TWO TRANSLATIONS OF LERMONTOV’S “DEMON”: SYNCHRONOUS AND COMPARATIVE TRANSLATIONS

Abstract

In this article, it is stated that the translator must fully convey the ideological and artistic forms of the work during artistic translation. The main problem is that the original work must be implemented in full or without any additional fees. Compared to the previous translations, Omor Sultanova's poem "Azreil" has a plot-compositional feature from an ideological and artistic point of view and turned out to be more successful. Regardless of the work, the main disadvantage of the translation is first of all the passivity of the translator, who cannot free himself from the captivity of the author's sentences and translates them verbatim, losing the activity of his creativity. In such cases, the uniqueness of the national intonation of the original will not be preserved, the individual uniqueness of the author's manner will not reach the student, the ideological and artistic level of the work will be eroded. If every word, every sentence translated does not prove the activity of the translator in the process of work, and shows a poor, boring, vague copy of the original, the aesthetic effect it can have on the reader is reduced to nothing. Therefore, comprehensive and perfect translation work, bringing it to the highest level of quality, first of all, is directly related to the creative potential of the translator.