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SIMILAR COUPLETS IN THE POEM "THE PRISONER OF CHILLON" BY G.G. AND ITS TRANSLATIONS

Parda Kurbonov Axmedovich,

Senior teacher at the Karshi State University, Uzbekistan. E-mail:[email protected]

http://dx.doi.org/10.26739/2521-3253-2018-4-1

Abstract: The article analyses G.G. Byron's The Prisoner of Chillon and its translations into Russian from the original by V. Jukovsky and into Uzbek from (intermediary) Russian by the Uzbek poet Muhammad Ali. The meaning of the words, the word orders in the original language, the spirit of the poem in the translations, and differences between the translations are looked at. Keywords: aimless, careless, Chateau de Chillon, damp, duke, dungeon, gloomy, lines, metres, misers, rhymes, torture.

The Prisoner of Chillon is considered one of Byron's greatest poems. The poet wrote it in the mountains around Chateau de Chillon [1] in Switzerland in 1816. For a long time, the poet had been visiting the high peaks of the in Switzerland, the waterfalls, the rivers, the lakes, and other places of natural beauty.

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Byron wrote his beautiful poem on the basis of the impressions and thoughts he had had there. It was published soon afterwards. The poet expressed regrets about not having explored the subject well in his short prologue. Later on he presents new information about his warrior for liberty: Francois Bonivard, who was a monk in the priory of Saint Victor adjacent to . This brave, kind and just man earned the people's respect for his wide knowledge and kindness. He demonstrated his bravery in the defense of the Republic of Geneva (from foreign invaders). The Duke of Savoy jailed him in Grolee. Two years later he was liberated, but in1530 the Duke of Savoy arrested him (for continuing his fight for the liberty of the people of Geneva) and jailed him in an awful dungeon under the palace of Chillon. Six year later (1536) the Republicans conquered and liberated him, and he was elected as a member of the government of Geneva. He was well-educated and generous. He converted his valuable library into a public one. Francois Bonivard worked hard for the people from 1570 till the day of his death.[2] In the poem The Prisoner of Chillon the poet changed the duration of imprisonment to 20 years in order to express the fierce hatred of Francois Bonivard towards the tyrants who oppressed his people. By fictionalizing the death of the hero's brothers and son from torture in the prison he strengthened the spirit of tragedy. The poem was published that year in the collection The Prisoner of Chillon and other Poems. In the poem, the life in captivity, courage and death of the Swiss national hero Francois Bonivard (1493-1571), who actively took part in the rebellion of the citizens of Geneva during 1530-1536 against the oppression of the Duke of Savoy, are described with romantic emotion. Events in the poem are described in dreadful detail and sorrowful spirit. In 1822 the outstanding poet and well-known translator V.A. Jukovsky translated the poem into Russian. The poem was translated into Uzbek from the intermediary language by Muhammad Ali. It was published in Collection ("Càéëàíìà".1974) by Byron in the Uzbek language.[3] The Uzbek poet Muhammad Ali, who creatively and critically approached the translation of V.A. Jukovsky, paying attention to the outer and inner meanings of every word and phrase, achieves the result of using them in harmony with poetic sensibility and vignettes of poetic charm. In fact, following Byron and V.A. Jukovsky, the Uzbek poet Muhammad Ali could clearly

Social Science and Humanities Generalization of Scientific Results Vienna, Austria 5 European Journal of Research www.journalofresearch.de ¹ 1 (3-4) 2018 [email protected] describe the torture of Bonivard, the hero of the poem, and his friends, in Uzbek lines. We could say that M. Ali studied and learned skills from two great word masters, Byron and Jukovsky, and later employed them in his works. We can see that V.A. Jukovsky and Muhammad Ali comprehensively displayed the sentiment of the defense of human dignity and the high artistic value of the poem in translation. The events experienced by the hero and his tragic spiritual state are represented in the poem, and the results of his inner thoughts influence the reader emotionally. The Uzbek poet Muhammad Ali was also able to express the cruelty of oppression, the social phenomenon that humiliates human dignity, in the metres, [4] lines, and rhymes of the poem by the use of delicate and obscure words; and he could prove that it is human oppression that makes people suffer and turns their hair grey and by the appropriate choice of words he was able to impart the tragic nature of the case. Now we compare these lines of the first part of the poem:

My hair is grey, but not with years Nor grew it white In a single night, As men's have grown from sudden fears: My limbs are bow'd, though not with toil But rusted with a vile repose, For they have been a dungeon's spoil, And mine has been the fate or those To whom the goodly earth and air Are bann'd and barr'd - forbidden fare; [5]

The translation of Muhammad Ali:

"Øèëüîí òóò³óíè" £àðàíã ñî÷èì î³àðäè îïïî³, Êåêñàéèøäàí ýìàñ áó ìóòëî³, ¨êè äàµøàò, ³´³³èñ êåëãàí ²àì Áèð êå÷àäà î³àðòìàäè µàì, Ìàíãëàéèì-êó àæèíãà ò´ëè³, Íà ìåµíàò, íà èññè³ - ñîâó³ é´³ Çèíäîí ýòäè àäîè òàìîì. ¨ðó² êóíäàí ìàµðóì áåîðîì, Äè³³èíàôàñ ÿøàá çàíæèðáàíä, Á´ëèá ³îëäèì î³èáàò äàðäìàíä.[6]

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The quantity of lines in the original and in translation is equal. Muhammad Ali skillfully made use of the means of expressing deep meaning of the great English genius via the couplets, riches and refinement of the Uzbek language while retaining the artistic nuances of English and Russian. We can see that he succeeded in obtaining rhythm, rhyme and metre corresponding to English and Russian in his translation. In Muhammad Ali's translation couplets read eloquently and they are similar to V. Jukovsky's Russian variant and sound in harmony with them. As the poem relates the case of the brothers' shackling it shows that they never turned their backs on their beliefs, that they were ready for any torture in the achievement of their aims, and that they withstood pain in the dark, terrible dungeon, looking death straight in the eye. And these romantic lines sound like this in Russian and English:

English: But this was for my father's faith I suffered chains and courted death; That father perish'd at the stake For tenets he would not foresake; [7]

Russian È æèçíü êàçàëîñü áåç êîíöà Óäåë íåñ÷àñòíîãî îòöà. Çà âåðó, ñìåðòü è ñòûä öåïåé Óäåëîìñòàëèñûíîâåé. [8]

V.A. Jukovsky especially stressed the third line in his translation. In this way, the translator emphasizes that the heroes' beliefs were the main point of all the torture and misery they were suffering. And this strengthened the effectiveness ofJukovsky's translation and made it close to the spirit existing in the original. In Muhammad Ali's variant we can't see this:

Uzbek: £à÷îí óìðèì òóãàð - é´³ íèøîí Ýúòè³îä äåá ´ëèì âà êèøàí - Èñíîäèãà ³îëãàí îòàëèê £èñìàòèãà øåðèê á´ëäèê áèç.[9]

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However, here Muhammad Ali, besides keeping the meaning of the lines, could keep the very positions of rhymes from Russian into Uzbek. V.A. Jukovsky translates the couplets: We were seven- who now one, Six in youth and one in age,[10] Thisway: Íàñ áûëî øåñòü - ïÿòè óæå íåò, Îòåö ñòðàäàëåö þíûõ ëåò [11]

TheRussiantranslatorforsomereasontranslated "íàñáûëîñåìü" intheline"íàñáûëîñåìü: îòåö, øåñòåðîñûíîâåé, èçêîòîðûõóöåëåëëèøüîäèí" as "íàñ áûëî øåñòåðî". And this term was translated by Muhammad Ali as "îëòîâ ýäèê". Or in the original, the line "their belief with blood have sealed" was translated by V.A. Jukovsky "Ñïàñëè äóøè ñâîåé ëþáîâü"; and Muhammad Ali translated it as "£àëá ³àòèãà òóøìàñèí äåá äî²". The lines "Finish'd as they had begun /Proud of persecution's rage" are omitted in the Russian translation. Instead of them V.Jukovsky used lines non-existent in the original - "çàâåðó- ñìåðòüèñòûäöåïåé" - and marked them with italics. Muhammad Ali also translated it effectively as "Ýúòè³îä äåá ´ëèì âà êèøàí". The word "belief" has the lexical meanings of "èøîíèø", "ýúòè³îä", "ìàñëàê". By using this word, Byron took into consideration that the heroes', but especially Bonivard's, belief in the system of republicanism was too strong. It means that V.A. Jukovsky paid attention to the meanings of the words of Byron's text. Though he adds new words and phrases he manages to recreate the spirit and meaning of the original in translation. Muhammad Ali also creatively approached V.A. Jukovsky's work and could artistically recreate its meaning and flow in Uzbek. The second verse of the poem is devoted to the prison of Chillon. As Byron described, the prison itself was as terrible as the dark spectre of the oppressors. But it was more terrible to spend an aimless and squalid life there in the gloomy and damp rooms of the prison. English: There seven pillars of Gothic mould, In Chillon's dungeons deep and old, There seven columns massy and grey, Dim with a dull imprison'd ray,

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A sunbeam which hath lost its way, And through the crevice and the cleft Of the thick wall is fallen and left: Creeping o'er the floor so damp, Like a marsh's meteor lamp:[12]

Russian: Íà ëîíå âîä ñòîèò Øèëüîí Òàì, â ïîäçåìåëüå, ñåìü êîëîíå ëåò Íà íèõ ïå÷àëüíûé áðåçæèò ñâåò - Ëó÷, íåíàðîêîì âûøèíû Óíÿâøèé â òðåùèíó ñòåíû È çàðîíèâøèéñÿ âî ìãëó. È íà ñûðîì òþðüìû ïîëó Îí ñâåòèò òóñêëî, îäèíîê, Êàê íàä áîëîòíîì îãîíåê, Âîìðàêåâåþùèéíî÷íîì. [13] In this extract V. A. Jukovsky finds words expressing the poet's hatred of the oppressors who erected the prison of Chillon that debases human dignity. But he did not obtain perfectness in rhyme and rhythm. Now let's see how this descri ption was expressed in Muhammad Ali's translation. He translated the second verse as follows: Uzbek: Øèëüîí òóðàð ñóâ óçðà òóð²óí, Çèíäîí è÷ðà åòòè ç´ð óñòóí- É´ñèíëàðãà ê´ìèëãàí ýäè, Íîãîµ îëèñ îñìîíäàí åòèá Äåâîðäàãè äàðçäàí êèðãàí íóð Çóëóìîòäà ìèëòèëëàá áàç´ð, Óñòóíëàðäà ´éíàéäè ìàúþñ; Õóäè òóíäàëèï- ëèï ³èëèá, ñóñò, ¨ðèòìî³³à áîò³î³íè, µîëè - Åòìàé ³îëãàí ÷èðî³ ìèñîëè Ìèëòèðàðäè òàíµî âà ñ´íèê.[14] The poet-translator V.A. Jukovsky managed to keep the simplicity and clarity of the poem in translation as well as artistically describe the dreadful conditions of the prison. It may be said that the translation of these couplets from the description in the intermediary language nears perfection. In the lines given above the Uzbek translator added a number of words and phrases of his own, moving away a little from the Russian variant.

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For instance, there is the phrase "çàíæèð ìèñëè ìîð" (öåïü êàê çìåÿ) in the Uzbek variant, which we can't find in the Russian translation. It must be emphasized that though the couplets sounds clear in Uzbek, in some of the verses in the Russian text, the meanings of the words can't be fully reflected in translation and the Uzbek translator moves away from the Russian variant in some places. In addition, Muhammad Ali omitted some Russian lines and words trying to keep the positions of the rhymes in some lines. For instance: Jukovsky expresses the feeling of tragedy in "Èðÿäîìñì¸ðòâûì, ÿ, æèâîéòåðçàëñÿíàïîëóòþðüìû" Muhammad Ali renders it "ìåí æàñàäèí ¸íèäà ¸ë²èç íîëà ÷åêäèì, ïàíîµñèç µîëñèç".In short, the translation of the poem The Prisoner of Chillon is the result of the hard work and inspiration of a skillful Uzbek translator and poet. If we pay attention to the fourth song Russian translator shortened the third and fourth verse for unknown reasons: And truly might it be distresse'd To see such bird in such a nest; For he was beautiful as day- (When day was beautiful to me As to young eagles being free)- A polar day, Which will not see A sunset till its summer's gone Its sleepless summer of long light, The snow-clad offspring of the sun: [15] A.V. Jukovskiy tries to put the meaning of the nine lines in the following lines Ïðè ìíå áûë äîëæåí ìèëûé ñâåò, Ïðåêðàñíûé, êàê òîò äíåâíîé ñâåò, Êîòîðûé ñ íåáà ìíå ñâåòèë,  êîòîðîì ß íà âîëå æèë.[16] FollowingRussian translator V. Jukovskiy M. Ali also translates the nine line fourth song in four lines. Concluding that both Russian and Uzbek translation which was translated from Russian of the poem contains some of original expressions and metaphors and some them are dropped out. One can say that the translation of the fourth song comparing to other songs is simplified and the logically expressional meaning of originality is not reflected in the both translations. According to these analyses one can say that in every lines poet Byron expresses the badness of the people who does not

Social Science and Humanities Generalization of Scientific Results Vienna, Austria 10 European Journal of Research www.journalofresearch.de ¹ 1 (3-4) 2018 [email protected] value the humanity respectfulness and he reflects these with sharp symbolic expressions and says these chains are valuable monument for killers and the same time he mimics to these ills themselves should be chained. Byron's poem "The Prisoner of Chillon" that was translated into Russian by Jukovskiy and Uzbek translation that was translated from Russian by M. Ali is an effect of young capable poets and translators' encouraging labor.

REFERENCE

1. Fiona MacCarthy. Byron. Life and Legend. Printed in England. f.f.-2003. P.30. 2. . Selected poems. London. Penguin classics. - 1990. Pp-397-399. 3. J.G.Bayron.Saylanma. Toshkent. G'.G'ulom nomidagi O'zbekiston Adabiyoti va sana'ti nashriyoti.- 1974. B. 54. (J. Byron. Selected works. Tashkent. Publishing house of Uzbek literature named after G. Gulam.) - 1974. P. 54. 4. Metre of Uzbek epic poetry (eight or eleven syllables per line). See English - Uzbek, Uzbek - English dictionary. Ed.by Sh.Butayev, A.Irisqulov. - Toshkent. "Fan" - 2008. P. 760. 5. Lord Byron. Selected poems. London. Penguin classics. - 1990. P.400. 6. J.G.Bayron.Saylanma. Toshkent. G'.G'ulom nomidagi O'zbekiston Adabiyoti va sana'ti nashriyoti.- 1974. B. 54. (J. Byron. Selected works. Tashkent. Publishing house of Uzbek literature named after G. Gulam.)- 1974. P. 54. 7. Lord Byron. Selected poems. London. Penguin classics. - 1990. P.400. 8. Æ.Áàéðîí. Ñîáðàíèå ñî÷èíåíèå â 3-õ òîìàõ. Òîì 2. Ìîñêâà. Õóäîæåñòâåííàÿ ëèòåðàòóðà. 1974. Ñ.28. (J. Beiron. Collected the composition in 3 volumes. Volume 2. Moscow. Fiction.) - 1974. P.28. 9. J.G.Bayron.Saylanma. Toshkent. G'.G'ulom nomidagi O'zbekiston Adabiyoti va san'ati nashriyoti. - 1974. B. 57. (J. Byron. Selected works. Tashkent. Publishing house of Uzbek literature named after G. Gulam.)- 1974. P. 57. 10. Lord Byron. Selected poems. London. Penguin classics. - 1990. P.400. 11. Æ.Áàéðîí. Ñîáðàíèå ñî÷èíåíèå â 3-õ òîìàõ. Òîì 2. Ìîñêâà. Õóäîæåñòâåííàÿ ëèòåðàòóðà. 1974. Ñ.28. (J. Beiron. Collected the composition in 3 volumes. Volume 2. Moscow. Fiction.) - 1974. P.28. 12. Lord Byron. Selected poems. London. Penguinclassics. - 1990. P.401. 13. Æ.Áàéðîí. Ñîáðàíèåñî÷èíåíèåâ 3-õòîìàõ. Òîì 2. Ìîñêâà. Õóäîæåñòâåííàÿ ëèòåðàòóðà. 1974. Ñ.29. (J. Beiron. Collected the composition in 3 volumes. Volume 2. Moscow. Fiction.) - 1974. P.29. 14. J.G.Bayron.Saylanma. Toshkent. G'.G'ulom nomidagi O'zbekiston Adabiyoti va sana'ti nashriyoti- 1974. B. 58. (J. Byron. Selected works. Tashkent. Publishing house of Uzbek literature named after G. Gulam.)1974. P. 58. 15. Lord Byron. Selected Poems. Penguin classics. London 1990. P. 402. 16. Áàéðîí. Ñîáðàíèå ñî÷èíåíèå â II òîìàõ. Òîì III - Ìîñêâà. Õóäîæåñòâåííàÿ ëèòåðàòóðà.1974. Ñ.30. (Byron. Collected the composition in volumes II. Volume III - Moscow. Fiction.) 1974. P.30.

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