The ministryof Higher and Secondary Special Education of the republic of Uzbekistan
«The place of «Macbeth»among Shakespeare’s tragedies»
Gulistan 2008
TheAims of the Qualification work are:
1.To find out the place of «Macbeth» among Shakespeare’ tragedies. To see whatare the characteristic features of the play.
2.How the Uzbek translators Sadulla Akhmad and Jamol Kamol could reproduceMacbeth and Lady Macbeth’s characters.
3.What should be done to improve the state improving the quality of translations.
4.What are our Summaries and Suggestions of the theme.
1.The Tragedy of «Macbeth»
1.1Macbeth in Shakespeare’s activity
Inthe Tragedy of «Macbeth» Shakespeare tells us how a powerful and ambitiousScottish than Macbeth who had distinguished himself in the service of thecountry by crushing internal and foreign enemies aspires to the throne ofScotland. Taking advantage of king Duncan’s visit to his castle he supportedand incited by his wife murders the king and ascends the throne. His reign is achain of crimes and cruelties. Suspected of murder and hated both by nobles andthe people, Macbeth, in order to maintain his power, commits one atrocious actafter another, murders innocent people and turns his country into a realm ofarbitrary power and despotic cruelty. Meanwhile the opposing camp collects itsforces.
Atthe and of tragedy Macbeth, followed by a handful of adherents is confronted bya great, mighty fighting man who in general is called an army headed by Malcolm,the son of the murdered king. In the battle Macbeth is killed and the rightfulheir ascends the throne. Macbeth is a complicated and contradictory character.Courageous and clever, he becomes the prey of ambitious thoughts encouraged byhis wife Lady Macbeth. Ambition blended with a longing for power, drivesMacbeth to crime.
TheScottish local coloring and the mysterious atmosphere of the old legendary taleabout Macbeth is rendered more strikingly by the famous «wit-scene».
Thewitches give shape to Macbeth’s own secret thoughts. He lends an eager ear totheir prophecy and their words sink deep into his memory.
Thewitches in Macbeth symbolize the evils, perfidy and ill-will that exist in theworld and in Macbeth’s own self.
In«Macbeth» Shakespeare shows that tyrants and oppressors, strong as they mayseem, are doomed to defeat and failure. Their defeat is determined by themasses of, the people refusing to give them their support and rising in armsagainst them. Even the native woods and mountains protest against the crimes ofthe despots and help these who stand who fight against them.
Thepurpose of these papers is to give and explain, in the simplest way, the textof one of Shakespeare’s complicated plays. The text itself is complete: notesand a glossary have been added to help the reader to understand the play. Toget the greatest pleasure from it, he will need to learn something about thebackground of the play and the age in which it was written and perhaps aboutShakespeare himself, for example, or about drama as an art but his first dutyis to understand, to realize the main essence of what the characters are sayingand doing, and why they say and do these things.
TwoScottish generals, Macbeth and Banquo, while riding home after victoriousbattle against an army of rebels, are met by three witches. These foretell thatMacbeth shall be king of Scotland and Banquo the father of many kings. Macbethis strongly influenced by their words, and his wife gives him so muchencouragement that he is persuaded to murder a Duncan the king of Scotland,while he is a guest at their castle. Macbeth is now the most powerful man inthe kingdom, and takes the throne. But he feels his position unsure, andsuspects those around him; this drives him to the murder of Banquo, whose ghosthaunts him.
Forthe second time, Macbeth sees the witches who warn him against the noblemanMacduff, but nevertheless persuade him to go on by telling him that «none ofwoman born» can harm him, and that no one will defeat him «till Birnam forestcome to Dunsinane» Macduff has mean while gone to England to help in collectingan army to fight Macbeth, and in his absence his family is murderer by order ofMacbeth.
LadyMacbeth, much disturbed in her mind, walks in her sleep, and speaks again herpart in the crimes she has committed. She dies while a force, led on by Duncan’sson Malcolm, and with English support, is besieging Macbeth’s castle. The kingrealizes that his positions desperate, but never loses courage, even when hefinds that the withes words have deceived him. And he is killed in hand – to –hand fighting by Macduff. Malkolm then becomes king of Scotland, and it shouldbe so, as the justice should be established only when the norms of the societyare followed. Like all poets, Shakespeare employed language in a way which isnot usual for the making of direct statements in prose. A great deal of what hewrote is in fact not prose but verse. Prose is used for the humbler and comiccharacters, while the nobler ones use verse.
2.The main part
2.1Macbeth and Lady Macbeth’s characters
AskadMukhtor – is people’s writer of Uzbekistan one of the great Uzbek authors. Heis known not only as a well – known writer, he is famous for his rich poetrytoo. So is he in the field of translation. He admires Shakespeare and right heis when states «Macbeth» as a work of a genius. He considers «Macbeth» a moderntragedy which nowadays sounds more contemporary up to date, though it wascreated almost 400 years go to be more exact – 394 years (АсқадМухтор. Да. асар. Ушбу фожеа таржимасига ёзилган «Оқ йўл» сифатида қаъбулқилиш мумкин буни.) Вильям Шекспмрю Макбет. Ташкент. Ўзбекистон. ЯКСМмарказий комитети «Ёш гвардия» нашриёти 1987.
Macbethis a great warrior, brave and we, hear about him at the beginning of thetragedy, here the blooding badly captain tells his deeds in the Battlefield asDuncan – king of Scotland wants to find out the winner of the battle Malkolmasked the captain (by the way the latter saved Malkolm from captivity). Here isthe captain’s report about the revolt the newest most recent state i.e. thelatest state of the battle.
Doubtfulit stood,
Astoo spent swimmers, that do cling together
Andchoke their art The merciless Macdonwald
(Worthyto, be a rebel, for to that
Themultiplying villainies of nature
Doswarm upon him) from the western isles
OfKernes and Gallowglasses is supplied;
Andfortune, on his damed quarrel smiled.
Showedlike rebel’s whore: but all’s too weak For brave Macbeth (well he reserves thatname), Distaining Fortune, with his brandished steel, which smoked with bloodyexecution, like Valour’s minion, carved out his passage, till he faced theslave;
Whichne’er shook hands, nor bade farewell to him Till he unseamed him from the naveto the chaps, And fixed his, bead upon our battlements.
DuncanO valiant cousin! Worthy gentlemen! (I. II. 3–5 p)
2.1.1Jamol Kamol’s translation
InUzbek these lines have two translation versions. One of theme was done by JamolKamol and the next by Sadulla Ahmad. (Sadulla Ahmad’s translation is publishedin 1987 in «Ёш гвардия» publishing house in Tashkent. As the base forthis translation he used «Macbeth» Russian translation is published in «Hudojestvennayaliteratura» Publishing House. Moscow 1967). Before introducing one more Uzbektranslation of the afforested passage we want to mention that the performer of «Macbeth»was Boris Pasternak. Sadulla Ahmad used his translation text (Boris Pasternak’stranslation are still considered very nicely done, though they were translatedlong ago, such is his merit). (Вильям Шекспир. Трагедия. Перевод с английского. Издательство«Художественная литература. Москва»).
Сержант:
Икки тараф мўдтиллаётган икки ҳарифдек
Чўкаман, деб ғам чекиш йўқ, ғ ҳечкўз очирмай
Савалвшмоқда. Макдональд ғ ку, итдай қутурди!
Хиёнатчи юрагига туғилмасданоқ,
Кўз кўрмаган тубанликлар ин қўйган экан.
Ўз олдига солиб келди оролма – орол
У мағрибдан Ирландия Найзабозларин.
Дастлаб тақдир илоҳаси-юзсиз Фартуна
Ортидан хўп ияди‑ю, қийшанглашлари
Бекоркетди! Шону шуҳрат соҳиби Макбет
Буолқишлар ҳали камдир унинг шаънига!
Пўлатшамшир зарби билан йўлин тозалаб,
Кўзигақон қайнаб келган интиқом янглиғ
Пайдобўлди хиёнаткор олдида бирдан!
Ҳурматбилан қўлларини сиқиб турмади,
Видоайтиб, аччиқғаччиқ хўлашмади ҳам.
Қиличнибир серман ила бошини кесдиғю
Туғучига қолпоқ қилиб қўндириб қўйди!
Andnow listen to Duncan’s valme concerning Macbeth’s courage.
Дункан:
Бизнингжасур қондошимиз! Номус тимсоли!
Itseems to us that is necessary to address the Russian text, it served as a basefor both of the Uzbek translators: How let us see how these lines are caught byJamol Kamol:
Сержант:
Еще невыяснилось, чья возьмет.
Противники– как два пловца, которым
Борьбамешает двигаться в воде.
Безжалостьный Макдональд, сочетавший
В себе всенизости бунтовщика,
Набрал отрядирландских копьеносцев
И поднялзападные острова.
Судьбастаралась поддержать повстанца,
Но ничегоподелать не могла.
ХрабрецМакбет (он назван так по праву)
Пробил себеотважно путь мечом,
Дымившимсякровавым воздаяньем,
И, став сизменником лицом к лицу,
Руки не жал,прощальных слов не тратил,
Но голову емус размаху снес
И водрузил еена частоком
Дункан:
Наш храбрыйродич! Части образец!
(ВильямШекспир. Трагедии. Сонеты. Перевод с английского. Издательство «Художественнаялитература». Москва. 1968. стр. 480–562).[1]
Macbethhimself dominates the drama: the play is his for it is, the story of his viseand fall. Before he first appears he is spoken of as brave and noble, and Duncanwillingly honours him as a trusted lord; he calls him «valiant cousin» and «worthygentleman». But his character, like the day he speaks of when we first seehim, is «foul and fair» and his figure is truly tragic, for he is a man, notwholly bad, against whom the forces of evil are too strong, and theirtemptations too attractive:
Heis ambitious, and the witches he suddenly comes upon when he first appears inthe play are an image of the evil forces which encourage this ambition. Helusts for power and they prophesy he will be king. To Macbeth these propheciescan be neither good nor bad; for if bad; how could they so soon begin to cometrue? And if good, why do his thoughts so soon turn to the idea of murdering KingDuncan and taking his place on the throne of Scotland? Throughout the playMacbeth continues to give serious thought to the moral aspects of his actions,and he is in no sense an unfeeling willain without conscience or sense ofnobility. This is shown when he wants to talk over with Banquo the prophecy ofthe witches:
Thinkupon what hath chanced;
andat more time,
Theinterim having wighed it, let us speak
Ourfree hearts each to other.
(I.III.153–155)
Макбет:
Сенбу ерда ўтганларни пухта ўйлаб кўр.
Икковлашиб,ҳушимихз сал жойига тушгач,
Ҳаммасиникелишамиз очиқчасига. (I.III. 21 бет)
Itis felt in many other places, leading him to an expression of the condition ofdamnation: thinking of the consequences of his crimes he says, he will notworry about, what might happen, to him, in the next world so long as he isgranted peace of mind in this:
Macbeth:
Ifit were done when, it is done, then’t were well
Ifwere done quickly: if the, assassination
Couldtrammel up the consequence and catch
Withhis Surcease success, that but this blow
Mightbe the be-all and the end – all here…
We’djump the life to come.
Buthere upon this bank and shoal of time, We’d jump the life to come, _ But intheses cases,
(I–VII.1–7)
Макбет:
ofdamnation: thinking of consequences of his crimes he says he will not worryabout, what might happen, to him, in the next world so long as he is grantedpeace of mind in this:
Macbeth:
Ifit were done when, it is done, then’t were well
Ifwere done quickly: if the, assassination
Couldtrammel up the consequence and catch
Withhis surcease success; that but this blow.
Mightbe the be-all and the end-all here…
We’djump the life to come.
Buthere upon this bank and shoal of time,
We’djump the life to come, – But in these cases,
(I.VII. 1–7)
Макбет:
Добро б удар,и делу бы конец,
И с плечдомой! Минуты бы не медлил,
Когда бы всятрудность заключалась в том,
Чтоб скрыть следыи чтоб достичь удачи,
Я б здесь, наэтой отмели времен,
Пожертвовал загробным воздаяньем.
Но насвозмездье ждет и на земле.
(I.VII.496 p.)
Beforepassing to the analysis of this extract = passage want the reader’s to payattention to the following; In the original, I mean in the stage direction. Wehave the word hatboys in Russian it is given as» Трубы», in Uzbek consecutivelyas «Бурғу». Server = chief waiter = кравчий товабоши; divers =various несколько слуг = таом кўтарганхизматкорлар.
Thefirst sentences of the passage should be understood in this way; «If it weredone»,» done quickly» – If it (the murder) were completely finished when we doit, then it would be a good thing if it were (we do) (it) «done quickly». InUzbek the meaning these first lines are understood properly and has thefollowing order:
Mакбет:
Бирзарб билан ҳаммасидан соқит бўлардим, бир дақиқа, бирлаҳза ҳам қараб турмасдим. Токи тахтга эришмоқнингбсхтликлари фақат изни яширмоқдан иборат бўлса! Қулай фурсат қўлинчўзган худди шу дамда, у дунёнинг бор роҳатин қурбон қилардим.Асср қасос кутар бизни ер юзида ҳам: «If the assassination, hissurcease success» if the actual murder could catch up = trammel up theconsequences and could come to a final result with Duncan’s death if would be agood thing to do it quickly «that but this blow» – «If only this blow» «thebe-all and the end all» – the existence and conclusion in itself, but leads toother things. «But here – even here, i.e. in this world only». «The bank andshoal of time, shoal – a narrow strip of land between water». The image is oflife as a narrow bank thrusting acto the great seas of enternity. The word jumpis, used as risk as «risk». The life to come – «the life in the next worldafter death», and what might happen there. «In these cases» – «in situationsuch as these».
Herewe must state one more fact. In the original the text is given = supplied withnice commentaries. These help any translator (not only Russian translators),even Uzbek translators as the meaning of each word, phrase or clauses areexplained so that the essence of the lines be more understandable. It is verynice as to understand Shakespeare after more than 400 years is reallydifficult. It is difficult not only for foreign readers but for the English aswell. As the meaning of several lexical units, word combinations, expressionshave gone various changes.
Buteven this is impossible and he knows it. He makes up his mind to go on, furtherwith plans for the murder of Duncan. His wife, however, persuades him to goforward – Holinshed writes of heras(20) «burning in unquenchable desire to bearthe name of queen» – and after some agreement between them, Macbeth kills hisking while he is a guest in Macbeth’s castle: By his crime Macbeth has boughtthe kingship through evil, though many must doubt his honesty, no one is braveenough to defy him openly when he kills the grooms (and not only the groom wewant to add) to make it seem that they are guilty. Even the lines which Macbethspeakes when he announces the murder ring false and hollow, and arouse thesuspicious of Malkolm and Donalbain, who flee from Scotland. Macbeth is quickto notice this, and turns suspicion on to them.
Macbethwith eyes open to the hideousness of his offense, a brave, imaginative andmorally sensitive man commits a stealthy murder for gain (прибыл).
Hisvictim is his guest his benefactor, his kinsman and his king; and to shieldhimself from detection he incoutinently (21) sacrifices the lives andreputation of two innocent underlings. The retribution is as appaling as thecrime – his soul’s slow death in seef – harrow, degradation, loneliness, and despair,then his bloody extermination.
Whyshould such a man do such evil? The play’s style and a few shreds to literaryevidence suggest. 1605–06 as the period of composition; so it followed «Hamlet»,«Othello» and possibly also «King Lear», those other tragedies in whichdestruction is wrought by naked evil, not mere domestic or political strife in «Macbeth»the evil works through the protagonist as well as upon him. The one with whomwe identify is the one who possessed: this citadel crumbles from within. Thesupernatural soliciting of the Weird Sisters, the strenuous persuasions of thewrite, do not explain Macbeth’s guilt. They enhance its power over ourimagination by revealing stages is its course and suggesting forces in perilousbalance.
InHolinshed’s «Chronicle», from which Shakespeare drew his material, adding tothe sins of the semi – legendary Macbeth these of Donwald, slayer of King Duff,the Weird sisters are «goddesses of destine» (derived from a heathen fatalism).
Inthe play they are Elizabethan witches, their prescriptive powers subtlycurtailed; they predict, abet, and symbolize damnation but do not determine it.Any sense that Macbeth is a helpless victim, his crime predestined, his willbound, as canceled as the play proceeds.
Banquo:
Goodsir, why do you start and seem to fear
Thingsthat do sound so fair?
Theprophecies, nevertheless, without explaining or excusing Macbeth's crimes,impress us as mitigation:
powerfuland wily forces are speeding him on his course. The more earthly influence ofhis Lady’s persuasion impresses us in a similar way.
Ina perverted way Lady Macbeth is doing what all loyal wives are expected to do,urging her husband on to what she deems his good: her as in the period ofdanger that follows, she at least is all for him. This is one of the marvels ofthe play, the manner in which this frightful collusion proceeds in anatmosphere of domestic virtue without the effect of irony. If the evil is greatit is also limited, even in respected to the mallfactors.
AfterLady Macbeth’s collapse, her initial ferocity is remembered as something falseto her wise and kingly physician seems to us not misplaced.
Macbeth:
Wehear our bloody cousins are bestowed
InEngland and in Ireland, not confessing
Theircruel parricide, filling their hearers
Withstrange invention: but of that tomorrow.
Whenthere withal we shall have cause of state
Cravingus jointly. Hie you to horse; adieu,
Tillyou return at night. Goes Fleans with you?
(III.I.29–35 p)[2].
Макбет:
Узунқулоқҳар хил гаплар эшитаяпмиз;
Қонсираган,кўрнамак, қўш фарзанднинг бири
Англиядаяна бири Ирландияда
Гарданидансоқит қилиб падарқушликни,
Эсғазабин ўзларидан чалғитмоқ бўлиб,
Ҳархир туҳмат, чўпчак тўқиб тарқатармишлар
Чорасигабамаслаҳат ўйлаб, пишитиб,
Иштутармиз. Оқ йўл берсин. Маҳтал қилманг. Хайир.
Базмдаюз кўришгунча! Ҳа ўғлингиз Флинс сиз биланми? (С.А). (61–62 б).
Макбет:
Бизгаетишди –
Қотилжиянлар ҳақида миўғмиш хабарлар.
Ирландия,Англия мулккида улар
Паноҳтопиб, рад этишар падарқушликни.
Турли-тумануйдирмаю ёлғонлар билан
Одамларничалғитишар. Буни эртага
Ҳокимиятишларини кўрган кенгашда
Гаплашамизяна. Майли, ҳозирча – хайр.
Бизкутамиз. Ҳа, Флиенс ҳамроҳингизми?
(Ж.К.241 б).
«Wehear» is given in Uzbek us «Узунқулоқ ҳар хил гапларэшитаяпмиз» Two words turned in to a whole sentence. In English the Uzbek sentencecan be understood as! They say all Kinds of sentences = talks»
«Ifwe translate we hear» is «Бизнинг эшитишимизча». Turning twowords into a whole sentence doesn’t mean here any violence of the origin, onthe contrary the thought of the writer is caught truly and given nicely. InRussian Macbeth speaks thus:
Макбет:
Один из братьев – кравопийц, по слухам
В Ирландии,и, в Англии – другой.
Ониотцеубийство отрицают.
И сеют баснидля отвода глаз
Об этом мы назавтрашнем совете
Подумаем.Счастливо пути.
До скорогосвиданья. Торопитесь.
Вы с Флинсомедете? (III.I. стр. 513)
Thelines, cited above sound thus in Uzbek:
SadullaAhmad translated from Russian
(fromBoris Pasternak) and, братья – кровапийцы are given as «қонсираган,кўрнамак»
Макбет:
Сен,азизам, юра бер шундоқ
Маъсумбўлиб, ҳеч нарсадан бехабар бўлиб,
Кейиннашъу намоларга тўларсан қандоқ. (Ж.К). (III.2–222 б).
Макбет:
Ишбитгандан сўнг, билиб ўзинг, қойил қоласан.
(С.А.).(III.70 б).
Atthe beginning Lady Macbeth teaches Macbeth what to do, how to behave and in thisposition vice versa, Macbeth is giving instructions to his wife how to behave,what to do. He should then feel safe from all his enemies, but fate quicklydescends upon him in a most horrible form. At the Bonquet prepared as if tocelebrate Macbeth’s feeling of final safety, Banquo’s ghost comes to haunt him.
(1.Вильям Шекспир. Танланган асарлар. Беш жилдлик. Тўртинчи жилд. Макбет. 157–296бетлар. Тошкент. Ғофур Ғулом номидаги Адабиёт ва санъат нашриёти.1985). This is a terrible punishment both for his crime and also for theevil pretence of expecting Banquo to be at the banquet. Lady Macbeth cannot seethe ghost, but such is the sympathy between her and her husband, she knows orguesses all that has happened, and begins to make excuses for him. He cannotsupport her in own pretence, and when the ghost appears a second time Macbethloses his nenu.
Henow stands in great need of encouragement and goes to the promises concerninghis fate, but the last apparition is none other than Banquo’s ghost, whichbrings Macbeth back to his latest crime. The prophetic promises turn out to beas evil as the murders; Macbeth is «possessed», and, knowing he is now too fargone in crime to turn back, he vows that in future he will think and act at thesame time:
Macbeth:
Fromthis moment
Thevery firstlings of my heart shall be
Thefirstlings of my hand. (IV.I. 146–8).
Макбет:
Менданкўра сен эрчилроқ чиқдинг-ку, замон,
БузибюҚўрқинч ниятимни. Ҳаракат энди.
Учқурқарор бтлан юрсин елкадош бўлиб,
Йўқса,қўлдан кетиб қолар. Бугундан бошлаб.
(Ж.К).(IV.I. 249 б).
Макбет:
Ғафлатбосибди.
Вақт,сен қора ниятимнинг олдини олдинг
Лаънат!Минбад қароримни кечиктирмайман.
(С.А.).(IV.I. 99 б).
Макбет:
Да будут.
Созданьячувств, родясь созданьем рук.
Afterthis, Macbeth’s touches of humanity become rarer/ The murder of Lady Macduffand her children is possibly even more horrible than his other crimes, becauseit seems carried out simply to accord with his vow, and without the leastreason. He is driven into his castle of Dunsinane and eventually fights withthe ferocity of a wounded animal. When he is told of his wife’s death hishumanity momentarily returns. He thinks of the passage of life, so rapid andapparently so meaningless and is awoken to the immediate situation by themessage that the wood of Birnam is in fact moving. The first evil promise ofthe witches has proved worthless; but he fights on, only to meet at last hisenemy him, and the second of the witches promises is shown also to be worthless.To the end Macbeth fights bravely and this bravery is something outside thesense of safety which the witches promises had given him. But evil has killedhope in him, and he meets his death because he has put his trust in what waseither evil or worthless Banquo’s warning had once shown him the danger, but hehad been either unwilling or unable to respect it:
Theinstruments of darkness, …
Winus with honest trifles, to betray’s
Indeepest consequence. (I.III. 124–6).
Банко(секин Макбетга)
Жудакўп вақт, бошга кулфат тушгиси келса,
Жаҳаннамнингтили билан башорат қилиб,
Осонгинаишончингни қозонадию,
Имонингниқўлдан олиб, чалиб кетади.
(С.А.)(I.III. 19 бет).
Банко (всторону, Макбету)
Но духи лжи,готовя нашу гибель,
Сперваподобьем правды манят нас,
Чтобуничтожить тяжестью последствий.
(I.III. стр. 489).
Duncanis, with Banquo, in stringing contrast to Macbeth. As king of Scotland, Duncanis taken to be an old man, and appears in the play to be honourable, trustingand humble in carrying out the duties of his position. We see him first whenhis country is hard-pressed by invaders from Norway and rebels aty home. Inthis struggle Macbeth distinguishes himself as a great fighter and Duncan hearsgood reports of him with great pleasure. But what the king says of the rebel.Thane of Cowdor shows his own particular difficulty: he is too trusting, tooready to accept what seems to be true:
There’sno art
Tofind the mind’s construction in the face:
Hewas a gentleman on whom I built
Anabsolute trust. (I, IV. 4–14) 27 p
Дункан:
Вот какобманчив внешний вид людей!
Ведь человекуэтому я верил
Неограниченно. (I.IV.стр. 490)
Дункан:
Афсуски,биз одамларнинг ичидагини
Юзидагижилвалардан ўқий оламиз.
Бўлмаса,мен шу вассалнинг садоқатига
Чинюракдан ишонардим. (С.А.) (I. II 22 б)
Duncanis, there fore, powerless when he has to face evil and he puts himself gentlyand meekly into the hands of hostess, without taking normal precautions ofhaving an armed quard posted near where he is sleeping. The two attendants hehas by him have, like him, enjoyed a good party, and are sleepy, and useless.The king goes to rest, well fed and happy in his hostess’s assertions ofloyalty and friendship towards him. He is murdered in his sleep by Macbeth.Duncan has proved to be fatally easy ground for his followers to plant theirambitions in. It is Lady Macbeth who has in the end some sort of finer feelingsabout him: Here Lady Macbeth‘s thoughts:
ЛедиМакбет:
Дунканмабода
Ухлагандападаримга ўхшамасайди,
Ундаўзим \амма ишни этардим ало.
Эрим!
(Ж.К.)(II. 2.192.б)
LadyMacbeth:
Hadhe not resembled
Myfather as he slept, I hadn’t done.
(II.II. 12–13 p)
ЛедиМакбет:
Когда б так небыл схож Дункан во сне
С моим отцом,я сладила сама бы.
(II.II. стр. 501)
Макбет хоним:
Эвоҳ,Дункан уйқусида марҳум отамга
Бунчаўхшаб кетмаса-ми! Уни мен ўзим
Тинчитардим. (II.II. 39 бет)
Banquo,like Duncan, is pictured as good, brave and gracious. Both these men are,because of their positions and their honourable natures, great dangwers toMacbeth in his ambitions, for their goodness contrasts too plainly with hiswickedness. Like Duncan too, Banquo trusts too readily in appearances; they areboth too easily deceived into thinking all is well in Macbeth’s castle becauseits situation is attractive:
Banquo:
Thisquest of summer,
Thetemple – naunthing martlet, does approve
Byhis loved mansionary that the hearen’s breath
Smellswooingly, here; no jultly, frieze,
Buttreis,nor coign of vantage, but this bird
Hathmade his pendent bed and procreant cradle.
(I.IV. 3–8 p.)
Банко.
Тому порухой
гнездострижа. Нам этот летний гость
Ручается, чтонебо благосклонно
К убежищу.Нет выступа, столба,
Угла подкровлей, где бы не лепились
Подвешенныелюльки этих птиц. (I.6.стр. 495)
Банко.
Жарқалдирғочлар
Гапингизгакафил, шоҳим. Бу ёзлик меҳмон
Тураржойнинг соўлигидан дарак беради:
Кўркузатдим, кўзлагани баҳрали манзил,
Бирорустун, туртиб чиққан бтрор бурж йўқки,
Беланчакдайсолланмасин очиқ ҳавода.
(С.А.)(I. 6. 28–29 б)[3]
Banquois close to the king and also to Macbeth; he arrives with Duncan at Macbeth’scastle, and when the party for king is over, he meets (shows that his) Macbethafter midnight and shows that his thoughts are full of the prophecy of thewitches, whom he and Macbeth came upon at the beginning of the play. They havetime to talk at length, yet Banquo has already sensed something evil springingup in the Macbeth’s mind, for he says, half to himself, half to Fleance:
Банко:
Святые силы!
Меня избавьтеот проклятых дум,
Насискушающих в ночное время.
(II. 7. с. 499)
Банко:
Кечалариумримизни эговлагувчи
Ваҳималихаёллардан мени қутқаринг!
(С.А.)(II. 1. 35б)
Банко:
Аммоётиб ухлаганим йўқ, эвоҳ азизлар,
Тунгинопок хаёллардан, асрангиз мени.
(Ж.К.) (II. 1. 188–189 б)
Herewe see Banquo who is very much anxious because Duncan has been murdered. Wenotice in a very dark atmosphere not only physical but also moral death of Macbeth,is a noble warrior. But he scared, stinged, hurt with vanity = conceit. Oncehaving entered the read of crime he has not strength of stopping, coming downfrom this road. He sees forward to his own ineritable death. Tragic events takeplace in the background of dark nights, in the darkness of which the threeimages of witches flash = gleam. Like Three Weirds of an antique mythology theygain undivided power over Macbeth’s fate.
Theword «bloody» is a very often come across in this work, it runs all through thetragedy. The same can be said about the word tyranne. We often meet this wordtoo. The theme of the tragedy is about a bloody usurper, who first achieves hisgoal = aim but evils, recons with for his crimes. Here also the tragedy endwith the glory of positive forces, the destroyed harmony is erected in thestate. «Macbeth» is near to «Richard III» where we see much blood.
Macduffdiscovers that Duncan did not die, he has been murdered, and Banquo expresseshis greef simply and from the beath. He soon voices his suspicions of Macbeth.
Banquo:
Thouhasf it now, king, Cowdor, Clames, all,
Asthe weird women promised; and I fear,
Thouplayedst most foully for’t; yet it was said,
Ifshould not stand in the posterity;
Butthat myself should be the rot and father
Ofmany Kings. If there come truth from them
(Asupon thee Macbeth, their speeches shine),
Why,by the verities on three made good,
Matthey not be my oracles as well,
Andset me up in hope? But, hush or more.
(III.I.p 91)
Банко:
Ҳамқиролсан, Ҳам Гламис, Кавдор бегисан,
Гарчандбир охз гумоним бор ҳалоллигингга,
Тўғричиқди, рост айтибди кароматгўйлар.
Буюрмагайавлодингга лекин тожу тахт,
Қиролларнингпадари ва илдизи бўлиш
Сенгаэмас, балки менга насиб айламиш.
Лекиналдашмаса ўша бибилар агар.
(Алдашмасакерак, чунки қисматинг – гаров)
(III.I.212).
Банко:
Теперь тывсё, что предсказали сестры:
Гламисский иКавдорский тан, король,
И я боюсь, тысплутовал немного.
Однако или жевозвещено,
Что твой престалне прейдет к потомкам,
А я – началоветвы королей.
Но если всесбилось с тобой, не ыижу
Причины ненадеяться и мне.
Я верю в то,что мне они сулили.
Но полно,тише!
(III.I. стр. 512)[4]
InUzbek Sasdulla Ahmad read these lines as follows:
Банко:
Ҳаммасигаэришдинг сен! Аммо қойилман,
Улалвасти ҳамширалар айтгани келди.
Гламис,Кавдор ҳокими, сўнг қирол ҳам бўлдинг!
Қўрқаманки,бирозгина найрангинг ҳам бор.
Кароматгакўра, лекин, тахт ворислиги
Менингнаслу насабимнинг насибасидир.
Менгаваъда қилган, сенинг пуштингга эмас!
Ҳа,ҳа1 Менинг шохларимда шоҳ болалайди.
Башоратнингбоши ҳақли, – ноумид шайтон, –
Жонтикаман, жодугарлар лафзи халолдир.
Менуларга ишонаман. Шошма, ким келди?
(III.1. 59–60 б)
Buthe does nothing; perhaps he is satisfied for the moment to watch events, and inany case he too is concerned in the witches prophecies. But for this he isgiven no time. Macbeth quickly convinces two murderers that Banquo is theperson who in secret makes them suffer cruelty and injustice, and, when Banquois returning with his son in the evening after a day away from the castle, heis murdered. Macbeth pretends that he is expected at the banquet arranged forthat evening, and his ghost, covered in blood, comes and sits in Macbeth’s ownchair. Macbeth is over – come with the horror of the apparition, and the partybreaks up.
Heis, nevertheless, to see Banquo once again. The witches show Macbeth eight –kings, with many more reflected in a mirror, and the ghost of Banquo followingthem. this signifies to Macbeth that although Banquo has been murdered by hisorders, Fleance, Banquo’s son, has escaped, and is destined to be farther of aline of kings; although Macbeth has won the throne, it is foretold that hischildren will never follow him in a royal line.
Macduffis nobleman who discovered the murder of Duncan. Commanded to call early on hisking, he enters the king’s chamber and quickly returns with horror in his eyesand voice. Macbeth pretends not to understand him. It is Macduff who firstexpresses surprise at Macbeth admitting that he had himself murdered the groomswho were attending the king. «Wherefore did you so?» he asks, and, since hedoes not seem to be convinced by Macbeth’s answer, Lady Macbeth pretends tofaint so that attention is drawn away from her husband. Macduff asks help forher. But his suspicions are aroused; he leaves for his own part of the countryand then makes his way to England.
Hiswife and children are left behind in Scotland, and Lady Macduff is unable tounderstand his flight. Rosse tries to persuade her that her husband has leftfor the good of the country, and implies that he is in England to raise forcesto oppose the tyrant Macbeth Rosse says he is:
Rosse:
Butfor you husband,
Heis noble, wise, judicious, and best knows
Thefits o ‘th’ season I dare not speaks much further. (IV.II. 15 p)
Росс:
Ваш супруг.
Умен и добр.Он лучше многих знает,
Что делать внаше время. Ничего
Я неприбавлю. (IV. 2.стр. 536)
Росс:
Бизданкўра, у билади нима қилишни.
Ёвқурақли асқатади шундай пайтларда.
Бошқабир гап айтолмайман. Замона оғир. (IV. 2. 100 б)
Butthis is no comfort to his wife, who is killed with her children by order ofMacbeth.
InEngland Macduff has met Duncan’s son Malkolm, and a at first Malkolm wishes totest Macduff’s loyalty; he is afraid that Macbeth may have sent Macduff totrick him into telling his secret plans for an attack. Macduff, an honest andstraight – forward person, is at first guit confused at Malkolm’s words. SinceMalkolm makes himself out to be even more evil than Macbeth. But when all isexplained, Rosse enters and announces a more bitter tragedy, the murder ofMacduff’s family. He cannot believe that so purposeless a crime is possible:
Macduff:
Hehas no children. All my pretty ones?
Didyou say all? – O hell – kite! – All?
What,all my pretty chickens, and their dam,
Atone fell swoop? (IV.III. 249–19)
Макдуф:
Но Макбетбездетен!
Всехбедненьких моих? До одного?
О Изверг,изверг! Всех моих хороших?
Всех тысказал? И женушку мою?
Всех разом. (IV.III.стр. 546)
Макдуф:
АммоМакбет, оласиз –да! – Битта қўймай – а?
Бечорагиналаримнингбарчасиними? –
О,одамхўр! – Ҳаммасими? Вой, ширинларим!
Ёппасига?Хотининг ҳам сўйилди, дегин?!
(С.А.)(IV. 3. 117 б)
Макдуф:
Гўдакларимбарини – я? Битта қўймасдан!
О,дўзахий калхат! Барча жўжаларимни
Бирҳамлада ҳалок этмиш онаси билан! (Ж.К.)
Atfirst he had been unable to express his sorrow in words: now he tells hisdetermination to take revenge on Macbeth, and to do it quickly.
Thefirst Apparation called up by the witches had warned Macbeth of Macduff,confirming suspicions which Macbeth claims to have had already. Now the playleads to their final meeting. Macduff shows that the witches’ words concerningMacbeth’s safety are useless, since they «palter» «in a double sense». «None ofwoman born» seemed to mean «nobody at all»; but in another sense it means «nochild to whom a woman has given natural birth».
Macdufftells Macbeth that his mother did not «bear» him (in his second sense), andthey fight until Macbeth is killed. Macduff leaves and returns after a momentwith Macbeth’s head carried in triumph.
Macduffrepresents the main opposition to Macbeth. He is the chief instrument by whichMalkolm is able to obtain the throne of his father Duncan, and he everywhereacts with good sense, bravery and nobleness of nature. Only his wife doubts thewisdom of his flight to England, calling it «madness», and a mixture of fearand treachery. She accused him too of lacking «the natural touch», the gualityof humanity, but, when told of the murder of his family, he says simply, IfMacbeth’s ambitions had good ends, not evil ones, his wife Lady Macbeth wouldhave been the perfect partner for him, for she completes his personality, andprovides just those qualities which he lacks. If the play is complete in theform in which we now know it, there exists an understanding between Macbeth andhis wife which depends on feelings rather than words. For when we first seeLady Macbeth, she is reading a letter from her husband telling her of thewitches prophecy and particularly that he is, according to that prophecy,destined to become king. She, too is intensely ambitious, and cannot bear evento mention the kingship directly.
Butshe is afraid that he is evil enough to obtain it by the most direct means. Shereveals her own nature most fully in the address she then makes to the spiritsof evil:
LadyMacbeth:
Come,you spirits
Thattend on mortal thoughts unsex me here,
Andfill me, from the crown to the toe, top – full
Ofdirest cruelty! … (I.V. 38–41)
Леди Макбет:
Сюда, ко мнезлодейские наиться
В менявселитесь, бесы, духи тьмы!
Пусть женщинаумрет во мне. Пусть буду
Я лютоюжестокостью полна. (I.V.стр. 493)
Макбетхоним:
Қанисиз эй, ёвузликнинг топқирликлари,
Зулматруҳи қабоҳатлар қалбимга келинг!
Сафробилан тўлатинглар сийналаримни!
Қонхўрликнингваҳший кучи танамга тшлсин! (С.А.) (I.V.27 бет)
Макбетхоним:
Ҳайқайдасиз, келинг, ўлим фаришталари!
Ўзгартирингжинсимни. Ва ёвузликларга
Чулғаболинг мени бошдан – оёғим қадар. (Ж.К) (I.V. 80 бет)[5]
Realizingthat her husband’s hopes of the crown may be impeded by his feelings ofhumanity, she prays that her own similar feelings may be suppressed. Thisproves that she not the hard, cold, unfeeling villain of the piece, but onewho, if she is to attain what she aims at, will also have to reckon with thosefiner feelings which are common to most human natures. But she is, perhaps,more purposeful, less ready to consider secondary matters (even those whichconcern conscince), and this is why she is, unlike her husband, has no need ofsupernatural encouragement, and therefore why none is given to her.
Whenher husband comes soon often her first appearance, they understand one anotherexactly, without saying so, each realizes that Duncan will not leave the castlealive. Lady Macbeth seems to wish that the whole plan should be put into herhands, for she thinks she is now supremely firm in her purpose. But when thetime is right for the murder, and she has urged Macbeth’s feelings; for, as thenoise of Macbeth calling out at the back suggests that he has been discoveredand has failed in his attempt, she admits that she could not have done the deedher self:
Hecould not miss them – Had he not resembled
Myfather as he slept, I had don't – My husband
Alack!I am afraid they have awoked,
And’tis not done: – the attempt, and not the deed,
Confoundsus. – Hark! – I laid their dangers ready.
However,even if her actions are hindered, she thinks quickly. Her impassioned speecheswhen Macbeth first comes to her in the play are in significant contrast tothose in which she smoothly and humbly flatters her quest. Duncan with heroffers of service. And so it is through the play: Macbeth is again and againrelieved of burdens and accusations because his wife is ready to excuse him andexplain away
Whatseems so evil. When Macbeth has murdered Duncan he is haunted with the visionof murderous hands turned against him. His wife is not so troubled, and whenthe knocking begins at the outer gate she is ready with measures to conceal thecrime. She sees the blood on his hands, and says;
Alittle water clears us of this deed
Howeasy is it then! You constancy
Hathleft you unaltended. (II. 2. 66–68)Макбет хоним:
Тетикроқбўл, тан!
Қўлингниюв, кўз – кўз қилма шармисорликни.
Қўлингдагиқонларни юв, юқи қолмасин. (С.А.) (II.2.42 б)
(Ж.К.)(II. 2. 195 б)
Andshe realizes that they must quickly get on their night – clothes or people willwonder why they were not in bed when Duncan was murdered. And when, often thediscovery of the murder, Macduff asks Macbeth why he murdered Duncan’sattendants and Macbeth’s answer is too sensational to be very convincing, hiswife quickly notices it, and pretends to faint so that attention is disfactedfrom her husband.
Forthe murder of Banquo, Macbeth seems at first to be less dependant upon hiswife. It is he who plans it with the two murderers, and then tells his wifeabout it. She is at first unsure, but is soon convinced, and then Macbeth playsthe lordly husband:
Hecannot know how soon he will once more need to depend upon her. Banquo’s ghostcomes to haunt his state banquet. Lady Macbeth again quickly understands whatis happening, though only her husband can see the ghost, and tries to explainit away:
Sit,worthy friends. My lord is often thus,
Andhath been from his youth. (III. 4. стр. 523)Макбетхоним: Йўқ, қўзғалманглар.Бу касали ёшликдан бор,хавотирланманг.
(III. 4. 77 б)
Леди Макбет:
Прошу сидеть.
Все это вмигпройдёт. Не обращайте.
Вниманья,чтоб припадка не продлить.
Atthe second appearance she speaks of her husband’s fit as «a thing of custom»,and even hints at a treatment for it:To the Lords:I pray you, speak not: hegrows worse and worseQuestion enrages him. (III.IV. 117–118)
Ўтинамангапга солманг, у бетоб ҳали. (Ж.К.) (III.V. 223 б)
Не говорите сним. Еще все хуже.
Расспросызлят его. Прервемте пир. (стр. 525).
Сўзташламанг, қирол ҳамон ўзида эмас.
Гапсўраса қутуради. (С.А.) (III. 4. 81 б)
Stillas if the incident were a common one.
Shereally thinks he needs sleep, and as
Soonas the quests have left in confusion and they have both mentioned Macduff asthe next centre of opposition, Macbeth tries to rest.
LadyMacbeth, however, is unable to sleep in peace. In the great scene at thebeginning of Act she appears with a taper in her hand, walking in her sleep andreliving her experience and thoughts at the murder of Duncan. Again she speakswords of encouragement to her husband; she speaks her thoughts on the old man’sbluding, but mostly she thinks of the blood on her own hands which no water hasbeen able to wash off:
LayMacbeth:
Hare’sthe smell of the blood still:
Allthe perfumes of Arabia will not sweeten this little hand. (V.I. 40)
Леди Макбет:
И рука все ещепахнет кровью. Никакие
ароматыАравии не отобьют этого запаха
у этоймаленькой ручки! (стр. 548) Макбет хоним:
Қўлимданҳали ҳам қон иси бурқсияптию
Арабистоннингбутун мушки анбар –
лариямшу кичкина қўлчалардан бу исни аритолмайди! (IV. I. 123 б)[6]
Thisreveals without doubt who is responsible for the crimes, and shows that LadyMacbeth is no more able to free herself from conscience than her husband is.
Sheis not seen again. A cry of women is heard when Macbeth is pufting in order thedefences of his castle so as to be ready to face a siege, and this cryannounces her death. She, too, has been unable to sleep, and her mind hasbecome disturbed. (Malkolm and others believe that she took her own life). ToMacbeth, when he hears the news, life seems puzzling and without value. He haslost his best support and from now on he must fight alone.
LadyMacduff plays a small but much – loved part in the tragedy, since in a world ofevil she and her son represent confused and lovable simplicity. Her husband hasleft her, she does know why. Rosse tries to explain that Macduff has fled forhis country’s good, but Lady Macduff is unconvinced, and bitterly grieved:
Allis the feat, and nothing is the love;
Aslittle is the wisdom, where the flight
Soruns against all reason. (IV.II. 12–14)
Rossehimself does not seem to be really convinced, and is near to lears. He leavesand there is an exchange between Lady Macduff and her son in which the tragedyof the situation is heightened by what at first seems artful word – play on thesubject of husbands and fathers, although this is really a cover to feelings oftender love. The confusion reaches its height when Macbeth’s agents Murder LadyMacduff, although she has done no harm.
TheWitches represent the most important supernatural element of the play, but «witch»is not a good word to denote them, for they are much more powerful and moreevil than the simple, stupid old women who as «witches» were supposed (stupidold) by some to do harm to individuals through the use of magic powers. Theword witch is, in fact, used only once in Macbeth (other than in the stagedirections): the sailor’s wife mentioned by the first witch (I.III.) called her«witch» and was evidently severely punished for it. Elsewhere the women arecalled «the weird sisters», i.e. the sisters of fate. But even this file isunadeguate, since, whatever they claim to have done to their other victims,they do not bring fate to Macbeth.
Instead they try to persuade him to do wrong, or invite him to do it bydeliberately deceiving him about what the future will hold. They embody eviland the respect which normal human beings give to good; they chant together «Fairis foul, and foul is fair» at the end of the first scene. For Macbeth theyrepresent the bad forces struggling for his soul; his conscience warns himagainst them, and by wordplay, which is one form of deception.
ToBanquo, who is less inclined than Macbeth to ignoble ambitions, they arecontent to prophecy, and their prophecies are favourable; his children are tobe kings even though Macbeth, not he, will win the throne. To Macbeth they givesome much needed encouragement; in he demands to know what they are doing,perhaps in order to find out if their influence can be furned to good account.In reply they bring up apparitions which foretell the future. The first warnshim that Macduff will be a sourse of trouble to him; the second and thirddeceive him with hopeful prophecies which prove with evil forces, for beforehis last visit to the weird sisters tells his wife:
2.1.2Sadulla Akhmad’s translation
Macbethhimself is as humane in his reflections as he is inhumane in his acts. Likelago he is a woralizing villain, but his moralizing is not clever aphoristicdisplay. It comes from his heart sometimes like an echo of ancient follebeliefs, If will have blood, they say: blood will have blood. Stones have beenknown to more and trees to speak; angures and understood relations have(forth). By maggot – pies and choughs and rooks brought forth. The seevet’stman of blood – what is the night? (III. 4. 122–126)
Макбет:
Он хочеткрови. Кровь смывают кровью.
Преданьеесть: сходили камни с мест,
Деревьяговорили, и по крику
Сорок, грачейи галок колдуны
Разыскивалискрытого убийцу.
Который час?
Макбет:
Ҳа,қонсираб келибди, у, қонни қон ювар.
Ровийларданэшитганман: қачон тош кўчиб,
Дов– дарахтлар тилга кирса, қрға қағиллаб,
Олашақшақшақилласа, – жодугар фолбин
Кушанданингяширинган жойин очармиди.
Кечаярим бўлдимикан, бунча чўзилди? (С.А.) (III. 482 б)
Макбет:
Ухун сўрар, талаб қилар яъни қонга қон,
Аввалларибундай пайтда тошлар суриниб,
Тилгакириб, сўз қотарди ҳатто оғочлар.
Қотилқайга бекинмасин, уни муқаррар
Қарға– қузғун зағчаларнинг изидан бориб.
Ихқуварлартопишарди. Хўш, соат неча? (С.А.) (III. 234 б)
Macbeth:
Sometimeslike religious revalition, virtues. Will
pleadlike angels, trumpet – tongned against. The
deepdamnation of his faking – off;
Andpity, like a naked alu – born babe
Striginythe blast, or heaven’s cherubin housed
Uponthe sightless carriers of the air,
Shallblow the horrid deed in every eye
That’sfears shall drown in wind. (I. VIII. 19–25)
Макбет:
И, наконец,Дункан был как правитель
Так чист идобр, что доблести его,
Как ангелы,затрубят об отлищенье.
И в бурежалости родится вихрь,
И явит облакас нагим младенцам,
И, с этойвестью облетев весь мир,
Затопит моремслез его. Не вижу. (стр. 496)
Macbeth:
Novoice in literature has sounded with greater sadness!
Ihave lived long enough. My way of life
Isfall’n into the sear, the yellow leaf,
Andthat which should accompany old age,
Ashorror, love, abedience, troops of friends,
Imust not look to have; but, in their stead,
Cursesnot loud but deep, month – honor, breath,
Whichthe poor heart would fain deny, and dare not
Макбет:
Я пожил насвоем веку. Я дожил
До осени, дожелтого листа
На то, чтоскрашивает нашу скорость –
Напреданность, любовь и круг друзей, –
Не праве ярассчитывать. Проклятья
Прикрытыетрусливой лестью, – вот
Что мнеосталось до дыханы жизни. (стр. 552)
Макбет:
Ёш бошимга етарменинг, ё қойим қилар.
Давримниғку,сурдим. Фасли хазон бошланди.
Кечкўзимни кўрдим ўзим очиқ кўз билан;
Аммокексаликнинг гашти – ҳурмат – эътибор,
Содиқдўстлар даврасидан умидим ҳам йўқ
Қўрқоқликнингхушомадга ўралган лаънат,
Жонузилмай, нафас олмоқ – қолган насибам.
Шуризқдан ҳам воз кечардим, журъатим етса! (V. 3. 128 б)
Tosay that no one who has become a bloody turant would speak in this way ispointless; he would feel in this way, or so we are convinced.
Byfeeling the paugs that we would feel if we were in his place , and bypassing our judgements upon himself, Macbeth altaches as to him andconsequently himself to us. We cannot view him with cold objectivity assomething strange and apart. The unnaturalness of his acts is alwayscounterpoised by the naturalness of his actions: his hesitant overtures toBanquo, his volubility after Duncan’s death, his dazed petulance at theappearance of the ghost.
Thetime has been
That,when the brains were out, the man woald die,
Andthere an end. But now they rise again,
Withtwenty mortal murders on their crowns,
Andpush us from our stools. This is more strange
Thensuch a murder is. (III. 4. 78–82)
Макбет:
Когда ужертвы череп разможен,
Кончалсячеловек, и все кончалось.
Теперь, имеядаже двадцать ран
На голове,они встают из гроба,
Чтобы согнатьнас с места за столом
Чтопострашней, чем ужасы убийства. (стр. 524)
Макбет:
Аммо шуки,бош суягин пачоғи чиққач,
Ўликқайтиб тирилмаган, ўликдай ётган.
Эндибошда йигирмата жароҳат билан
Гўрданчиқиб, тирик жонга таҳдид солмоқда. (79 б)
Thereis something here both grimly humorous and affecting, this Killer’s speaking inthe accents of a hurt child. We should not ascribe Macbeth’s humanity to theautomatic working of Shakespeare’s sympathetic nature. There is nothing casualabout it. If Macbeth were other than he is, less like ourselves, he would be aless powerful symbol of our own worst potentialities and the abyss we haveescaped. There is nothing of him in Edmund or lago for all of Shakespeare’ssympathetic nature.
ifis hard to believe that so universal a work was calculated to the meridian ofany particular person, but there are orgunuents favoring the possibility. JamesStuart, who had ascuded the English throne and become the nominal patron ofShakespeare’s company a few years before «Macbeth» was written, was supposedlydescended from Banquo and was intensely interested in witchcraft; moreover hehad assumed in 1605 the prerogative of curing the «king’s evil» instituted byEdward the confessor and mentioned somewhat irrelevantly in the play. On theother hand, one way argue that, had Shakespeare’s primary concern been toplease the manaroh, he might have dramatized more creditable episodes inScottish history, night have drawn a more flattering portrait of Banquo, mighthave seized the opportunity to enlogize James as first holder of the «treblesceptes», mentioned in the show of kings. (IV.I.)
PossiblyShakespeare was responding in his own way to the urgings of his dramaticcompany; he was in some respects the most reticen writer of his times, and hisallusions even to Elizabeth had been his and restrained.
Whetheror not «Macbeth» may be considered in a sense «topical» it contains elementsthat are, or might have been; mere theatrical entertainment If combines withits great theme the working out of a puzzle, and offors us the pleasure ofwatchiny pieces dropping into place.
Andhe lives long enough to see how bad they were. When Birnam wood appears tomove, something which seemed an impossibility, he begins
Todoubt the equivocation of the fiend,
Thatlies like truth. (V–V. 43–4)
Макбет:
Теперь яначинаю сомневаться
Я веровал вдвусмысленность. Меня
Поймал направде дьявол, обнадежив: (стр. 556)
Макбет:
Қаттиқшубҳа оралади энди ичимга,
Шайтоннингсўз ўйнига учибман, билсам;
Угўлликдан илинтириб, ишонтирдики. (135 б)
forit seems that the weird sisters have sold their souls to the fiend, the devil.When Macduff says that he was not born of woman. Macbeth knows for sure that heahs put his faith in evil, and has been betrayed:
Macbeth:
Acensedbe that tongue that tells, me so,
Forit hath cowed my better part of man!
Andbe these juggling fiends no more believed,
Thatpalter with us in a double sense,
Thatkeep the word of promise to our ear,
Andbreak it our hope. (V.VIII. 19–22)
Макбет:
Язык отсохни,это возвестивший!
Он сразумужество во мне сломил!
Не надоверить прорицаньям ада,
Проклятье имза их двоякий смысль!
Слова их необманывают слуха,
Чтоб темполней надежды обмануть.
Я не дерусь стобой. (V.VIII. стрю 560)
Макбет:
Ҳоҳ,шу гапни айтган тилинг тагдан қурисин!
Шаштимсинди! Минбаъд шайтон башоратига
Ишонмайман.У дўзахнинг сўз ўйинидир.
Лаънатёғсин, икки тилли иблис жинсига!
Эшитганда,ширин сўзи қулоққа ёвар,
Аммотшонч хайф бу сўзга, илондай чақар.
Йўқсен бтлан савашмайман. (V. 8. 140 б)
ActIII, Scene V, shows the witches as different in some ways from this descriptionof the part they play in the rest of the tragedy: but this scene is generallyconsidered not to be part of the original play. But this does not concern ourtheme, of course.
ThatMacbeth would be king but no father of kings, that he would reign until; Birnamwould be uncongexerable by any man born of woman were riddling propheciesincluded in Holinshed, but the manner of presenting them through apparitionswas Shakespeare’s invention:
the«Armed Head» instigating the aggression against Macduff probably representsMacbeth himself; the «Child Crowned, with a tree in his hand» certainlyrepresents young Malkolm, deviser of the tactics as Birnam Wood; the «BloodyChild» represents Macduff, who was «from his mother’s womb untimely ripped».These ingenlities might well have been intrusive in a play so elemental; ashaundled by Shakespeare they contribute to the master plan by allowing us towatch Macbeth gradually stripped of hope by those juggling fiends» upon whom hehas relied.
Suchlines us
Hecate:
O,well done! I commend your pains
Andevery one shall shave: th gains.
Andnow about the cauldron sing
Likeelves and fairies in a ring.
Enchantingall that you put in. (IV. 1. 39–43)
Геката:
Вы всесварили к кутежу.
Я вас за этонагражу.
Но надо цельиметь в виду:
Попеть,сплясать и на ходу
Заклясть,заговорить бурду. (стр. 531)
Ҳеката:
Ишратгатайёр газак.
Эндиишни кўзласак: –
Айланиб,айтинг тилсим,
Бўтқангизтилга кирсин! (IV.1. 91 б)
makeus appreciate the more the magical rancousness of the language that Shakespeare himself gavehis witebes. The authenticity of the Porter’s speech was questioned byColeridge a useful purpose, in evoking from De Quincey a gem of literaryappreciation.
Noone who has read the play will ever forget the hardy characters who struggle toreadmit light into their murky world, and certainly not that incandescentcouple who kill together and die apart. The style has the vigor, condensationand imaginative splendor of Shakespeare at his greatest, when he seems to bepressing upon the very bounds of the expressible. Blood and darkness areconstantly invoked and jarring antitheses, violent hyperbole, and chaoticimagery give the lines the quality demanded by the action. But there alsomoments of unforsettable hush. Some of the speeches seem to express the agonyof all manking.
Macbeth:
Cureher of that!
Caustthou not minister to a mind diseased,
Pluckfrom the memory a rooted sorrow,
Razeout the written troubles of the brain,
Andwith some sweet oblivious antidote
Cleansthe stuffed bosom of that perilous staff
Whichweighs upon the heart? (V.III. 40–45)
Макбет:
Избавь ее отэтого. Придумай,
Как удалитьиз памяти следы
Гнездящеесяпечали, чтоб в сознанье
Стереть, воспоминанийписьмена
И средствами,дающими забвенье,
Освободитьистерзанную грудь.
От засоряющихее придатков.
Макбет:
Бу балодан қутқар уни. Давосини топ.
Миясига уя қурган қайғу қуртини.
Ўлдирмоғу онгидаги хотира – хатни
Ўчирмоқ– ла, биратўла, унутишимда.
Юрагиниғижимлаган шу чиркин азоб
Чангалиданозод этмоқ чорасин изла.
(С.А.)(130 б)
Макбет:
Даволашнингйўлини топ. Яхшироқ ўйла.
Қандайқилса, хаста идрок тузалур буткул,
Қандайқилса, андуҳ учиб кетар хотирдан,
Мияфориғ бўлур ҳасрат битган ёвуздан.
Дориберки, қувват йиғсин ўзни унутиб,
Ватош бўлиб юрагига чўккан ғуссани
Кўкрагиданюлиб ташла. (Ж.К.) (218 б)
Overthe centuries comes the quiet answer, convincing us, as so often the words ofthis part so strangely do, that nothing further can be said.
Thereis the patient
Mustminister to himself. (V. II. 45–46).
Врач: Тутдолжен сам больной помог.
Табиб:Бундай дардга чора фақат хастанинг ўзи. (С.А.)
Табиб:Ўз-ўзига мадакордир беморнинг ўзи. (Ж.К.)
Conclusion
Inour Summary and Suggestions we want to talk about our wishes for furtherimprovement for understanding Shakespeare’s text. For better understanding histext as early as in the eighteenth century in spelling, punctuation, and stagedirections, very few emendations by the eighteenth and nineteenth centuryeditors have been adopted; and these with the more important variations fromthe very First Collections (the First Folio, for example), are indicated in thetextual note. These notes are printed immediately below the text, so that areader or student may see at a disputed reading, and have definiteunderstanding of the seasons for those differences in the text of Shakespearewhich frequently surprise and very often annoy such an arrangement should be ofspecial help in the case of a case of a play which as wialely read and oftenouted; and interpreters and actors seldom agree in adhering to one text. Uzbektranslations should have special such kinds of notes as well. A considerationof the more poetical, or the more dramatically effective, of two variantreadings will often lead to which results in awakening a spirit ofdiscriminating interpretation and in developing free creative criticism. In nosense in this a factual variorum edition. The variants are seven only those ofimportance of high authority.
Theindex of words and phrases has been so arranged as to serve glossary and as aguide to the more important of the grammatical differences between Elizabethand modern English.
Thiskind of work should be carried out in our Uzbek translations.
Shakespearewas the creator of colloquial prose, of the prose most appropriate for drama(Churton Collins)
Nexttime we think that is necessary to give special attention to the principlesthat underlie Shakespeare’s transition from prose to verse and from verse toprose. In I.III. 220. When Brabantio recalls the Duke to deal with the businesson hand, – «I humbly beseech you, proceed to the affairs of state», – the Duke,who usually speaks in verse, at once uses prose as the medium of expression. Sowhen Emilia drops into gossip in her confidential talk with Desademono (IV.III.70) her diction changes from verse to prose.
Macbethis really one of the most famous tragedies. It is put in equal line but after «Hamlet»,«Othello», «King Lear», «Romeo and Juliet». This tragedy has two translationversions: the first belongs to Sadulla Ahmad and the second to Jamol Kamol,consecutively they were performed in 1983 and 1991/
Whenspeaking about these translations we have to keep in our mind that the mainhero of this tragedy sometimes speaks with splendid solemnity, and such casesalso should be kept in mind. Macbeth uses the word «robes» = «одеяния» as asplendid word but Banquo simply says «garments» – «одежды». Macbethspeaks about poisoned chalice and he also speaks about Banquo simply says «garments»– одежды. Macbethspeaks about poisoned chalice and he also speaks about «vessel of peace». Theseunits bring us to King’s palace, and sometimes to gothic temple.
MacbethCalls his soul as eternal gem». Sometimes Macbeth speaks as if he is a greatartist. He uses «golden view» instead of «a kind view». Instead of «pale liver»he uses «lily – white liver», (the word pale). Because the word pale wasconsidered as «the sign of cowardness» instead of «blush on the cheeks he uses «ruby– coloured the cheeks».
Literature
1. АсқадМухтор. Даҳо асар. Вильям Шекспир. «Макбет». Тошкент. Ўзбекистон. ЛКСМмарказий комитети «Ёш гвардия» нашриёти 1987.
2. ВильямШекспир. «Макбет» 1987. «Ёш гвардия» Publishing House. Tashkent.
3. ВильямШекспир. «Макбет». Трагедия. Перевод с английского. Издательство «Художественнаялитература». Москва.
4. Саломов Ғайбулла.»Тил ва таржима». Тошкент. Ўзтекистон ССР «Фан» нашриёти 1966.
5. Саломов Ғайбулла.«Таржима назариясига кириш». Тошкент. «Ўқитувчи» нашриёти. 1978.
6. Саломов Ғайбулла.«Адабий санъат ва бадиий таржима». Тошкент. «Фан».1980
7. Саломов Ғайбулла.«Таржима назарияси асослари». Тошкент. «Ўқитувчи» нашриёти. 1983.