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

In 1932, Hemingway explained iceberg theory in “Death in the Afternoon”.

If a writer of prose knows enough of what he is writing about he may omit things that he knows and the reader, if the writer is writing truly enough, will have a feeling of those things as strongly as though the writer had stated them. The dignity of movement of an ice-berg is due to only one-eighth of it being above water. A writer who omits things because he does not know them only makes hollow places in his writing.

An American writer W.Balassi says Hemingway applied the iceberg theory better in The Sun Also Rises than in any of his other works, by editing extraneous material or purposely leaving gaps in the story. He made editorial remarks in the manuscript that show he wanted to break from the structure of Gertrude Stein's advice to use "clear restrained writing." In the earliest draft, the novel begins in Pamplona, but Hemingway moved the opening setting to Paris because he thought the Montparnasse life was necessary as a counterpoint to the later action in Spain. He wrote of Paris extensively, intending "not to be limited by the literary theories of others, [but] to write in his own way, and possibly, to fail." He added metaphors for each character: Mike's money problems, Brett's association with the Circe myth, Robert's association with the segregated steer. It wasn't until the revision process that he pared down the story, taking out unnecessary explanations, minimizing descriptive passages, and stripping the dialogue, all of which created a "complex but tightly compressed story."

The simplicity of his style is deceptive. An American literary critic H. Bloom writes that it is the effective use of parataxis that elevates Hemingway's prose. Drawing on the Bible, Walt Whitman and Adventures of Huckleberry Finn, Hemingway wrote in deliberate understatement and he heavily incorporated parataxis, which in some cases almost becomes cinematic. His skeletal sentences were crafted in response to Henry James's observation that the World War I had "used up words," explains Hemingway scholar Zoe Trodd is Professor of American Literature , who writes that his style is similar to a "multi-focal" photographic reality. The syntax, which lacks subordinating conjunctions, creates static sentences. The photographic "snapshot" style creates a collage of images. Hemingway omits internal punctuation (colons, semicolons, dashes, parentheses) in favor of short declarative sentences, which are meant to build, as events build, to create a sense of the whole. He also uses techniques analogous to cinema, such as cutting quickly from one scene to the next, or splicing one scene into another. Intentional omissions allow the reader to fill the gap as though responding to instructions from the author and create thre-edimensional prose. Biographer James Mellow writes that the bullfighting scenes are presented with a crispness and clarity that evoke the sense of a newsreel.

Hemingway also uses color and visual art techniques to convey emotional range in his descriptions of the Irati River. In Translating Modernism: Fitzgerald and Hemingway, Professor Emeritus of English Literature Ronald Berman compares Hemingway's treatment of landscape with that of the post-Impressionist painter Paul Cйzanne. During a 1949 interview, Hemingway told Lillian Ross that he learned from Cйzanne how to "make a landscape." In comparing writing to painting he told her: "This is what we try to do in writing, this and this, and woods, and the rocks we have to climb over." The landscape is seen subjectively - the viewpoint of the observer is paramount. To Jake, landscape "meant a search for a solid form [...]. not existentially present in [his] life in Paris."

Whether it's a world at war or the battles raging within human minds, the situations in A Farewell to Arms are chaotic. By presenting a very ordered surface for the reader, the reader is able to examine the chaos and complexity with a fairly clear head. Here's an example: Well, we were in it. Everyone was caught in it and the small rain would not quiet it. "Good-night, Catherine," I said out loud. "I hope you sleep well. If it's too uncomfortable, darling, lie on the other side," I said. "I'll get you some cold water. In a little while it will be morning and then it won't be so bad. I'm sorry he makes you so uncomfortable. Try and go to sleep, sweet."

I was asleep all the time, she said. You've been talking in your sleep.

A Farewell to Arms is about a love affair between the expatriate American Henry and Catherine Barkley against the backdrop of the First World War, cynical soldiers, fighting and the displacement of populations. The publication of A Farewell to Arms cemented Hemingway's stature as a modern American writer, became his first best-seller, and is described by biographer Michael Reynolds as “the premier American war novel from that debacle World War I.”

Passing from one subject to another we should add that Ernest Hemingway wasn't only a writer, he was also a poet. He has eighty-eight poems which were dedicated to the memory of the War. He was 18 when he went over to the Great War, and went through that awfully period which devoted himself to poetry. Hemingway's poems like "All armies are the same . . .", "Arsiero, Asiago[...] ", Advice to a Son, Along With Youth, Captives, Champs D'Honneur, Chapter Heading D'Annunzio, I Like Americans, Montparnasse, Poem, To Good Guys Dead, Ultimately Valentine are well known all over the world and were translated into Uzbek by Karim Bahriyev.

The translator could skillfully reproduce Ernest Hemingway's style and he has done adequate translation which is broader in meaning.

Advice to a Son

Never trust a white man,

Never kill a Jew,

Never sign a contract,

Never rent a pew.

Советы сыну

Не доверять белым людям,

Наставляю, как отец,

Честен никогда не будет

Ни газетчик, ни делец.

(by E. Belekova)

Ў?лимга наси?ат

?еч ?ачон ишонма о?лар ир?ига,

Жу?удни, ?еч кимни ўлдирма, болам,

Имзо чекма ?еч бир шартномаларга,

Черковда мук тушиб ётма ?еч ?ачон.

Яратганга ишон.

E.Belekova tries to translate the poem and used free translation or we also can say literal translation.

The novel “For Whom the Bell Talls” has been translated from Russian by Uchqun Nazarov in 2016.

The novel graphically describes the brutality of the Civil War in Spain during 1934. It is told primarily through the thoughts and experiences of the protagonist, Robert Jordan. The character was inspired by Hemingway's own experiences in the Spanish Civil War as a reporter for the North American Newspaper Alliance.

The book is written in the third person limited omniscient narrative mode. The action and dialogue are punctuated by extensive thought sequences told from the viewpoint of Robert Jordan. The novel also contains thought sequences of other characters, including Pilar and Anselmo. The thought sequences are more extensive than in Hemingway's earlier fiction, notably A Farewell to Arms, and are an important narrative device to explore the principal themes of the novel.

Translating from Russian version Uzbek translators did some stylistic errors.

No matter, how well the translation was, it couldn't substitute ST for TT and, of course we admit that Russian translation schools have very high level and they translated Hemingway's novels skillfully. If we look though the translation in Uzbek, we will notice that the translators have done huge work. While translating, they faced some problems of untranslatability and they took Russian equivalents,

which is notable. For example:

- Нонушта пайти, улар палатканинг ?ўш?абат, яшил соябони остида хотиржам ов?атланиб ўтиришар эди.

- He used to come to the Terrace sometimes too in the older days.

- Он тоже в прежние времена захаживал к нам на Террасу.

- Унинг Террасга келгани эсингдами?

We should point out that in Uzbek we have equivalence to the following words палатка - чодир; терраса - айвон, пешайвон, and using words brings into Uzbek translation a Russian colorite.

As we said before, the major problem hences 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 the translator tries to explain them using a descriptive translation.

For example:

Тунецлар (бали?чилар бу туркумга кирувчи ?амма бали?ларни тунец деб аташар ва уларнинг асл номларини бозорга сотиш учун олиб борган ёки хўрак ўрнида пуллаган пайтларидагина фар? ?ила бошлардилар) яна денгиз тубига тушиб кетишди.

As is known Hemingway preffered to use other languages to describe nationalty of his characters. One of a bright examples is from For Whom the Bell Tolls. Hemingway's novel has been the source of controversy and some negative critical reaction . For example, an American writer Edmund Wilson, in a tepid review, noted the encumbrance of "a strange atmosphere of literary medievalism" in the relationship between Robert Jordan and Maria. This stems in part from a distinctive feature of the novel, namely Hemingway's extensive use of archaisms, implied literal translations and false friends to convey the foreign (Spanish) tongue spoken by his characters. Thus, Hemingway uses the archaic "thou" (particularly in its oblique and possessive form) to highlight the differences in Spanish between the more formal and archaic, but popular "vos"( (singular) and "vosotros" (plural) forms from the pronominal "tъ" (familiar) and "Usted" (formal). Additionally, much of the dialogue in the novel is an implied direct translation from Spanish, producing an often strained English equivalent. For example, Hemingway uses the construction "what passes that", which is an implied translation of the Spanish construction lo que pasa. This translation extends to the use of linguistic "false friends", such as "rare" (from raro) instead of "strange" and "syndicate" (from sindicato) instead of trade union. In another odd stylistic variance, Hemingway referenced foul language (used with some frequency by different characters in the novel) with "unprintable" and "obscenity" and substitutes "muck" for F--k in the dialogue and thoughts of the characters, although foul language is used freely in Spanish even when its equivalent is censored in English (e.g. joder, me cago). The Spanish expression of exasperation me cago en la lecherepeatedly recurs throughout the novel, translated by Hemingway as "I obscenity in the milk."

Sometimes following problems relate to the correct and adequate usage of words, which means lexical difference between the cultural and national word units like idioms or set phrases. On the other hand 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 different regions or countries.

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 a 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.

But what throw the Uzbek translators into confusion at translating Hamingways works?

While analyzing Hamingway's novels we found out, that his novels contain a lot of common and often simple words (and constructions) which is noted by many early critics such as an American intellectual, author, editor, radio and television personality - Clifton Fadiman, and an American writer and critic Edmund Wilson has noted that by `eliminating excessive detail' intensity can be gained. Such a high percentage of monosyllabic words seems to suggest that Hemingway has consciously chosen such words. Maintaining this aspect in Uzbek translation will be quite difficult because some words will obviously have more syllables in the target language.

Something quite noticeable in the novels The Old Man and the Sea and A Farewell to Arms are their sentences. As an American Professor of English at the University of Massachusetts Amherst Walker Gibson notes, most of the sentences in A Farewell to Arms are made up of coordinate clauses connected by `and' and there are rarely ever subordinate clauses: in the first chapter there are only two subordinate clauses. An American writer R.K.Peterson says that using the word `and' to separate these coordinate clauses does not specify the relation between the two and Gibson says that this technique implies that there can be several possible connections but none is stated explicitly so that a reader will not be supplied with and obvious meaning . A clause in the sentence “There was fighting in the mountains and at night we could see the flashes from the artillery”, for example, could be turned into a subordinate clause by showing a logical relation between the two: “We knew there was fighting in the mountains, for at night we could see the flashes from the artillery”, but this would damage the original text where a fact is merely stated. A translator could turn some coordinate clauses into subordinate ones to avoid the repetition of `and' which often occurs many times in one sentence, but this would change the target text from a factual to a more explanatory text.

Another aspect that stands out in his novels is the use of modifiers. These are often quite common, and adjectives such as nice, good, clean, fresh and fine are used a lot. For example, the word fresh was used 13 times in his novel The Old Man and the Sea. An English journalist A.Gibson also mentions this fact and adds that they are often used simply to state facts and not to embellish the text. The translation of these adjectives can cause problems because they can be translated in different ways and it is not always clear which definition is appropriat.

As we said before, most of his novels contains foreignisms, according to an American writer R.K.Peterson to write in a way that Hemingway finds to high-sounding in English. Not only does he use foreign words in an English text such as Qu e Va (which is Spanish) as opposed to don't mention it, he also uses strange a English idiom because it sounds foreign. This use of foreignisms results in a sort of exoticism that Peterson mentions and which is the result of some of the foreign settings of the novel.

Foreign words in imaginative prose are used to create the effect of authenticity of the described locality, ethnic group, professional/social status of characters, i.e. foreign words fulfill the functions of characterization and emphasis.

The action of Hemingway's story The Old Man and the Sea takes place in Cuba. All the characters in the book are Spanish-speaking, and Hemingway wants very much to convey the authenticity of Spanish speech in the monologues and dialogues of his characters. To achieve the effect, he uses Spanish words.

They are mainly used by the main hero Santiago, in his speech at sea when referring to the fish, the sharks, the dolphins, the weather, and to his state. He also uses them on land when speaking with Manolin about baseball. So there are actually two topics which interest him, and, correspondingly, all Spanish words can be divided into two semantic groups: sea-oriented and sports-oriented. The first are mostly Spanish names for fishes, fishing equipment, and weather conditions like: Galanos, Bonito, Agua mala, Brisa, Dorado, Salao, Tiburon, Calambre, Cordel.

Espuela de hueso The second group contains Spanish names of baseball teams, games, and baseballers, they are: Bodega, Campeуn, Gran Ligas, Juego, Tigres.

The meaning of Spanish words is made clear to English readers by the context.

In the next poragraph we will be analyzing translation problems in the Hamingway's novel the Old Man and the Sea.

3.2 Distinguishing translation features highlighted in the translation of the Old Man and the Sea

The Old Man and the Sea is the story of an epic battle between an old, experienced fisherman and a large marlin. The Old Man and the Sea was created by Hemingway in 1952, as we have mentioned the following fact before. In this novel the writer tried to convey all his experience in life and literature. Hemingway was creating the story for a long time, writing painstakingly every part, every thought and watch of his, in many respects, lyrical hero. Then he shared his ideas with his wife Mary, and when she felt tingles down her spine he realized how good his work was. As the writer recognized, the novel The Old Man and the Sea could be a big novel, with a variety of characters (mostly fishermen) and plotlines. However, all this has already been in the literature. But Hemingway wanted to create something different: a novel-parable, a novel-symbol, a novel-life.

Everybody knows the plot summary of the novel, but have you ever thought about implicit meaning which is hidden from the readers? One of the versions is an artistic idea The Old Man and the Sea is closely connected with the 103 Psalm of David, praising God as the Creator of heaven and earth and all the creatures that live on our planet. Biblical reminiscences are shown in the novel and characters of the main heroes (the boy is named Manolin - tender abridgement of Emmanuel, one of the names of Jesus Christ; the name of the old man is Santiago - just as St. Jacob, and Jacob of the Old Testament, who threw down the challenge to God), and in the thoughts of the old man about life, about human, sins, and in the reading of basic Christian prayers - “Our Father” and “Mother of God”.

Problems of the novel show the inwardness of human and his ability not only to realize the beauty and grandeur of the world, but also his place in it. Huge ocean, in which goes the old man, is a symbol of our tangible world and the spiritual life of human. Huge fish, which a fisherman is fighting, has a dual symbolic character: on the one hand - this is a collective character of all fish, caught by Santiago, the image of business, destined by God for him, on the other - is the character of the Creator, who lives in each of his creation, who died for the people, risen and living in the hearts of believers.

The old man thinks that he is far from religion, but at a difficult time of fishing he r prays and promises to preys more, if the Blessed Virgin makes the fish die. Santiago's thoughts about the life are simple and unsophisticated. He really looks like old exhausted satisfied with little - simple food, poor hut, a bed, covered by newspapers.

Day after day, exhausting big fish in the ocean, the old man does not think how he feels pain or difficulty from twines, cutting his arms and back. No. He tries to save his strength for the decisive battle. He fishes tuna and flying fish in the sea and eats them raw, even in the absence of hunger. He forces himself to sleep to muster the strength. He uses everything available to fight with the sharks, attempting to the fish. And he speaks, evaluates, and remembers. All the time. Including with fish - alive and dead.

When from the sea beauty stays only mutilated carcass, the old man becomes ill at ease. He does not know how to behave with the fish. Killed one of the most beautiful creatures of this world, Santiago justifies his action so that the fish will satisfy him and other people. Prey, tattered by sharks, lost this simple, everyday sense. The old man apologizes to the fish, because everything turns out so bad.

In contrast to many classic literary works Old Man and the Sea does not have criticism whatsoever. Hemingway does not feel right to judge others. The main purpose of the writer - to show how the world works, in which the fisherman is born as fisherman and fish - as fish. They are not enemies for each other - they are friends, but the purport of life of the fisherman is the killing of fish, and on the other hand, alas, it does not work.

Every time, when the old man bumps into marine life, he shows himself as a loving man, who feels pity and respects every creature of God. He worries about the birds, for which it is hard to get food, enjoys loving games of guinea pigs, feels pity for Marlene, who lost his girlfriend through his fault. The old man treats a large fish with a deep sense of respect. He recognizes the worthy opponent in it, which can win the decisive battle.

The old man meets his failures with truly Christian humility. He does not complain, does not grumble, he quietly does his work and when he is attacked by a small talkativeness, just ordered himself to come back to reality and do his work. Lost his fish in an unequal battle with the sharks, the old man feels beaten, but this feeling fills his soul with incredible easiness.

- Who has beaten you, old man? - he asks himself and then gives the answer. - None. I have just gone too far in the sea. In these simple thoughts there is unbending wish and a real living wisdom of a man, who has known all the immensity of the world and his place in it, though the small place but honourable.

But each of us opens a new connotative meaning while reading his works, the perception of his works by the readers are individual, but not of the interpreter, he should become himself the writer to reproduce the original in the TT. How can the translator achieve the goal? To reach success in the work, he should follow lexical, grammatical and semantical techniques which were used by the writer. In our research work we are analyzing a great work of Hemingway which has been translated by our skillful translator Ibrahim Gafurov. The translation of the novel has been done successfully and it was a gift for the Uzbek readers.

So, we will analyze some aspects of literary translation of The Old Man and the Sea by Ibrahim Gafurov. As we mentioned earlier Hemingway's novel has been translated from the Russian language and unwittingly were made some mistakes at translation into Uzbek, sometimes it happens, if the TT wasn't done from SL.

We should say that Hemingway's style is very difficult to translate, because he used in this novel a vast of figurative words, practical fishing terms, detailed descriptions, reliance on plain, ordinary words which are direct and exact.

As we have said before, he has a lot of special techniques which are not so hard to notice and one of his technique is repetition which is used to convey action clearly to the reader and to create the impression that it is happening in the present. A Russian translator has successfully rendered this stylistic device, but Ibrahim Gafurov hasn't followed Hemingway's repetition techniques as we can see in the following examples:

(1) P. 35 "It was the weight of the fish and he let the line slip down, down, down, unrolling off the first of the two reserve coils. "

Он почувствовал вес огромной рыбы и, выпустив бечеву, дал ей скользить вниз, вниз, вниз, разматывая за собой один из запасных мотков.

Чилвир бармо?лардан осонгина сир?алиб чи?иб пастга кетиб борар, уни ушлар-ушламас тутиб турганига ?арамасдан, чол ўрамни ямлаб кетаётган ?оят зўр о?ирликни ?ис ?илиб турарди.

To render his repetition technique, it would be better to translate the following sentence this way:

Бали?нинг о?ирлиги унинг ?олидаги чилвирни пастга тушиб, тушиб, тушиб кетишига сабаб бўлди, чол э?тиёт ?илиб олиб ?ўйган ?алтаклардан бири хам yнинг ор?асидан тортилиб кетаётган эди.

As we will see, repetition serves as an important device here. Frequently, this repetition highlights various facets of Hemingway's ironic vision. While irony, like repetition, is mentioned frequently in Hemingway criticism, it is a difficult term to define, both in terms of general linguistic/literary theory and Hemingway criticism.

And one of the duty of the translator to transfer his irony. Unfortunately the translator failed to convey the concept of irony.

2) […]and maybe he will come up before that. If he doesn't maybe he will come up with the moon. If he does not do that maybe he will come up with the sunrise.

[...]может быть, она еще выплывет за это время. Если нет, то она, может быть, выплывет при свете луны. А то, может быть, на рассвете.

[...] у шу пайт ичида сузиб чи?са, ажаб эмас. Агар чи?маса, ойдинда ю?орига кўтарилар. Бу ?ам бўлмаса, балким, тонг билан чи?ар.

Translator managed to convey the idea of irony but did not use the stylistic devise of Hemingway.

3) "He rubbed the cramped hand against his trousers and tried to gentle the fingers. But it would not open. Maybe it will open with the sun, he thought. Maybe it will open when the strong raw tuna is digested. If I have to have it, I will open it, cost whatever it costs. But I do not want to open it now by force. Let it open by itself and come back of its own accord. "

Он потер сведенную судорогой руку о штаны и попытался разжать пальцы. Но рука не разгибалась. "Может быть, она разожмется от солнца, - подумал он. - Может быть, она разожмется, когда желудок переварит сырого тунца. Если она мне уж очень понадобится, я ее разожму, чего бы мне это ни стоило. Но сейчас я не хочу применять силу.

У томир тортишишдан чангак бўлиб ?олган ?ўлини иштонига суртиб, бармо?ларини ёзишга уринди. Аммо ?ўл очилмас эди. «Э?тимол, у офтобдан ёзилиб кетар,- деб ўйлади чол.- Э?тимол, хом тунец ?азм бўлгандан кейин ёзилиб кетар. Агар у менга керак бўлиб ?олса, ?андай бўлмасин уни ишга соламан, вассалом. Биро?, ?озир мен бунга куч сарф ?илиб ўтиришни истамайман. Майли, у ўзи очилсин, ўз ихтиёри билан жонланиб кетсин. Нима бўлганда ?ам, кечаси жамийки калаваларни кесиб, бир-бирига улаш керак бўлганда, у шўрли мендан кўп азият чекди».

Here Hemingway used repetition technique to show that the old man didn't lose faith in himself and he could anyway achieve his goal. The translator could understand the essence of the values of his technique and could repeat his technique in translation.

If we look through, we will be able to find more examples of repetition because it is one of Hemingway's bright technique.

Another technique is expert knowledge and skills in deep-sea fishing. This knowledge is transformed into words referring to skills. Gurko has stated that "one reason that Hemingway's stories are so crammed with technical details about fishing, hunting, bull-fighting, boxing, and war is his belief that professional technique is the quickest and surest way of understanding the physical process of nature, of getting into the thing itself. " an English writer J.Beaver in his article "Technique" in Hemingway" discuses some aspects of Hemingway's obsession with perfection in performing certain jobs:

All of Hemingway's work is concerned with the 'technique' of performing some job properly, correctly. The common denominator to his best work has been, I think, his delineation of technique in this sense. Back of the correct technique lie the practice and experience in performing the particular job, combined sometimes with inherent artistic talent, which distinguish Hemingway's heroes at their best (and in this sense they are heroes, as characters in novels by most other contemporary writers are not).

An American writer L. W. Wagner also wrote about Hemingway's obsession with technique in The Old Man and the Sea, saying, for example about Santiago, “He knows he will have to use tricks on the fish because his strength is not what it was when he was young or that he uses his skills to compensate for his lack of physical strength.” Indeed, there are many examples in the novel that illustrate this point.

4) "On the other, he had a big blue runner and a yellow jack that had been used before."

[...]. а к двум остальным прицепил большую голубую макрель и желтую умбрицу.

[...] . ?олган икки чилвирга эса, каттакон зангори макрель билан сари? умбрицани илди.

Both translators could understand that blue runner and yellow jack are specific fishing terms denoting artificial replicas used by fishermen. The Uzbek translator used method of calque because there is no equivalents to some fishing terms, the reason is location of the country and the fact that species of these fishes aren't found in our waters.

That's why some fishing terms do not sound Uzbek like: сардин, фрегат, тунец, физалия, макрель . . .

Next technique is the use of details, J. Kaushal writes about Hemingway "took his vocation with the same meticulous care, with the same degree of high seriousness and precision as Santiago took his. This choice of precision, exactitude, minuteness were strictly Hemingway's choices in his profession as a writer. " Below are some examples of these choices and the translators' attempts to render them.

6) "The brown blotches of the benevolent skin cancer the sun brings from its reflection on the tropic sea were on his cheeks. The blotches ran well down the sides of his face and his hands had the deep-creased scars from handling heavy fish on the cords. "

[...] а щеки были покрыты коричневыми пятнами неопасного кожного рака, который вызывают солнечные лучи, отраженные гладью тропического моря. Пятна спускались по щекам до самой шеи, на руках виднелись глубокие шрамы, прорезанные бечевой, когда он вытаскивал крупную рыбу.

[...] , бетлари эса ?уёш нурининг тропик денгиз юзидан акс этиб чи?ишидан пайдо бўладиган беозор тери ракининг жигар ранг до?лари билан ?опланган эди.

До?лар чўзилиб гарданигача тушган, йирик бали?-ларни тортиб олаётганда, чизимчалар ўйиб юборган ?ўлларида чу?ур чанди? излари кўринарди.

Both translators have successfully rendered this text. They caught the idea of the writer, and did oblique translation some words, for example: run down phrasal verb has its equivalent in the Russian language as бежать вниз, сбежать вниз, побежать вниз, but the translator didn't use them and thus made the right decision, if he had taken direct words translation, he would have done a lexical mistake. Because it did not correspond to this Hemingway's idea.

The Uzbek translator decided to use the phrasal verb чўзилиб тушмо? (stretched out) insted run down, that helped to convey the correct meaning.

Hemingway uses also figurative language when the simple direct statement will not achieve the effect that he wants.

7) -The sail was patched with flour sacks and, furled, it looked like the flag of permanent defeat.

- Парус был весь в заплатах из мешковины и, свернутый, напоминал знамя наголову разбитого полка.

- Да?ал матодан тў?илган елкан ямалавериб, ола-?уро? бўлиб кетган, ўро?ли? ?олда яксони чи??ан полкнинг яловига ўхшарди.

8) - But none of these scars were fresh. They were as old as erosions in a fishless desert.

- Они были стары, как трещины в давно уже безводной пустыне.

- Аммо бу излар ичида янгиси йў?, ?аммаси ?ам узо? сувсизликдан ?а?раб ётган биёбон дарзлари сингари кў?на эди.

Both translators fail to convey the connotation of this simile. Their literal renditions do not reveal the meaning. In fact, this description "intensifies the idea of Santiago's failure as a fisherman. The old man's physical features have been worn away like the land, and this emphasizes the idea of Santiago's age and of his character. Like the land, he is old but he survives, despite the erosion". It seems difficult to find a similar simile conveying the same connotation as that intended by Hemingway, but the problem can be solved, either by providing the reader with such information in footnotes in order to create the context of the situation and make the translation more communicative and natural, or by making the intended meaning plain, without using a simile.

9)- The old man had gaffed her and clubbed her, holding the rapier bill with its sandpaper edge[...]

- Когда старик зацепил самку багром и стукнул ее дубинкой, придерживая острую, как рапира, пасть с шершавыми краями [...]

- Чол мода бали?ни чангак билан санчиб олиб, худди ?илич сингари кескир, ?адир-будур о?зидан ушлаб туриб [...]

10)- He looked to the sky and saw the white cumulus built like friendly piles of ice cream[...]

- Он поглядел на небо и увидел белые кучевые облака, похожие на его любимое мороженое[...]

- Осмонга ?араб, у оппо? тубсиз сентябрь кўкида ўзи суйиб ейдиган мороженоега ўхшаш укпар булутларнинг ?арир пардаларини кўрди.

Both translators fail to convey the meaning of 'friendly'. This word conotes the old man's optimistic frame of mind and the fact that the clouds are not hostile.

11) - His sword was as long as a baseball bat and tapered like a rapier.

– Вместо носа у нее был меч, длинный, как бейсбольная клюшка, и острый на конце, как рапира.

– Унинг тумшу?и ўрнида худди бейсбол чав?онидай узун ва учи рапира сингари ўткир ти? турар эди.

12) - his left hand was still as tight as the gripped claws of an eagle.

- его левая рука по-прежнему была сведена судорогой, как сжатые когти орла.

- чап ?ўли эса бояги бояги, акашак. Гўё бургутнннг юму? панжаларига ўхшайди.

Hemingway's style is concerned with reality. It is designed to show rather than tell. He prefers to use concrete language so that the reader can respond to it using with his own judgement. This device is not matched by the translators' choice of lexical items. This can be illustrated in the following examples:

13) - without taking a fish.

- не поймал ни одной рыбы.

- аммо ?али биронта бали? тутганича йў?.

14) In the first forty days a boy had been with him. But after forty days without a fish.

- Вот уже восемьдесят четыре дня он ходил в море и не поймал ни одной рыбы. Первые сорок дней с ним был мальчик.

- Денгизга чи?аётганига мана саксон тўрт кун ?ам тўлди, аммо ?али биронта бали? тутганича йў?. У билан ?ир? кун бола бирга бўлди.

15) - in another boat which caught three good fish.

- которая действительно привезла три хорошие рыбы в первую же неделю.

- ?а?и?атдан ?ам биринчи ?афтанинг ўзидаё? бу ?айи?да бали? деса арзигудай учта бали? тутиб келишди.

16) - The breeze was steady.

- Ветер не ослабевал.

- Шамол тўхтовсиз зўрайиб борар.

Judging from these examples, it is fair to conclude that both translators have provided concrete language as in the original. However, there are some instances where a specific word is replaced by a more general one.

The translators' should render cultural concepts, but, unfortunately, we can't say that the Uzbek translator, I.Gafurov was able to transmit through translation the culture of the country where the action took place. Reading the book, the reader should feel the world which was specially created for him by the writer and the translator in the translation should convey the same atmosphere and render cultural concepts. We think, the choice of the Russian words by I.Gafurov brought to chaos. For example: 1) “Keep the blanket around you,” the boy said.

- Не снимай одеяла, - сказал мальчик.

- Одеялни йи?иштирма, - деди бола. (Р-10)

Our version: Чойшапингизни ?ўйинг, - деди бола.

2) The boy had brought them in a two-decker metal container from the Terrace.

Мальчик принес еду в металлических судках из ресторанчика на Террасе.

- Бола ов?атни Террас ресторанидан металл идишда олиб келган эди. (Р -11)

Our version: Бола ов?атни иккта темир идишда рестораннинг таш?ари айвонидан олиб келди.

While we are reading The Old Man and the Sea in Uzbek, factors like that prevent us to feel Spanish atmosphere because of the presence of lexical errors which came through the Russian version. And we should say that the cultural value of the work The Old Man and the Sea had changed and become multi-cultural.

Language and culture are two inseparable elements in the definition of translation. An American linguist who developed the dynamic-equivalence Bible-translation theory and one of the founders of the modern discipline of Translation Studies, Nida, states that "the person who is engaged in translating from one language into another ought to be aware of the contrast in the two languages. "

Translation from Russian into Uzbek rose more problems than from English into the Uzbek language. The Russian language to some extent shares common linguistic and cultural origins. But at the process of translation it is better to translate from SL than from TT. As we said before each translator tries to create his masterpiece and sometimes uses free translation, or some methods of translation like addition, omission, substitution and etc., which leads to misunderstanding the context text. Deficient familiarity with the cultural background of the ST causes many of the mistranslations that are encountered in the translations of The Old Man and the Sea. In fact, the translator must bear in mind that all meaning is culturally conditioned. He must endeavor to enable the receptor language readers to interpret the message in terms of their own culture. He, too, should be aware of the fact that they cannot draw on the experiences of the source text writer, but only on their own. To recapitulate, the translator must make it possible for the reader to understand the message in light of the source text background. To do this he must supply, at some point, the information needed. Some can be woven into the translation, when appropriate, but much of this background will need to be given in introductions, notes, or glossaries.

The specific cultural problems we intend to highlight include those which relate to adequate rendering of the following: food items, weights and measures, baseball terms, and the significance of biblical names.

The Russian translator and Ibrahim Gafurov render terms for weights and measures as they are mentioned in the novel. There is no attempt to come up with their Uzbek equivalents, making it difficult for Uzbek readers to comprehend the meaning whenever they stumble upon these terms. What follows are but some examples of these difficulties.

1)[...] and at the end of this circle he came to the surface only thirty yards away, [...]

[...], и к концу третьего круга она всплыла на поверхность всего в тридцати ярдах от лодки,[...]

[...] у ?айи?дан ўттиз ярдча нарида юзага сузиб чи?ди.

2) "He was eighteen feet from nose to tail," the fisherman who was measuring him called.

- От носа до хвоста в ней было восемнадцать футов! - крикнул ему рыбак, который мерил рыбу.

- Бунинг тумшу?идан , думигача ўн саккиз фут чи?ар экан!- ?ич?ирди ўлчаётган бали?чи.

Both translators provide explanations in footnotes, which helps the reader to understand measure and weight's terms.

In their article about Baseball in The Old Man and the Sea, Barbour and Sattelmeyer have noted that Hemingway presents us with the curious problem of a modern novelist who increasingly requires historical annotation. This is especially true of his references to the world of sport, where the names of yesterday's heroes may evoke only bewilderment. For foreign readers and for Americans whose minds are uncluttered with old earned-run and batting averages, Hemingway's many baseball references, in particular, warrant explanation.

The following are examples of how the translators tackle references to baseball terms.

– When I come back you can tell me about the baseball. (P. 12)

– Когда я вернусь, ты расскажешь мне про бейсбол.

– ?айтиб келганимда, бейсбол ?а?ида гапириб берасан.

Ibragim Gafurov's translation and the ST, both of them fall short of conveying the denotational associations of this game to the Uzbek readers. It is deeply rooted in American culture, but is relatively unknown in the Uzbek culture. Because there is no conception of this game in the target language, both translators have resorted to transliteration, which baffles the receptors. It would be helpful if both translators had mentioned the denotation and connotations of this game in a footnote or, more practically, in the introductions to their translations, in order to provide the necessary background and prevent obscurity in the text in the TL.

- The Yankees cannot lose. P. 12

– "Янки" не могут проиграть.

– «Янки»нинг ют?азиши мумкин эмас.

Both translators find the proper name 'the Yankees' a rather hard nut to crack. This is because, while this team name is generally well known in the world of American sport, it is not well known to the Uzbek because they do not play the game. Thus, his note should be expanded to explain that the Yankees refers to a baseball team in New York City whose full name is the New York Yankees.

- But I fear the Indians of Cleveland. (P. 12)

– Как бы их не побили кливлендские "Индейцы"!

- Кливленд «?индилари» уларни боплаб ?ўймаса деб ?ўр?аман.

In an attempt to make their translation communicative to the receptors of the TL, the Russian translator renders the word Indians by Индейцы and the Uzbek by ?индилари, the Uzbek translator made a mistake in translation, because the word Индейцы should have been translated as ?индулари (a word that refers here to the Red Indians), while they transliterate the place name Cleveland. It seems that both translators fail to recognize the deliberately humorous Spanish word order. For American readers, the humor lies in the fact that the team is properly called the Cleveland Indians and not the Indians of Cleveland, similar to the nomenclature of other baseball teams such as the New York Yankees, the Cincinnati Reds, the Chicago White Sox, and the Detroit Tigers. For the English reader, parallel humorous renderings might, for example, be the Arsenal of Woolwich or The Villa of Aston. It is worth mentioning that the battles in the game in the baseball Leagues are parallel to the old man's in the battle for his life sea. To sum up, it is evident that neither of the translators has been able to convey either the denotation or the connotation of the main intention of the writer in referring to this team in this particular manner.

– I fear both the Tigers of Detroit and the Indians of Cleveland P. 12 7

– Я боюсь не только "Индейцев", но и "Тигров" из Детройта.

– Мен фа?ат «?индилар»дангина эмас, Детройт «Йўлбарслари»дан ?ам ?ўр?аман.

As already indicated immediately above, both translators are unable to render the names of the baseball teams. Commonly the members of baseball teams are males, and his rendering is also incompatible with the ST's 'the Tigers'. Further, it is important to note that the teams' names are capitalized, an orthographic device which Arabic lacks, because they are names of teams. This indicates that the best course would have been to transliterate, a fact neglected by both translators.

One more issue is that we should be attentive to the religious references in the story, presupposed to be known to the participants, so that no tedious explanations are given. It is, of course, true that the more the reader is familiar with the cultural background of the characters, the more he sees interesting implications in it.

Although most Muslim Uzbek readers are familiar with some Christian names, especially Jesus Christ, because it is mentioned in the Qur'an, they are not familiar with Christian traditions nor with the redemptive values of suffering as it is presented in Christianity. Therefore, it is not easy for them to immediately comprehend the sufferings of Santiago. Hence the topic of the story.

The initial aim of our research is the analysis of the translation into the Uzbek language which was done from the Russian language and present translation methods, strategies, techniques which have been used to solve the problems of translation and give own version of translation trying to reproduce the style of Hemingway to get closer to the original.

Translation methods, strategies and techniques are essentially different categories. But some translators can't differentiate them. Anna Gil-Bardajн, a Spain writer, in her article Procedures, Techniques and Strategies: Translation Process Operators (2009) classified them. A Spanish professor, translator and researcher Hurtado Albir (1999) studied and offered definitions for the terms `method', `techniques' and `translation strategies':

The translation method means developing a given translation process governed by a method of a supra-individual and conscious nature (although there are times when it can be unconscious) and responds to a global option that runs through the entire text.

Translation technique is the specific application which can be observed in the product and affects the minor zones of the text. For example, in the translation of a cartoon, a translator may, on occasions, resort to the technique of adapting a cultural referent, but this will not be the reason why the translation will be marked as free, adapted etc.

Translation strategy is of an individual and procedural nature and consists of mechanisms used by the translator to solve problems he/she encounters during the translation process, depending on specific needs.

In 1958 Vinay and Darbelnet's, French linguists, in their pioneer work Stylistique comparee du francais et de l'anglais (SCFA) gave the first classification of translation techniques that had a clear methodological purpose. Vinay and Darbelnet's translation procedures operate exclusively at three linguistic levels: lexical (lexique), morph syntactic (agencement) and semantic (message). The procedures were classified as direct (or literal) (Borrowing, Calque, Literal translation) or oblique, to coincide with their distinction between direct (or literal) and oblique translation (Transposition, Crossed transposition, Modulation, Adaptation, Compensation, Equivalence, Dissolution, Concentration, Amplification, Economy, Reinforcement, Condensation, Explicitation, Implicitation, Generalization, Particularization, Juxtaposition, Grammaticalization, Lexicalization, Inversion).

Peter Fawcett, a British academic in his book Translation and Language (1997) classified translation procedure also as Direct Translation Techniques (Borrowing, Calque, Literal Translation) and Oblique Translation Techniques (Transposition, Modulation, Reformulation or Equivalence, Adaptation, Compensation). He affirms that Direct Translation Techniques are used when structural and conceptual elements of the source language can be transposed into the target language, and Oblique Translation Techniques are used when the structural or conceptual elements of the source language cannot be directly translated without altering meaning or upsetting the grammatical and stylistic elements of the target language. Professor at Moscow State University Zoya Proshina(2008) types translation procedures to transliteration, transcription, calque and divides translation transformation techniques into three categories: grammatical transformations, lexical (semantic) transformations, complex (lexical and grammatical) transformations.

Thus, a terminological diversity and the overlapping of terms make it difficult to use these terms and to be understood. The same concept is expressed with different names and the classifications vary, covering different areas of problems.

As it was mentioned above, this confusion was established by Vinay and Darbelnet's pioneer proposal, when they presented the procedures as a description of the ways open to the translator in the translation process. Nevertheless, the procedures, as they are presented do not refer to the process followed by the translator, but to the final result. The confusion has persisted and translation techniques have been confused with other translation categories.

In general, we classify a translation procedure also as Direct Translation Techniques (Descriptive, Transliteration, Calque) and Oblique Translation Techniques (Transposition, Modulation, Equivalence, Adaptation).

Descriptive translation - The transfer by the extended verbal explanation (interpretation) of phraseology, proverbs and realities that have no direct equivalent in the target language. In addition, descriptive translation as a secondary type of translation is used in cases when the exact equivalent of the interpreter translated unknown or a translator is not able to find it in the limited time available for transfer. This is especially true for urgent translations and even more so for interpretation, especially simultaneous, when the translator is usually unable to use dictionaries or "help room".

Calque or a loan translation - Some linguists (V. Komissarov, for one) consider calque (blueprint) translation as mechanical copying. Calque is translation by parts: extra linguistic - внеязыковой, carry-out - навынос, старовер - Old Believer. Since the calqued word is not just a mechanical borrowing of the form but it undergoes some changes, this device is, to some extent, an actual translation, which includes form transformations.

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