.Nelyubin, N.K.Garbovsky, L.I.Borisova, still it is worth to define some of common problems translator face while translating literary texts (a short story, a novel, and etc.):

· Major problem is the problem of untranslatability. This problem is still in its process of investigation, because the language is a developing concept and many words like neologisms cannot be translated adequately as there may be no any equivalent unit in the target language. So, in such cases a translator tries to explain them using descriptive translation.

· Sometimes cultural issues complicate the translation process. Every culture has its own traditions, habits, national realias and other cultural markers. For example, some names which they give to their native things may not be understood by people of differents regions or countries.

· Translators often face the problems related to the correct and adequate usage of words, which means lexical difference between the cultural and national word units like idioms or set phrases.

· Usually translators should have skills to translate all types of texts or speeches, because they should know a lot and they should have at least the general information of any field of social life or science to avoid difficulties while translating. Sometimes translators can face problems related to the source text. It might not be properly written or it might be incomplete, which requires from translators' broad imagination and deeper knowledge.

· Sometimes, the source text may contain some abbreviations and acronyms which are unexplained, so this nuance can also cause some problems as it takes time to do research on them again.

These enumerated and quoted problems mostly precede each translator, so that is why he/she should be aware of them and always try to find a better solution for any kind of difficulty occurring while translating.

Besides the above mentioned circumstances a translator usually focuses on factors of professional methodology involved in the translation process, such as use of dictionaries, vocabularies and translation memories and programs.

According to the defined features of translations' deal with at least two different cultures involving a wide variety of extra textual factors ranging from social background and contemporary cultural climate to individual characteristics of the authors and translators concerned and their environments, translation study offers a fruitful platform for inter - and multidisciplinary approaches based on stylistics of the source and target languages. As the matter of fact, the translation studies usually focused specifically on analyzing translations of literary texts and, still more specifically, on their formal textual characteristics, they incorporate elements from stylistics, literary research and linguistics.

Among the other types of translations literary translation is considered to be the most debated one, because the development and globalization provides the creation of different types of fictions that sometimes cause more difficulties to translate the author's message keeping the sense of the original.

According to V.N.Komissarov's a definition, literary translation is the translation of fiction.

Fictions are opposed to any other literary works due to their communicative function that is artistically - aesthetic or poetic. The main aim of any fiction is to achieve an appropriate aesthetic influence on creation of the artistic figure or image. It should be said that an aesthetic orientation differentiates the artistic speech from other acts of verbal vehicle, where the informative content is considered to be in the first place and independent.

Speaking about fiction, arguments of those who insist on untranslatability assume ever greater importance where on the translation of fiction great deals of conflicting objectives are laid. These objectives were summarized by American philologist T. Savory in his book “The Art of Translation”:

А. The translation must render the words of the original.

В.The translation must render the message of the original.

А. The translation must be read as the translation.

В. The translation must be read as the original ( i.e. a reader should not have the feeling that he/she reads the translation).

А. The translation must reflect the style of the original.

В. The translation must reflect the style of a translator.

А. The translation must be read as the text, up - dated to the original.

В. The translation must be read as the text up - dated to a translator.

А. A translator has no right to add or omit something in the original.

В. A translator has the right to add or omit something in the original.

А. Poems should be translated in prose.

В. Poems should be translated in verse.

Some consider that it is important to correspond to the spirit of the native language and habits of the native reader; others insist that it is more important to accept another mentality, another culture and for this sake even sacrifice the native language. Compliance of the first requirement (thesis В) means free translation, compliance of the second requirement (thesis А) means word-for-word, literal translation.

Massoud sets criteria for a good translation as follows:

1.A good translation is easily understood.

2.A good translation is fluent and smooth.

3.A good translation is idiomatic.

4.A good translation conveys, to some extent, the literary subtleties of the original.

5.A good translation distinguishes between the metaphorical and the literal.

6.A good translation reconstructs the cultural/historical context of the original.

7.A good translation makes explicit what is implicit in abbreviations, and in allusions to sayings, songs, and nursery rhymes.

8.A good translation will convey, as much as possible, the meaning of the original text/

El Shafey suggests other criteria for a good translation; these include three main principles:

1.The knowledge of the grammar of the source language plus the knowledge of vocabulary, as well as good understanding of the text to be translated.

2.The ability of the translator to reconstitute the given text (source - language text) into the target language.

3.The translation should capture the style or atmosphere of the original text; it should have all the ease of an original composition.

From a different perspective, Israeli theorist El Touny focused on differentiating between different types of translation. He indicated that there are eight types of translation: word-for-word translation, literal translation, faithful translation, semantic translation, adaptive translation, free translation, idiomatic translation, and communicative translation. He advocated the last type as the one which transmits the meaning from the context, respecting the form and structure of the original and which is easily comprehensible by the readers of the target language.

El Zeini didn't seem to be satisfied with such criteria for assessing the quality of translation. Hence she suggested a pragmatic and stylistic model for evaluating quality in translation. She explains that the model "places equal emphasis on the pragmatic component as well on the stylistic component in translation. This model covers a set of criteria, which are divided into two main categories: content - related criteria and form - related criteria" and expected that by following these criteria, "translators will be able to minimize the chance of producing errors or losses, as well as eliminate problems of unacceptability".

Translation problems can be divided into:

1) linguistic problems

2) cultural problems:

The linguistic problems include grammatical differences, lexical ambiguity and meaning ambiguity; the cultural problems refer to different situational features. This classification coincides with that of El Zeini when she identified six main problems in translating from Arabic to English and vice versa; these are 1) lexicon, 2) morphology, 3) syntax, 4) textual differences, 5) rhetorical differences, and 6) pragmatic factors.

These problems, and others, direct our attention to the work and the character of translators, how they attack a text so as to translate, and the processes they follow to arrive at the final product of a well - translated text in the target language.

For further illustration of the situation, we should go back to the translation of the Bible. It is obvious that free translation of the sacred writing is intolerable though if we study the translation of the Bible done by Cyril and Methodius we will reveal that they were priests and tried to use word for word translation for the Bible. Translators of the Bible in Rome did vice versa. They strengthened impressions aimed to perform Bible stories with the help of different examples. The same situation can be observed with many translations of Shakespeare. Some translators tried to make the translation corresponding to the real view of tragedies. Many of them even changed the metres and “cut” some cues and scenes.

Generally, a poetic text sets much more difficult problems.

In famous Russian translator M. Lozinskiy's opinion while translating foreign poems into a native language a translator should take into account all complicated elements to find the same elements with all complications and vividness in his native language so that it could reflect the original, possessing the same emotional effect. Thus, the translator for some time should become the author, accepting his manner and language, intonations and rhythm, keeping his faith toward his native language and toward his own poetic individuality. One should always keep in mind that the translation of any famous literary work must prove its value.

Literary translation of the text requires researching, invention, resourcefulness, empathy, disclosure of creative individuality from the translator.

It is no coincidence when the best translators are usually good poets or writers even if they don't have perfect knowledge of the original language.

Thus, a good translator in some respect is a creator. There is an opinion that the translator's creativity is compared to the actor's creative performance. It is known that the highest achievement of the actor's creativity is not a declination of playwright's thought but its embodiment. However, every great actor or actress solves this problem on his/her own way that could be said about a good translator whose creativity is in distinctive interpretation of the original. Assumption of the interpretation possibility implies a variety of solving translation problems. In accordance with some authors' opinions such variety is considered to be in the original itself. In this case the translation is identified with a proper interpretation of the original, and according to the opinion of I. Leviy, a famous Czech literary theoretician, literary historian and translation theoretician, the translation as the type of art considers a category in between the personal creativity and performance of the art.

It should be noticed that some ironic facts can prevail in translation. Sometimes even contradictory translations may not contradict to the original. A good translator usually is never afraid to deviate from the original, as according to words of V. Levik, one of the famous Russian translator: all these deviations will supplement and develop the author's thoughts in quite new and unusual way.

As Goethe once said about the translation of “Faust” by young translator Gerar de Nervile, that the translator showed him this work in better way than the author himself expected. All these confirm the existence of creative features in translation process, not only literary but also in many cases of the scientific texts' translation, especially when one deals with the translation of theoretical propositions. In special literature related to translation we can reveal that even word-for-word translation of a scientific material can change the whole nature of its content.

Russian linguist O.E. Simyon - Severskaya in her research used as a material of her work on two comparisons of Shakespeare's “Romeo and Juliette” translated into Russian by B.Pasternak and Shcepkina - Kupernik with the numbers of aims, they were as follows: to reveal the inner meanings of style which is important in translation, to analyze translation choices made by the translators, to reveal which of those two translations was more appropriate and adequate to the original, and the matter of translator's influence was one of the main issues in her work as well. Basing on this research work we can say that the translator plays a dominant role in qualitative translation. Having chosen and analyzed the brightest examples of translation choices, transformations used by translators of the Shakespearean play, she has concluded that the translation by B.Pasternak could be considered more adequate, because it closely corresponds to the very strategy, which satisfies the translator's main task, that is the creation of the translation which is equivalent to the original one performing the same nature or function of the original text.

There can be no argument that the translator of literary works should achieve a close relationship between the theory and practice of translation. For one thing, the choice of the principles of translation may be purely initiative because the translator necessarily takes into account such matters as the aim of the translation, the temporal and geographic gap between the creation of the source text and possible readers of the target text, the cultural gap between the original author and the reader of the translation, the kind of a reader the target text is intended for, etc. each aspect provides a problem of consideration and solution in the course of translation.

The term “literary translation” is somewhat vague. In Russian it is often opposed to the term информативный or документальный перевод the same in Uzbek ахборотберувчи and хужжатли таржима describes translation as aiming predominantly at the target language rules rather than the source language ones. The Russian term литературный перевод and in Uzbek бадий таржима would be fitting to define the method in general. This method is definitely a necessary and important instrument for different cultural traditions to communicate and should apply to translating social and political writing or fiction. Literary language is highly connotative and subjective because each literary author through his power of imagination uses certain literary techniques such as figures of speech, proverbs and

homonyms through which he weaves literary forms.

Many linguists tried to perform the in - depth study in this sphere. Chernyahovskaya stated that the translation process must be transferred from the unconscious one. But it did not happen in literary translation because of some objective and subjective reasons.

First of all, we can see a very weak connection between a translation theory and a translation activity. Anton Popovich, a famous Slovak linguist, notes the absence of the terminological accuracy in theoretical articles written by translation experts because they operate some common terms only.

A literary translation must reflect the imaginative, intellectual and intuitive writing of the author. In fact, literature is distinguished by its aesthetics. A translator should know the native language so that it won't become some kind of a hybrid expression but vice versa, to make an expression adequate, equal to the original meaning and to please the target language (TL) as well. In this term, we propose to approach the question of the translation of literary works through close analysis of examples, not so much to evaluate the products but rather to show how specific problems of translation can emerge from the individual translators' selection of criteria.

Some examples show that only the one who by his unfortunate fate works with literature for the first time can translate the following sentence:

"I didn't know sharks had such handsome, beautifully formed tails." using word - for - word translation

- Я не знала, что у акул бывают такие симпатичные, красиво сформированные хвосты!

- Мен билмаган эдим, акулада шундай хушбичим, чиройли шакилланган думини борлигини.

A good translator of literary work and a master of his native language would translate it simply - Вот не знала, что у акул бывают такие красивые, изящно выгнутые хвосты!

Translators should always aim at the conceptual equivalent of a word or phrase, not a word - for - word translation that is not a literary translation. The definition of the original word and attempt to translate in the most relevant way

Another example in English taken from everyday Russian:

- You'd take to it like a duck takes to water.

Here is a word-for-word translation into the Russian language:

- Вы будете себя там чувствовать, как утка в воде.

It is quite obvious that the translator doesn't know his language well and doesn't aware of basic rules of his profession.

The most correct version of translation would be: как рыба в воде but in Uzbek it will have semantically different construction: Узингни у ерда кушдай енгил хис киласан.

To convey the sense of the text, it is really important to translate the content from a reader's point of view, until and unless the reader understands what is being actually tried to convey. More than just translation, it is more important to convey the sense of the text and it should always be kept in mind that the original text should never be played with. And even if it is done, the meaning and the flow of the sentences should be framed in such a way that the flow of the sentence should always be maintained in an artistic way. For example:

- Keep warm old man, - the boy said.

-- Смотри не простудись, старик. - сказал мальчик.

- Shamollab qolma qariya, - dedi bola

If we only tried to translate these sentences by а word - for - word translation would have it looked like: Isiq tut qariya, - dedi bola.

Держись в тепле, старик. - сказал мальчик.

Though the words are combined but the sentence in TL would not make a reader to feel the image of that description.

Another problem more than often met in translation process is the translation of set expressions, idioms, proverbs which deal with the interaction between cultures.

Russian scientists N.N. Amosova, A.V. Koonin and others have done great contributions to the field of phraseology of the English language. Professor A.I. Smirnitsky was the first scholar who paid attention to sentences that can be treated as complete formulas, such as:

- Don't mention it!

- Не стоит.

– Arzimaydi

- I beg your pardon!

- Прошу прощенья!

– Uzr so'rayman! and so on. The formulas discussed by N.N. Amosova are on the contrary semantically specific, e.g.

- save your breath which means shut up or tell it to the marines.

Very often such formulas, formally identical to sentences, are in reality used only as insertions into other sentences: the cap fits, means the statement is true as in the example:

- He called me a liar.

- Well, you should know if the cap fits.

– U meni yolg'onchi dedi.

– Xa, rostan xam shunday.

Therefore, we can see that a master of literary translation should have a rich vocabulary of both languages.

Every performing art - acting, singing, dancing, playing an instrument- places the performer on a stage in front of an audience. Every one, that is, except literary translation, the performing of a literary work in a different language. Every performing art has hundreds of books about the people who do it, about its history, its pains and its joys. Every one, that is, except literary translation.

The act of translating a text as one of the most complex types of speech communication is a multidimensional and multi-aspectual process dependent on a variety of linguistic and extra - linguistic factors. It should not only be perceived as an ordinary speech act but as one of the forms of interaction between cultures.

Translation is a truly multicultural event without all the balloons and noisemakers. It enriches not only our personal knowledge and taste, but also our culture's literature, language, and thought. The goal of performing a literary translation is to give the readers access to the art that gives us access to world literature. This very art exists in stylistics of all languages of the world. It assumes cultural background, cultural mentality and cultural thoughts and traditions of all nations, that is basically reflected by usage of different stylistic devices in written and oral communicating process.

Practically, stylistic devices in almost all languages are similar still though their functions in speech vary. Identical stylistic devices are used differently in languages; they perform different functions and have different value in stylistic system of their language what actually explains their necessity when transformations in translation occur.

The stylistic changes are as necessary as grammatical or lexical ones. While applying some grammatical or lexical transformations in translation the translator is guided by the principle of rendering grammatical or lexical meanings. When rendering stylistic meaning of the source text a translator should be guided by the same principle - to recreate in translation the same impression that might be left by the original text, which we will try to prove in Chapter 3, while analyzing the translation of E.Hemingway's “The Old Man and the Sea.”

Many scholars point out that because of its nature as a medium used across a wide variety of different communication situations in ever - changing environments, language with its numerous geographical, cultural and stylistic varieties is in a constant state of flux. This makes language in itself a multifaceted object of study, and yet another variety of dimensions opens up when translation into another language enters the picture, where the use of style is very much important. Further we will try to define the main function and the concept style itself.

A translator has to deal with diverse texts, belonging to various styles and registers. Looking through the specifics of translation of stylistic devices, syntactic features of literary texts, analyzing some separate language means, units we can assume that all of them in most cases depend on culture of the language. Given the observation presented in the chapter, we can say that the translation from English into Russian or Uzbek quite differs due to specific peculiarities of these languages.

In the first chapter we have analyzed the notion of fiction translation, its peculiarities, problems that translating of the text causes, the importance of stylistics in translating the text, especially in understanding and translating of stylistic and phonetic devices. We analyzed peculiarities of translation of alliteration, repetition, metaphor, synonym and the problem of rhyming. We analyzed the importance of stylistic and phonetic devices in making the text emphatic, peculiar, emotive, interesting and easy to read. It was mentioned about difficulties of translating poetry, especially preserving its rhyming. And we presented the original text of W. Shakespeare's sonnet, its word-for-word translation and translations of this sonnet written by different authors. It was decided that word-for-word translation is not suitable. The translator must be a poet to translate poetry in order to show the author's emotions and to make a translation interesting and easy to read and to remember.

We have also analyzed some examples of prose and poetry, and we found out that stylistic devices in almost all languages are similar, still their functions in speech can be different. We revealed that identical stylistic devices are used differently in languages; usually they perform different functions and have different values in the stylistic system of their language which is explained by their necessity when transformations in translation procedures cause to happen and sometimes even translators make some changes while translating stylistic devices only to avoid word-for-word and inadequate translation.

3. Iceberg principle and Hemingway's unique writing style

3.1 Ernest Hemingway's works and problems of their translation into Russian from Uzbek

As we mentioned above, the author's style is one of the important problems which the translator should pay special attention to, because it helps to depict the content, and it makes easy to translate the text.

We have got acquainted with English and American literature and we know that each writer has his\her own manner and style of writing which reflects his thoughts.

Ernest Hemingway is among many great American writers, as an American novelist, screenwriter, and short story writer Bret Easton Ellis, an American novelist and freelance journalist Chuck Palahniuk, an American novelist and short writer Elmore Leonard and an American journalist and author, and the founder of the gonzo journalism movement Hunter S. Thompson, who is also famous for his objective and terse prose style. As all the novels, The Old Man and the Sea typically reflects his unique writing style. The language is simple and natural on the surface, but actually deliberate and artificial. Hemingway's style on other writers is related to his experience as a journalist. The influence of his style is great all over the world. The Old Man and the Sea is full of facts, most of which come from Hemingway's own experience. In the forepart of the novel, Hemingway is used to show the quality of Santiago's life, and is narrated simply and naturally. While in the latter part of the novel, he is used from inside Santiago's own consciousness and form a part of the whole scheme of the novel. Ernest Hemingway's writing is among the most recognizable and influential prose works of the twentieth century. Many critics believe his style was influenced by his days as a cub reporter for the Kansas City Star, where he had to rely on short sentences and energetic English.

Hemingway's technique is uncomplicated, with plain grammar and easily accessible language. His hallmark is a clean style that eschews adjectives and uses short, rhythmic sentences that concentrate on action rather than reflection. Though his writing is often thought of as “simple,” this generalization could not be further from the truth.

He was an obsessive reviser. His work is the result of a careful process of selecting only those elements essential to the story and pruning everything else away. He kept his prose direct and unadorned, employing a technique he termed the “iceberg principle”.

Hemingway is also considered a master of a dialogue. The conversations between his characters demonstrate not only communication but also its limits. The way Hemingway's characters speak is sometimes more important than what they say, because what they choose to say (or leave unsaid) illuminates sources of inner conflict. Sometimes characters say only what, they think, another character will want to hear. In short, Hemingway captures the complexity of human interaction through subtlety and implication as well as direct discourse.

The writers of Hemingway's generation are often termed “Modernists.” Disillusioned by the large number of casualties in World War I, they turned away from the nineteenth century, Victorian notions of morality and propriety and toward a more existential worldview. Many of the era's most talented writers congregated in Paris. Ezra Pound, considered one of the most significant poets of the Modernist movement, promoted Hemingway's early work, as did F. Scott Fitzgerald, who wrote to his editor, Maxwell Perkins, on Hemingway's behalf.

The powerful impact of Hemingway's writing on other authors continues to this day. Direct, personal writing full of rich imagery was Hemingway's goal. More than fifty years after his death, his distinctive prose is still recognizable by its economical and controlled understatement.

Among all Hemingway's works, The Old Man and the Sea is the most typical one to his unique language style. Its language is simple and natural, and has the effect of directness, clarity and freshness. This is because Hemingway always manages to choose words concrete, specific, more commonly found, more Anglo - Saxon, casual and conversational. He seldom uses adjectives and abstract nouns, and avoids complicated syntax. Hemingway's strength lies in his short sentences and very specific details. His short sentences are powerfully loaded with the tension, which he sees in life. Where he does not use a simple and short sentence, he connects the various parts of the sentence in a straightforward and sequential way, often linked by “and”. In his task of creating real people, Hemingway uses dialogue as an effective device. Here is an example chosen from The Old Man and the Sea:

“What do you have to eat?” the boy asked.

“No, I will eat at home; do you want me to make the fire?”

“No, I will make it later on, or I may eat the rice cold.”

Here we can see that such interpolations as “he said” have frequently been omitted and the words are very colloquial. Thus the speech comes to the reader as if he were listening. Hemingway has captured the immediacy of a dialogue skillfully and has made the economical speech connotative.

Nowadays, most of his works have been translated into foreign languages and most of them from the original language, but for some reasons or other translation of The Old Man and the Sea and A Farewell to Arms into Uzbek had been done from the Russian language by Ibrahim Gafurov in 1986, which caused contextual problems in translation. We should mention that they were the first novels of Ernest Hemingway which could read the Uzbek readers.

There can be no doubt that The Old Man and the Sea was the last major work of fiction by Hemingway that was published during his lifetime. One of his most famous works, it tells the story of Santiago, an aging Cuban fisherman who struggles with a giant marlin far out in the Gulf Stream off the coast of Florida.

In 1953, The Old Man and the Sea was awarded the Pulitzer Prize for Fiction, and it was cited by the Nobel Committee as contributing to their awarding of the Nobel Prize in Literature to Hemingway in 1954.

And now we would like that to on Ernest Hemingway's "Iceberg Principle" or theory of omission. It's the simple idea that the reader is to be trusted. All the reader needs are the surface information (the part of the iceberg we can see) to understand the situations being discussed (or the water below the visible iceberg).

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