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Курсовая работа: The place of “Macbeth” among Shakespeare’s tragedies

Название: The place of “Macbeth” among Shakespeare’s tragedies
Раздел: Топики по английскому языку
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The ministry of Higher and Secondary Special Education of the republic of Uzbekistan

«The place of «Macbeth» among Shakespeare’s tragedies»

Gulistan 2008

The Aims of the Qualification work are:

1. To find out the place of «Macbeth» among Shakespeare’ tragedies. To see what are the characteristic features of the play.

2. How the Uzbek translators Sadulla Akhmad and Jamol Kamol could reproduce Macbeth 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»

1.1 Macbeth in Shakespeare’s activity

In the Tragedy of «Macbeth» Shakespeare tells us how a powerful and ambitious Scottish than Macbeth who had distinguished himself in the service of the country by crushing internal and foreign enemies aspires to the throne of Scotland. Taking advantage of king Duncan’s visit to his castle he supported and incited by his wife murders the king and ascends the throne. His reign is a chain of crimes and cruelties. Suspected of murder and hated both by nobles and the people, Macbeth, in order to maintain his power, commits one atrocious act after another, murders innocent people and turns his country into a realm of arbitrary power and despotic cruelty. Meanwhile the opposing camp collects its forces.

At the and of tragedy Macbeth, followed by a handful of adherents is confronted by a 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 rightful heir ascends the throne. Macbeth is a complicated and contradictory character. Courageous and clever, he becomes the prey of ambitious thoughts encouraged by his wife Lady Macbeth. Ambition blended with a longing for power, drives Macbeth to crime.

The Scottish local coloring and the mysterious atmosphere of the old legendary tale about Macbeth is rendered more strikingly by the famous «wit-scene».

The witches give shape to Macbeth’s own secret thoughts. He lends an eager ear to their prophecy and their words sink deep into his memory.

The witches in Macbeth symbolize the evils, perfidy and ill-will that exist in the world and in Macbeth’s own self.

In «Macbeth» Shakespeare shows that tyrants and oppressors, strong as they may seem, are doomed to defeat and failure. Their defeat is determined by the masses of, the people refusing to give them their support and rising in arms against them. Even the native woods and mountains protest against the crimes of the despots and help these who stand who fight against them.

The purpose of these papers is to give and explain, in the simplest way, the text of one of Shakespeare’s complicated plays. The text itself is complete: notes and a glossary have been added to help the reader to understand the play. To get the greatest pleasure from it, he will need to learn something about the background of the play and the age in which it was written and perhaps about Shakespeare himself, for example, or about drama as an art but his first duty is to understand, to realize the main essence of what the characters are saying and doing, and why they say and do these things.

Two Scottish generals, Macbeth and Banquo, while riding home after victorious battle against an army of rebels, are met by three witches. These foretell that Macbeth shall be king of Scotland and Banquo the father of many kings. Macbeth is strongly influenced by their words, and his wife gives him so much encouragement 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 in the kingdom, and takes the throne. But he feels his position unsure, and suspects those around him; this drives him to the murder of Banquo, whose ghost haunts him.

For the second time, Macbeth sees the witches who warn him against the nobleman Macduff, but nevertheless persuade him to go on by telling him that «none of woman born» can harm him, and that no one will defeat him «till Birnam forest come to Dunsinane» Macduff has mean while gone to England to help in collecting an army to fight Macbeth, and in his absence his family is murderer by order of Macbeth.

Lady Macbeth, much disturbed in her mind, walks in her sleep, and speaks again her part in the crimes she has committed. She dies while a force, led on by Duncan’s son Malcolm, and with English support, is besieging Macbeth’s castle. The king realizes that his positions desperate, but never loses courage, even when he finds 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 should be so, as the justice should be established only when the norms of the society are followed. Like all poets, Shakespeare employed language in a way which is not usual for the making of direct statements in prose. A great deal of what he wrote is in fact not prose but verse. Prose is used for the humbler and comic characters, while the nobler ones use verse.

2. The main part

2.1 Macbeth and Lady Macbeth’s characters

Askad Mukhtor – is people’s writer of Uzbekistan one of the great Uzbek authors. He is known not only as a well – known writer, he is famous for his rich poetry too. So is he in the field of translation. He admires Shakespeare and right he is when states «Macbeth» as a work of a genius. He considers «Macbeth» a modern tragedy which nowadays sounds more contemporary up to date, though it was created almost 400 years go to be more exact – 394 years (Асқад Мухтор. Да. асар. Ушбу фожеа таржимасига ёзилган «Оқ йўл» сифатида қаъбул қилиш мумкин буни.) Вильям Шекспмрю Макбет. Ташкент. Ўзбекистон. ЯКСМ марказий комитети «Ёш гвардия» нашриёти 1987.

Macbeth is a great warrior, brave and we, hear about him at the beginning of the tragedy, here the blooding badly captain tells his deeds in the Battlefield as Duncan – king of Scotland wants to find out the winner of the battle Malkolm asked the captain (by the way the latter saved Malkolm from captivity). Here is the captain’s report about the revolt the newest most recent state i.e. the latest state of the battle.

Doubtful it stood,

As too spent swimmers, that do cling together

And choke their art The merciless Macdonwald

(Worthy to, be a rebel, for to that

The multiplying villainies of nature

Do swarm upon him) from the western isles

Of Kernes and Gallowglasses is supplied;

And fortune, on his damed quarrel smiled.

Showed like rebel’s whore: but all’s too weak For brave Macbeth (well he reserves that name), Distaining Fortune, with his brandished steel, which smoked with bloody execution, like Valour’s minion, carved out his passage, till he faced the slave;

Which ne’er shook hands, nor bade farewell to him Till he unseamed him from the nave to the chaps, And fixed his, bead upon our battlements.

Duncan O valiant cousin! Worthy gentlemen! (I. II. 3–5 p)

2.1.1 Jamol Kamol’s translation

In Uzbek these lines have two translation versions. One of theme was done by Jamol Kamol and the next by Sadulla Ahmad. (Sadulla Ahmad’s translation is published in 1987 in «Ёш гвардия»publishing house in Tashkent. As the base for this translation he used «Macbeth» Russian translation is published in «Hudojestvennaya literatura» Publishing House. Moscow 1967). Before introducing one more Uzbek translation of the afforested passage we want to mention that the performer of «Macbeth» was Boris Pasternak. Sadulla Ahmad used his translation text (Boris Pasternak’s translation are still considered very nicely done, though they were translated long 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 ҳеч кўз 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

Бекор кетди! Шону шуҳрат соҳиби Макбет

Бу олқишлар ҳали камдир унинг шаънига!

Пўлат шамшир зарби билан йўлин тозалаб,

Кўзига қон қайнаб келган интиқом янглиғ

Пайдо бўлди хиёнаткор олдида бирдан!

Ҳурмат билан қўлларини сиқиб турмади,

Видо айтиб, аччиқғаччиқ хўлашмади ҳам.

Қилични бир серман ила бошини кесдиғю

Туғ учига қолпоқ қилиб қўндириб қўйди!

And now listen to Duncan’s valme concerning Macbeth’s courage.

Дункан:

Бизнинг жасур қондошимиз! Номус тимсоли!

It seems to us that is necessary to address the Russian text, it served as a base for both of the Uzbek translators: How let us see how these lines are caught by Jamol Kamol:

Сержант:

Еще не выяснилось, чья возьмет.

Противники – как два пловца, которым

Борьба мешает двигаться в воде.

Безжалостьный Макдональд, сочетавший

В себе все низости бунтовщика,

Набрал отряд ирландских копьеносцев

И поднял западные острова.

Судьба старалась поддержать повстанца,

Но ничего поделать не могла.

Храбрец Макбет (он назван так по праву)

Пробил себе отважно путь мечом,

Дымившимся кровавым воздаяньем,

И, став с изменником лицом к лицу,

Руки не жал, прощальных слов не тратил,

Но голову ему с размаху снес

И водрузил ее на частоком

Дункан:

Наш храбрый родич! Части образец!

(Вильям Шекспир. Трагедии. Сонеты. Перевод с английского. Издательство «Художественная литература». Москва. 1968. стр. 480–562).[1]

Macbeth himself dominates the drama: the play is his for it is, the story of his vise and fall. Before he first appears he is spoken of as brave and noble, and Duncan willingly honours him as a trusted lord; he calls him «valiant cousin» and «worthy gentleman». But his character, like the day he speaks of when we first see him, is «foul and fair» and his figure is truly tragic,for he is a man, not wholly bad, against whom the forces of evil are too strong, and their temptations too attractive:

He is ambitious, and the witches he suddenly comes upon when he first appears in the play are an image of the evil forces which encourage this ambition. He lusts for power and they prophesy he will be king. To Macbeth these prophecies can be neither good nor bad; for if bad; how could they so soon begin to come true? And if good, why do his thoughts so soon turn to the idea of murdering King Duncan and taking his place on the throne of Scotland? Throughout the play Macbeth 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 of nobility. This is shown when he wants to talk over with Banquo the prophecy of the witches:

Think upon what hath chanced;

and at more time,

The interim having wighed it, let us speak

Our free hearts each to other.

(I.III. 153–155)

Макбет:

Сен бу ерда ўтганларни пухта ўйлаб кўр.

Икковлашиб, ҳушимихз сал жойига тушгач,

Ҳаммасини келишамиз очиқчасига. (I.III. 21 бет)

It is felt in many other places, leading him to an expression of the condition of damnation: thinking of the consequences of his crimes he says, he will not worry about, what might happen, to him, in the next world so long as he is granted peace of mind in this:

Macbeth:

If it were done when, it is done, then’t were well

If were done quickly: if the, assassination

Could trammel up the consequence and catch

With his Surcease success, that but this blow

Might be the be-all and the end – all here…

We’d jump the life to come.

But here upon this bank and shoal of time, We’d jump the life to come, _ But in theses cases,

(I–VII. 1–7)

Макбет:

of damnation: thinking of consequences of his crimes he says he will not worry about, what might happen, to him, in the next world so long as he is granted peace of mind in this:

Macbeth:

If it were done when, it is done, then’t were well

If were done quickly: if the, assassination

Could trammel up the consequence and catch

With his surcease success; that but this blow.

Might be the be-all and the end-all here…

We’d jump the life to come.

But here upon this bank and shoal of time,

We’d jump the life to come, – But in these cases,

(I.VII. 1–7)

Макбет:

Добро б удар, и делу бы конец,

И с плеч домой! Минуты бы не медлил,

Когда бы вся трудность заключалась в том,

Чтоб скрыть следы и чтоб достичь удачи,

Я б здесь, на этой отмели времен,

Пожертвовал загробным воздаяньем.

Но нас возмездье ждет и на земле.

(I.VII. 496 p.)

Before passing to the analysis of this extract = passage want the reader’s to pay attention to the following; In the original, I mean in the stage direction. We have the word hatboys in Russian it is given as» Трубы», in Uzbek consecutively as «Бурғу». Server = chief waiter = кравчийтовабоши;divers = various несколькослуг = таом кўтарган хизматкорлар.

The first sentences of the passage should be understood in this way; «If it were done»,» done quickly» – If it (the murder) were completely finished when we do it, then it would be a good thing if it were (we do) (it) «done quickly». In Uzbek the meaning these first lines are understood properly and has the following order:

Mакбет:

Бир зарб билан ҳаммасидан соқит бўлардим, бир дақиқа, бир лаҳза ҳам қараб турмасдим. Токи тахтга эришмоқнинг бсхтликлари фақат изни яширмоқдан иборат бўлса! Қулай фурсат қўлин чўзган худди шу дамда, у дунёнинг бор роҳатин қурбон қилардим. Асср қасос кутар бизни ер юзида ҳам:«If the assassination, his surcease success» if the actual murder could catch up = trammel up the consequences and could come to a final result with Duncan’s death if would be a good thing to do it quickly «that but this blow» – «If only this blow» «the be-all and the end all» – the existence and conclusion in itself, but leads to other things. «But here – even here, i.e. in this world only». «The bank and shoal of time, shoal – a narrow strip of land between water». The image is of life as a narrow bank thrusting acto the great seas of enternity. The word jump is, used as risk as «risk». The life to come – «the life in the next world after death», and what might happen there. «In these cases» – «in situation such as these».

Here we must state one more fact. In the original the text is given = supplied with nice commentaries. These help any translator (not only Russian translators), even Uzbek translators as the meaning of each word, phrase or clauses are explained so that the essence of the lines be more understandable. It is very nice as to understand Shakespeare after more than 400 years is really difficult. It is difficult not only for foreign readers but for the English as well. As the meaning of several lexical units, word combinations, expressions have gone various changes.

But even this is impossible and he knows it. He makes up his mind to go on, further with plans for the murder of Duncan. His wife, however, persuades him to go forward – Holinshed writes of heras(20) «burning in unquenchable desire to bear the name of queen» – and after some agreement between them, Macbeth kills his king while he is a guest in Macbeth’s castle: By his crime Macbeth has bought the kingship through evil, though many must doubt his honesty, no one is brave enough to defy him openly when he kills the grooms (and not only the groom we want to add) to make it seem that they are guilty. Even the lines which Macbeth speakes when he announces the murder ring false and hollow, and arouse the suspicious of Malkolm and Donalbain, who flee from Scotland. Macbeth is quick to notice this, and turns suspicion on to them.

Macbeth with eyes open to the hideousness of his offense, a brave, imaginative and morally sensitive man commits a stealthy murder for gain (прибыл).

His victim is his guest his benefactor, his kinsman and his king; and to shield himself from detection he incoutinently (21) sacrifices the lives and reputation of two innocent underlings. The retribution is as appaling as the crime – his soul’s slow death in seef – harrow, degradation, loneliness, and despair, then his bloody extermination.

Why should such a man do such evil? The play’s style and a few shreds to literary evidence suggest. 1605–06 as the period of composition; so it followed «Hamlet», «Othello» and possibly also «King Lear», those other tragedies in which destruction 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 whom we identify is the one who possessed: this citadel crumbles from within. The supernatural soliciting of the Weird Sisters, the strenuous persuasions of the write, do not explain Macbeth’s guilt. They enhance its power over our imagination by revealing stages is its course and suggesting forces in perilous balance.

In Holinshed’s «Chronicle», from which Shakespeare drew his material, adding to the 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).

In the play they are Elizabethan witches, their prescriptive powers subtly curtailed; they predict, abet, and symbolize damnation but do not determine it. Any sense that Macbeth is a helpless victim, his crime predestined, his will bound, as canceled as the play proceeds.

Banquo:

Good sir, why do you start and seem to fear

Things that do sound so fair?

The prophecies, nevertheless, without explaining or excusing Macbeth's crimes, impress us as mitigation:

powerful and wily forces are speeding him on his course. The more earthly influence of his Lady’s persuasion impresses us in a similar way.

In a 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 of danger that follows, she at least is all for him. This is one of the marvels of the play, the manner in which this frightful collusion proceeds in an atmosphere of domestic virtue without the effect of irony. If the evil is great it is also limited, even in respected to the mallfactors.

After Lady Macbeth’s collapse, her initial ferocity is remembered as something false to her wise and kingly physician seems to us not misplaced.

Macbeth:

We hear our bloody cousins are bestowed

In England and in Ireland, not confessing

Their cruel parricide, filling their hearers

With strange invention: but of that tomorrow.

When there withal we shall have cause of state

Craving us jointly. Hie you to horse; adieu,

Till you return at night. Goes Fleans with you?

(III.I. 29–35 p)[2] .

Макбет:

Узунқулоқ ҳар хил гаплар эшитаяпмиз;

Қонсираган, кўрнамак, қўш фарзанднинг бири

Англияда яна бири Ирландияда

Гарданидан соқит қилиб падарқушликни,

Эс ғазабин ўзларидан чалғитмоқ бўлиб,

Ҳар хир туҳмат, чўпчак тўқиб тарқатармишлар

Чорасига бамаслаҳат ўйлаб, пишитиб,

Иш тутармиз. Оқ йўл берсин. Маҳтал қилманг. Хайир.

Базмда юз кўришгунча! Ҳа ўғлингиз Флинс сиз биланми? (С.А). (61–62 б).

Макбет:

Бизга етишди –

Қотил жиянлар ҳақида миўғмиш хабарлар.

Ирландия, Англия мулккида улар

Паноҳ топиб, рад этишар падарқушликни.

Турли-туман уйдирмаю ёлғонлар билан

Одамларни чалғитишар. Буни эртага

Ҳокимият ишларини кўрган кенгашда

Гаплашамиз яна. Майли, ҳозирча – хайр.

Биз кутамиз. Ҳа, Флиенс ҳамроҳингизми?

(Ж.К. 241 б).

«We hear» is given in Uzbek us «Узунқулоқ ҳар хил гаплар эшитаяпмиз» Two words turned in to a whole sentence. In English the Uzbek sentence can be understood as! They say all Kinds of sentences = talks»

«If we translate we hear» is «Бизнинг эшитишимизча». Turning two words into a whole sentence doesn’t mean here any violence of the origin, on the contrary the thought of the writer is caught truly and given nicely. In Russian Macbeth speaks thus:

Макбет:

Одинизбратьев – кравопийц, послухам

В Ирландии, и, в Англии – другой.

Они отцеубийство отрицают.

И сеют басни для отвода глаз

Об этом мы на завтрашнем совете

Подумаем. Счастливо пути.

До скорого свиданья. Торопитесь.

Вы с Флинсом едете? (III.I. стр. 513)

The lines, cited above sound thus in Uzbek:

Sadulla Ahmad translated from Russian

(from Boris Pasternak) and, братья – кровапийцы are given as «қонсираган, кўрнамак»

Макбет:

Сен, азизам, юра бер шундоқ

Маъсум бўлиб, ҳеч нарсадан бехабар бўлиб,

Кейин нашъу намоларга тўларсан қандоқ. (Ж.К). (III.2–222 б).

Макбет:

Иш битгандан сўнг, билиб ўзинг, қойил қоласан.

(С.А.). (III. 70 б).

At the beginning Lady Macbeth teaches Macbeth what to do, how to behave and in this position 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 quickly descends upon him in a most horrible form. At the Bonquet prepared as if to celebrate Macbeth’s feeling of final safety, Banquo’s ghost comes to haunt him.

(1. Вильям Шекспир. Танланган асарлар. Беш жилдлик. Тўртинчи жилд. Макбет. 157–296 бетлар. Тошкент. Ғофур Ғулом номидаги Адабиёт ва санъат нашриёти. 1985). This is a terrible punishment both for his crime and also for the evil pretence of expecting Banquo to be at the banquet. Lady Macbeth cannot see the ghost, but such is the sympathy between her and her husband, she knows or guesses all that has happened, and begins to make excuses for him. He cannot support her in own pretence, and when the ghost appears a second time Macbeth loses his nenu.

He now stands in great need of encouragement and goes to the promises concerning his fate, but the last apparition is none other than Banquo’s ghost, which brings Macbeth back to his latest crime. The prophetic promises turn out to be as evil as the murders; Macbeth is «possessed», and, knowing he is now too far gone in crime to turn back, he vows that in future he will think and act at the same time:

Macbeth:

From this moment

The very firstlings of my heart shall be

The firstlings of my hand. (IV.I. 146–8).

Макбет:

Мендан кўра сен эрчилроқ чиқдинг-ку, замон,

Бузибю Қўрқинч ниятимни. Ҳаракат энди.

Учқур қарор бтлан юрсин елкадош бўлиб,

Йўқса, қўлдан кетиб қолар. Бугундан бошлаб.

(Ж.К). (IV.I. 249 б).

Макбет:

Ғафлат босибди.

Вақт, сен қора ниятимнинг олдини олдинг

Лаънат! Минбад қароримни кечиктирмайман.

(С.А.). (IV.I. 99 б).

Макбет:

Да будут.

Созданья чувств, родясь созданьем рук.

After this, Macbeth’s touches of humanity become rarer/ The murder of Lady Macduff and her children is possibly even more horrible than his other crimes, because it seems carried out simply to accord with his vow, and without the least reason. He is driven into his castle of Dunsinane and eventually fights with the ferocity of a wounded animal. When he is told of his wife’s death his humanity momentarily returns. He thinks of the passage of life, so rapid and apparently so meaningless and is awoken to the immediate situation by the message that the wood of Birnam is in fact moving. The first evil promise of the witches has proved worthless; but he fights on, only to meet at last his enemy 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 the sense of safety which the witches promises had given him. But evil has killed hope in him, and he meets his death because he has put his trust in what was either evil or worthless Banquo’s warning had once shown him the danger, but he had been either unwilling or unable to respect it:

The instruments of darkness, …

Win us with honest trifles, to betray’s

In deepest consequence. (I.III. 124–6).

Банко (секин Макбетга)

Жуда кўп вақт, бошга кулфат тушгиси келса,

Жаҳаннамнинг тили билан башорат қилиб,

Осонгина ишончингни қозонадию,

Имонингни қўлдан олиб, чалиб кетади.

(С.А.) (I.III. 19 бет).

Банко (в сторону, Макбету)

Но духи лжи, готовя нашу гибель,

Сперва подобьем правды манят нас,

Чтоб уничтожить тяжестью последствий.

(I.III. стр. 489).

Duncan is, with Banquo, in stringing contrast to Macbeth. As king of Scotland, Duncan is taken to be an old man, and appears in the play to be honourable, trusting and humble in carrying out the duties of his position. We see him first when his country is hard-pressed by invaders from Norway and rebels aty home. In this struggle Macbeth distinguishes himself as a great fighter and Duncan hears good 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, too ready to accept what seems to be true:

There’s no art

To find the mind’s construction in the face:

He was a gentleman on whom I built

An absolute trust. (I, IV. 4–14) 27 p

Дункан:

Вот как обманчив внешний вид людей!

Ведь человеку этому я верил

Неограниченно. (I.IV.стр. 490)

Дункан:

Афсуски, биз одамларнинг ичидагини

Юзидаги жилвалардан ўқий оламиз.

Бўлмаса, мен шу вассалнинг садоқатига

Чин юракдан ишонардим. (С.А.) (I. II 22 б)

Duncan is, there fore, powerless when he has to face evil and he puts himself gently and meekly into the hands of hostess, without taking normal precautions of having an armed quard posted near where he is sleeping. The two attendants he has 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 of loyalty 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 their ambitions in. It is Lady Macbeth who has in the end some sort of finer feelings about him: Here Lady Macbeth‘s thoughts:

Леди Макбет:

Дункан мабода

Ухлаганда падаримга ўхшамасайди,

Унда ўзим \амма ишни этардим ало.

Эрим!

(Ж.К.) (II. 2.192.б)

Lady Macbeth:

Had he not resembled

My father as he slept, I hadn’t done.

(II.II. 12–13 p)

Леди Макбет:

Когда б так не был схож Дункан во сне

С моим отцом, я сладила сама бы.

(II.II. стр. 501)

Макбет хоним:

Эвоҳ, Дункан уйқусида марҳум отамга

Бунча ўхшаб 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 to Macbeth in his ambitions, for their goodness contrasts too plainly with his wickedness. Like Duncan too, Banquo trusts too readily in appearances; they are both too easily deceived into thinking all is well in Macbeth’s castle because its situation is attractive:

Banquo:

This quest of summer,

The temple – naunthing martlet, does approve

By his loved mansionary that the hearen’s breath

Smells wooingly, here; no jultly, frieze,

Buttreis, nor coign of vantage, but this bird

Hath made his pendent bed and procreant cradle.

(I.IV. 3–8 p.)

Банко.

Тому порухой

гнездо стрижа. Нам этот летний гость

Ручается, что небо благосклонно

К убежищу. Нет выступа, столба,

Угла под кровлей, где бы не лепились

Подвешенные люльки этих птиц. (I.6.стр. 495)

Банко.

Жарқалдирғочлар

Гапингизга кафил, шоҳим. Бу ёзлик меҳмон

Турар жойнинг соўлигидан дарак беради:

Кўр кузатдим, кўзлагани баҳрали манзил,

Бирор устун, туртиб чиққан бтрор бурж йўқки,

Беланчакдай солланмасин очиқ ҳавода.

(С.А.) (I. 6. 28–29 б)[3]

Banquo is close to the king and also to Macbeth; he arrives with Duncan at Macbeth’s castle, and when the party for king is over, he meets (shows that his) Macbeth after midnight and shows that his thoughts are full of the prophecy of the witches, whom he and Macbeth came upon at the beginning of the play. They have time to talk at length, yet Banquo has already sensed something evil springing up in the Macbeth’s mind, for he says, half to himself, half to Fleance:

Банко:

Святые силы!

Меня избавьте от проклятых дум,

Нас искушающих в ночное время.

(II. 7. с. 499)

Банко:

Кечалари умримизни эговлагувчи

Ваҳимали хаёллардан мени қутқаринг!

(С.А.) (II. 1. 35б)

Банко:

Аммо ётиб ухлаганим йўқ, эвоҳ азизлар,

Тунги нопок хаёллардан, асрангиз мени.

(Ж.К.) (II. 1. 188–189 б)

Here we see Banquo who is very much anxious because Duncan has been murdered. We notice 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. Once having entered the read of crime he has not strength of stopping, coming down from this road. He sees forward to his own ineritable death. Tragic events take place in the background of dark nights, in the darkness of which the three images of witches flash = gleam. Like Three Weirds of an antique mythology they gain undivided power over Macbeth’s fate.

The word «bloody» is a very often come across in this work, it runs all through the tragedy. The same can be said about the word tyranne. We often meet this word too. The theme of the tragedy is about a bloody usurper, who first achieves his goal = aim but evils, recons with for his crimes. Here also the tragedy end with the glory of positive forces, the destroyed harmony is erected in the state. «Macbeth» is near to «Richard III» where we see much blood.

Macduff discovers that Duncan did not die, he has been murdered, and Banquo expresses his greef simply and from the beath. He soon voices his suspicions of Macbeth.

Banquo:

Thou hasf it now, king, Cowdor, Clames, all,

As the weird women promised; and I fear,

Thou playedst most foully for’t; yet it was said,

If should not stand in the posterity;

But that myself should be the rot and father

Of many Kings. If there come truth from them

(As upon thee Macbeth, their speeches shine),

Why, by the verities on three made good,

Mat they not be my oracles as well,

And set me up in hope? But, hush or more.

(III.I. p 91)

Банко:

Ҳам қиролсан, Ҳам Гламис, Кавдор бегисан,

Гарчанд бир охз гумоним бор ҳалоллигингга,

Тўғри чиқди, рост айтибди кароматгўйлар.

Буюрмагай авлодингга лекин тожу тахт,

Қиролларнинг падари ва илдизи бўлиш

Сенга эмас, балки менга насиб айламиш.

Лекин алдашмаса ўша бибилар агар.

(Алдашмаса керак, чунки қисматинг – гаров)

(III.I.212).

Банко:

Теперь ты всё, что предсказали сестры:

Гламисский и Кавдорский тан, король,

И я боюсь, ты сплутовал немного.

Однако или же возвещено,

Что твой престал не прейдет к потомкам,

А я – начало ветвы королей.

Но если все сбилось с тобой, не ыижу

Причины не надеяться и мне.

Я верю в то, что мне они сулили.

Но полно, тише!

(III.I. стр. 512)[4]

In Uzbek Sasdulla Ahmad read these lines as follows:

Банко:

Ҳаммасига эришдинг сен! Аммо қойилман,

Ул алвасти ҳамширалар айтгани келди.

Гламис, Кавдор ҳокими, сўнг қирол ҳам бўлдинг!

Қўрқаманки, бирозгина найрангинг ҳам бор.

Кароматга кўра, лекин, тахт ворислиги

Менинг наслу насабимнинг насибасидир.

Менга ваъда қилган, сенинг пуштингга эмас!

Ҳа, ҳа1 Менинг шохларимда шоҳ болалайди.

Башоратнинг боши ҳақли, – ноумид шайтон, –

Жон тикаман, жодугарлар лафзи халолдир.

Мен уларга ишонаман. Шошма, ким келди?

(III.1. 59–60 б)

But he does nothing; perhaps he is satisfied for the moment to watch events, and in any case he too is concerned in the witches prophecies. But for this he is given no time. Macbeth quickly convinces two murderers that Banquo is the person who in secret makes them suffer cruelty and injustice, and, when Banquo is returning with his son in the evening after a day away from the castle, he is murdered. Macbeth pretends that he is expected at the banquet arranged for that evening, and his ghost, covered in blood, comes and sits in Macbeth’s own chair. Macbeth is over – come with the horror of the apparition, and the party breaks up.

He is, nevertheless, to see Banquo once again. The witches show Macbeth eight – kings, with many more reflected in a mirror, and the ghost of Banquo following them. this signifies to Macbeth that although Banquo has been murdered by his orders, Fleance, Banquo’s son, has escaped, and is destined to be farther of a line of kings; although Macbeth has won the throne, it is foretold that his children will never follow him in a royal line.

Macduff is nobleman who discovered the murder of Duncan. Commanded to call early on his king, he enters the king’s chamber and quickly returns with horror in his eyes and voice. Macbeth pretends not to understand him. It is Macduff who first expresses surprise at Macbeth admitting that he had himself murdered the grooms who were attending the king. «Wherefore did you so?» he asks, and, since he does not seem to be convinced by Macbeth’s answer, Lady Macbeth pretends to faint so that attention is drawn away from her husband. Macduff asks help for her. But his suspicions are aroused; he leaves for his own part of the country and then makes his way to England.

His wife and children are left behind in Scotland, and Lady Macduff is unable to understand his flight. Rosse tries to persuade her that her husband has left for the good of the country, and implies that he is in England to raise forces to oppose the tyrant Macbeth Rosse says he is:

Rosse:

But for you husband,

He is noble, wise, judicious, and best knows

The fits 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 в наше время. Ничего

Я не прибавлю. (IV. 2.стр. 536)

Росс:

Биздан кўра, у билади нима қилишни.

Ёвқур ақли асқатади шундай пайтларда.

Бошқа бир гап айтолмайман. Замона оғир.(IV. 2. 100 б)

But this is no comfort to his wife, who is killed with her children by order of Macbeth.

In England Macduff has met Duncan’s son Malkolm, and a at first Malkolm wishes to test Macduff’s loyalty; he is afraid that Macbeth may have sent Macduff to trick him into telling his secret plans for an attack. Macduff, an honest and straight – forward person, is at first guit confused at Malkolm’s words. Since Malkolm makes himself out to be even more evil than Macbeth. But when all is explained, Rosse enters and announces a more bitter tragedy, the murder of Macduff’s family. He cannot believe that so purposeless a crime is possible:

Macduff:

He has no children. All my pretty ones?

Did you say all? – O hell – kite! – All?

What, all my pretty chickens, and their dam,

At one fell swoop? (IV.III. 249–19)

Макдуф:

Но Макбет бездетен!

Всех бедненьких моих? До одного?

О Изверг, изверг! Всех моих хороших?

Всех ты сказал? И женушку мою?

Всех разом. (IV.III.стр. 546)

Макдуф:

Аммо Макбет, оласиз –да! – Битта қўймай – а?

Бечорагиналаримнинг барчасиними? –

О, одамхўр! – Ҳаммасими? Вой, ширинларим!

Ёппасига? Хотининг ҳам сўйилди, дегин?!

(С.А.) (IV. 3. 117 б)

Макдуф:

Гўдакларим барини – я? Битта қўймасдан!

О, дўзахий калхат! Барча жўжаларимни

Бир ҳамлада ҳалок этмиш онаси билан! (Ж.К.)

At first he had been unable to express his sorrow in words: now he tells his determination to take revenge on Macbeth, and to do it quickly.

The first Apparation called up by the witches had warned Macbeth of Macduff, confirming suspicions which Macbeth claims to have had already. Now the play leads to their final meeting. Macduff shows that the witches’ words concerning Macbeth’s safety are useless, since they «palter» «in a double sense». «None of woman born» seemed to mean «nobody at all»; but in another sense it means «no child to whom a woman has given natural birth».

Macduff tells Macbeth that his mother did not «bear» him (in his second sense), and they fight until Macbeth is killed. Macduff leaves and returns after a moment with Macbeth’s head carried in triumph.

Macduff represents the main opposition to Macbeth. He is the chief instrument by which Malkolm is able to obtain the throne of his father Duncan, and he everywhere acts with good sense, bravery and nobleness of nature. Only his wife doubts the wisdom of his flight to England, calling it «madness», and a mixture of fear and treachery. She accused him too of lacking «the natural touch», the guality of humanity, but, when told of the murder of his family, he says simply, If Macbeth’s ambitions had good ends, not evil ones, his wife Lady Macbeth would have been the perfect partner for him, for she completes his personality, and provides just those qualities which he lacks. If the play is complete in the form in which we now know it, there exists an understanding between Macbeth and his wife which depends on feelings rather than words. For when we first see Lady Macbeth, she is reading a letter from her husband telling her of the witches prophecy and particularly that he is, according to that prophecy, destined to become king. She, too is intensely ambitious, and cannot bear even to mention the kingship directly.

But she is afraid that he is evil enough to obtain it by the most direct means. She reveals her own nature most fully in the address she then makes to the spirits of evil:

Lady Macbeth:

Come, you spirits

That tend on mortal thoughts unsex me here,

And fill me, from the crown to the toe, top – full

Of direst cruelty! … (I.V. 38–41)

Леди Макбет:

Сюда, ко мне злодейские наиться

В меня вселитесь, бесы, духи тьмы!

Пусть женщина умрет во мне. Пусть буду

Я лютою жестокостью полна. (I.V. стр. 493)

Макбет хоним:

Қани сиз эй, ёвузликнинг топқирликлари,

Зулмат руҳи қабоҳатлар қалбимга келинг!

Сафро билан тўлатинглар сийналаримни!

Қонхўрликнинг ваҳший кучи танамга тшлсин! (С.А.) (I.V.27 бет)

Макбет хоним:

Ҳай қайдасиз, келинг, ўлим фаришталари!

Ўзгартиринг жинсимни. Ва ёвузликларга

Чулғаб олинг мени бошдан – оёғим қадар. (Ж.К) (I.V. 80 бет)[5]

Realizing that her husband’s hopes of the crown may be impeded by his feelings of humanity, she prays that her own similar feelings may be suppressed. This proves that she not the hard, cold, unfeeling villain of the piece, but one who, if she is to attain what she aims at, will also have to reckon with those finer feelings which are common to most human natures. But she is, perhaps, more purposeful, less ready to consider secondary matters (even those which concern conscince), and this is why she is, unlike her husband, has no need of supernatural encouragement, and therefore why none is given to her.

When her husband comes soon often her first appearance, they understand one another exactly, without saying so, each realizes that Duncan will not leave the castle alive. Lady Macbeth seems to wish that the whole plan should be put into her hands, for she thinks she is now supremely firm in her purpose. But when the time is right for the murder, and she has urged Macbeth’s feelings; for, as the noise of Macbeth calling out at the back suggests that he has been discovered and has failed in his attempt, she admits that she could not have done the deed her self:

He could not miss them – Had he not resembled

My father as he slept, I had don't – My husband

Alack! I am afraid they have awoked,

And’t is not done: – the attempt, and not the deed,

Confounds us. – Hark! – I laid their dangers ready.

However, even if her actions are hindered, she thinks quickly. Her impassioned speeches when Macbeth first comes to her in the play are in significant contrast to those in which she smoothly and humbly flatters her quest. Duncan with her offers of service. And so it is through the play: Macbeth is again and again relieved of burdens and accusations because his wife is ready to excuse him and explain away

What seems so evil. When Macbeth has murdered Duncan he is haunted with the vision of murderous hands turned against him. His wife is not so troubled, and when the knocking begins at the outer gate she is ready with measures to conceal the crime. She sees the blood on his hands, and says;

A little water clears us of this deed

How easy is it then! You constancy

Hath left you unaltended. (II. 2. 66–68)Макбет хоним:

Тетикроқ бўл, тан!

Қўлингни юв, кўз – кўз қилма шармисорликни.

Қўлингдаги қонларни юв, юқи қолмасин. (С.А.) (II.2.42 б)

(Ж.К.) (II. 2. 195 б)

And she realizes that they must quickly get on their night – clothes or people will wonder why they were not in bed when Duncan was murdered. And when, often the discovery of the murder, Macduff asks Macbeth why he murdered Duncan’s attendants and Macbeth’s answer is too sensational to be very convincing, his wife quickly notices it, and pretends to faint so that attention is disfacted from her husband.

For the murder of Banquo, Macbeth seems at first to be less dependant upon his wife. It is he who plans it with the two murderers, and then tells his wife about it. She is at first unsure, but is soon convinced, and then Macbeth plays the lordly husband:

He cannot know how soon he will once more need to depend upon her. Banquo’s ghost comes to haunt his state banquet. Lady Macbeth again quickly understands what is happening, though only her husband can see the ghost, and tries to explain it away:

Sit, worthy friends. My lord is often thus,

And hath been from his youth. (III. 4. стр. 523)Макбет хоним:Йўқ, қўзғалманглар.Бу касали ёшликдан бор, хавотирланманг.

(III. 4. 77 б)

Леди Макбет:

Прошу сидеть.

Все это вмиг пройдёт. Не обращайте.

Вниманья, чтоб припадка не продлить.

At the 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: he grows worse and worseQuestion enrages him. (III.IV. 117–118)

Ўтинаман гапга солманг, у бетоб ҳали. (Ж.К.) (III.V. 223 б)

Не говорите с ним. Еще все хуже.

Расспросы злят его. Прервемте пир. (стр. 525).

Сўз ташламанг, қирол ҳамон ўзида эмас.

Гап сўраса қутуради. (С.А.) (III. 4. 81 б)

Still as if the incident were a common one.

She really thinks he needs sleep, and as

Soon as the quests have left in confusion and they have both mentioned Macduff as the next centre of opposition, Macbeth tries to rest.

Lady Macbeth, however, is unable to sleep in peace. In the great scene at the beginning of Act she appears with a taper in her hand, walking in her sleep and reliving her experience and thoughts at the murder of Duncan. Again she speaks words of encouragement to her husband; she speaks her thoughts on the old man’s bluding, but mostly she thinks of the blood on her own hands which no water has been able to wash off:

Lay Macbeth:

Hare’s the smell of the blood still:

All the perfumes of Arabia will not sweeten this little hand. (V.I. 40)

Леди Макбет:

И рука все еще пахнет кровью. Никакие

ароматы Аравии не отобьют этого запаха

у этой маленькой ручки! (стр. 548) Макбет хоним:

Қўлимдан ҳали ҳам қон иси бурқсияптию

Арабистоннинг бутун мушки анбар –

лариям шу кичкина қўлчалардан бу исни аритолмайди! (IV. I. 123 б)[6]

This reveals without doubt who is responsible for the crimes, and shows that Lady Macbeth is no more able to free herself from conscience than her husband is.

She is not seen again. A cry of women is heard when Macbeth is pufting in order the defences of his castle so as to be ready to face a siege, and this cry announces her death. She, too, has been unable to sleep, and her mind has become disturbed. (Malkolm and others believe that she took her own life). To Macbeth, when he hears the news, life seems puzzling and without value. He has lost his best support and from now on he must fight alone.

Lady Macduff plays a small but much – loved part in the tragedy, since in a world of evil she and her son represent confused and lovable simplicity. Her husband has left her, she does know why. Rosse tries to explain that Macduff has fled for his country’s good, but Lady Macduff is unconvinced, and bitterly grieved:

All is the feat, and nothing is the love;

As little is the wisdom, where the flight

So runs against all reason. (IV.II. 12–14)

Rosse himself does not seem to be really convinced, and is near to lears. He leaves and there is an exchange between Lady Macduff and her son in which the tragedy of the situation is heightened by what at first seems artful word – play on the subject of husbands and fathers, although this is really a cover to feelings of tender love. The confusion reaches its height when Macbeth’s agents Murder Lady Macduff, although she has done no harm.

The Witches 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 more evil than the simple, stupid old women who as «witches» were supposed (stupid old) by some to do harm to individuals through the use of magic powers. The word witch is, in fact, used only once in Macbeth (other than in the stage directions): the sailor’s wife mentioned by the first witch (I.III.) called her «witch» and was evidently severely punished for it. Elsewhere the women are called «the weird sisters», i.e. the sisters of fate. But even this file is unadeguate, since, whatever they claim to have done to their other victims, they do not bring fate to Macbeth.

In stead they try to persuade him to do wrong, or invite him to do it by deliberately deceiving him about what the future will hold. They embody evil and the respect which normal human beings give to good; they chant together «Fair is foul, and foul is fair» at the end of the first scene. For Macbeth they represent the bad forces struggling for his soul; his conscience warns him against them, and by wordplay, which is one form of deception.

To Banquo, who is less inclined than Macbeth to ignoble ambitions, they are content to prophecy, and their prophecies are favourable; his children are to be kings even though Macbeth, not he, will win the throne. To Macbeth they give some 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 warns him that Macduff will be a sourse of trouble to him; the second and third deceive him with hopeful prophecies which prove with evil forces, for before his last visit to the weird sisters tells his wife:

2.1.2 Sadulla Akhmad’s translation

Macbeth himself is as humane in his reflections as he is inhumane in his acts. Like lago he is a woralizing villain, but his moralizing is not clever aphoristic display. It comes from his heart sometimes like an echo of ancient folle beliefs, If will have blood, they say: blood will have blood. Stones have been known to more and trees to speak; angures and understood relations have (forth). By maggot – pies and choughs and rooks brought forth. The seevet’st man of blood – what is the night? (III. 4. 122–126)

Макбет:

Он хочет крови. Кровь смывают кровью.

Преданье есть: сходили камни с мест,

Деревья говорили, и по крику

Сорок, грачей и галок колдуны

Разыскивали скрытого убийцу.

Который час?

Макбет:

Ҳа, қонсираб келибди, у, қонни қон ювар.

Ровийлардан эшитганман: қачон тош кўчиб,

Дов – дарахтлар тилга кирса, қрға қағиллаб,

Олашақшақ шақилласа, – жодугар фолбин

Кушанданинг яширинган жойин очармиди.

Кеча ярим бўлдимикан, бунча чўзилди? (С.А.) (III. 482 б)

Макбет:

У хун сўрар, талаб қилар яъни қонга қон,

Авваллари бундай пайтда тошлар суриниб,

Тилга кириб, сўз қотарди ҳатто оғочлар.

Қотил қайга бекинмасин, уни муқаррар

Қарға – қузғун зағчаларнинг изидан бориб.

Ихқуварлар топишарди. Хўш, соат неча? (С.А.) (III. 234 б)

Macbeth:

Sometimes like religious revalition, virtues. Will

plead like angels, trumpet – tongned against. The

deep damnation of his faking – off;

And pity, like a naked alu – born babe

Striginy the blast, or heaven’s cherubin housed

Upon the sightless carriers of the air,

Shall blow the horrid deed in every eye

That’s fears shall drown in wind. (I. VIII. 19–25)

Макбет:

И, наконец, Дункан был как правитель

Так чист и добр, что доблести его,

Как ангелы, затрубят об отлищенье.

И в буре жалости родится вихрь,

И явит облака с нагим младенцам,

И, с этой вестью облетев весь мир,

Затопит морем слез его. Не вижу. (стр. 496)

Macbeth:

No voice in literature has sounded with greater sadness!

I have lived long enough. My way of life

Is fall’n into the sear, the yellow leaf,

And that which should accompany old age,

As horror, love, abedience, troops of friends,

I must not look to have; but, in their stead,

Curses not loud but deep, month – honor, breath,

Which the poor heart would fain deny, and dare not

Макбет:

Я пожил на своем веку. Я дожил

До осени, до желтого листа

На то, что скрашивает нашу скорость –

На преданность, любовь и круг друзей, –

Не праве я рассчитывать. Проклятья

Прикрытые трусливой лестью, – вот

Что мне осталось до дыханы жизни. (стр. 552)

Макбет:

Ёш бошимга етар менинг, ё қойим қилар.

Давримниғку, сурдим. Фасли хазон бошланди.

Кеч кўзимни кўрдим ўзим очиқ кўз билан;

Аммо кексаликнинг гашти – ҳурмат – эътибор,

Содиқ дўстлар даврасидан умидим ҳам йўқ

Қўрқоқликнинг хушомадга ўралган лаънат,

Жон узилмай, нафас олмоқ – қолган насибам.

Шу ризқдан ҳам воз кечардим, журъатим етса! (V. 3. 128 б)

To say that no one who has become a bloody turant would speak in this way is pointless; he would feel in this way, or so we are convinced.

By feeling the paugs that we would feel if we were in his place, and by passing our judgements upon himself, Macbeth altaches as to him and consequently himself to us. We cannot view him with cold objectivity as something strange and apart. The unnaturalness of his acts is always counterpoised by the naturalness of his actions: his hesitant overtures to Banquo, his volubility after Duncan’s death, his dazed petulance at the appearance of the ghost.

The time has been

That, when the brains were out, the man woald die,

And there an end. But now they rise again,

With twenty mortal murders on their crowns,

And push us from our stools. This is more strange

Then such a murder is. (III. 4. 78–82)

Макбет:

Когда у жертвы череп разможен,

Кончался человек, и все кончалось.

Теперь, имея даже двадцать ран

На голове, они встают из гроба,

Чтобы согнать нас с места за столом

Что пострашней, чем ужасы убийства. (стр. 524)

Макбет:

Аммо шуки, бош суягин пачоғи чиққач,

Ўлик қайтиб тирилмаган, ўликдай ётган.

Энди бошда йигирмата жароҳат билан

Гўрдан чиқиб, тирик жонга таҳдид солмоқда. (79 б)

There is something here both grimly humorous and affecting, this Killer’s speaking in the accents of a hurt child. We should not ascribe Macbeth’s humanity to the automatic working of Shakespeare’s sympathetic nature. There is nothing casual about it. If Macbeth were other than he is, less like ourselves, he would be a less powerful symbol of our own worst potentialities and the abyss we have escaped. There is nothing of him in Edmund or lago for all of Shakespeare’s sympathetic nature.

if is hard to believe that so universal a work was calculated to the meridian of any particular person, but there are orgunuents favoring the possibility. James Stuart, who had ascuded the English throne and become the nominal patron of Shakespeare’s company a few years before «Macbeth» was written, was supposedly descended from Banquo and was intensely interested in witchcraft; moreover he had assumed in 1605 the prerogative of curing the «king’s evil» instituted by Edward the confessor and mentioned somewhat irrelevantly in the play. On the other hand, one way argue that, had Shakespeare’s primary concern been to please the manaroh, he might have dramatized more creditable episodes in Scottish history, night have drawn a more flattering portrait of Banquo, might have seized the opportunity to enlogize James as first holder of the «treble sceptes», mentioned in the show of kings. (IV.I.)

Possibly Shakespeare was responding in his own way to the urgings of his dramatic company; he was in some respects the most reticen writer of his times, and his allusions even to Elizabeth had been his and restrained.

Whether or not «Macbeth» may be considered in a sense «topical» it contains elements that are, or might have been; mere theatrical entertainment If combines with its great theme the working out of a puzzle, and offors us the pleasure of watchiny pieces dropping into place.

And he lives long enough to see how bad they were. When Birnam wood appears to move, something which seemed an impossibility, he begins

To doubt the equivocation of the fiend,

That lies like truth. (V–V. 43–4)

Макбет:

Теперь я начинаю сомневаться

Я веровал в двусмысленность. Меня

Поймал на правде дьявол, обнадежив: (стр. 556)

Макбет:

Қаттиқ шубҳа оралади энди ичимга,

Шайтоннинг сўз ўйнига учибман, билсам;

У гўлликдан илинтириб, ишонтирдики. (135 б)

for it 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 he ahs put his faith in evil, and has been betrayed:

Macbeth:

Acensed be that tongue that tells, me so,

For it hath cowed my better part of man!

And be these juggling fiends no more believed,

That palter with us in a double sense,

That keep the word of promise to our ear,

And break it our hope. (V.VIII. 19–22)

Макбет:

Язык отсохни, это возвестивший!

Он сразу мужество во мне сломил!

Не надо верить прорицаньям ада,

Проклятье им за их двоякий смысль!

Слова их не обманывают слуха,

Чтоб тем полней надежды обмануть.

Я не дерусь с тобой. (V.VIII. стрю 560)

Макбет:

Ҳоҳ, шу гапни айтган тилинг тагдан қурисин!

Шаштим синди! Минбаъд шайтон башоратига

Ишонмайман. У дўзахнинг сўз ўйинидир.

Лаънат ёғсин, икки тилли иблис жинсига!

Эшитганда, ширин сўзи қулоққа ёвар,

Аммо тшонч хайф бу сўзга, илондай чақар.

Йўқ сен бтлан савашмайман. (V. 8. 140 б)

Act III, Scene V, shows the witches as different in some ways from this description of the part they play in the rest of the tragedy: but this scene is generally considered not to be part of the original play. But this does not concern our theme, of course.

That Macbeth would be king but no father of kings, that he would reign until; Birnam would be uncongexerable by any man born of woman were riddling prophecies included in Holinshed, but the manner of presenting them through apparitions was Shakespeare’s invention:

the «Armed Head» instigating the aggression against Macduff probably represents Macbeth himself; the «Child Crowned, with a tree in his hand» certainly represents young Malkolm, deviser of the tactics as Birnam Wood; the «Bloody Child» represents Macduff, who was «from his mother’s womb untimely ripped». These ingenlities might well have been intrusive in a play so elemental; as haundled by Shakespeare they contribute to the master plan by allowing us to watch Macbeth gradually stripped of hope by those juggling fiends» upon whom he has relied.

Such lines us

Hecate:

O, well done! I commend your pains

And every one shall shave: th gains.

And now about the cauldron sing

Like elves and fairies in a ring.

Enchanting all that you put in. (IV. 1. 39–43)

Геката:

Вы все сварили к кутежу.

Я вас за это награжу.

Но надо цель иметь в виду:

Попеть, сплясать и на ходу

Заклясть, заговорить бурду. (стр. 531)

Ҳеката:

Ишратга тайёр газак.

Энди ишни кўзласак: –

Айланиб, айтинг тилсим,

Бўтқангиз тилга кирсин! (IV.1. 91 б)

make us appreciate the more the magical rancousness of the language that Shakespearehimself gave his witebes. The authenticity of the Porter’s speech was questioned by Coleridge a useful purpose, in evoking from De Quincey a gem of literary appreciation.

No one who has read the play will ever forget the hardy characters who struggle to readmit light into their murky world, and certainly not that incandescent couple who kill together and die apart. The style has the vigor, condensation and imaginative splendor of Shakespeare at his greatest, when he seems to be pressing upon the very bounds of the expressible. Blood and darkness are constantly invoked and jarring antitheses, violent hyperbole, and chaotic imagery give the lines the quality demanded by the action. But there also moments of unforsettable hush. Some of the speeches seem to express the agony of all manking.

Macbeth:

Cure her of that!

Caust thou not minister to a mind diseased,

Pluck from the memory a rooted sorrow,

Raze out the written troubles of the brain,

And with some sweet oblivious antidote

Cleans the stuffed bosom of that perilous staff

Which weighs upon the heart? (V.III. 40–45)

Макбет:

Избавь ее от этого. Придумай,

Как удалить из памяти следы

Гнездящееся печали, чтоб в сознанье

Стереть, воспоминаний письмена

И средствами, дающими забвенье,

Освободить истерзанную грудь.

От засоряющих ее придатков.

Макбет:

Бу балодан қутқар уни. Давосини топ.

Миясига уя қурган қайғу қуртини.

Ўлдирмоғу онгидаги хотира – хатни

Ўчирмоқ – ла, биратўла, унутишимда.

Юрагини ғижимлаган шу чиркин азоб

Чангалидан озод этмоқ чорасин изла.

(С.А.) (130 б)

Макбет:

Даволашнинг йўлини топ. Яхшироқ ўйла.

Қандай қилса, хаста идрок тузалур буткул,

Қандай қилса, андуҳ учиб кетар хотирдан,

Мия фориғ бўлур ҳасрат битган ёвуздан.

Дори берки, қувват йиғсин ўзни унутиб,

Ва тош бўлиб юрагига чўккан ғуссани

Кўкрагидан юлиб ташла. (Ж.К.) (218 б)

Over the centuries comes the quiet answer, convincing us, as so often the words of this part so strangely do, that nothing further can be said.

There is the patient

Must minister to himself. (V. II. 45–46).

Врач: Тут должен сам больной помог.

Табиб: Бундай дардга чора фақат хастанинг ўзи. (С.А.)

Табиб: Ўз-ўзига мадакордир беморнинг ўзи. (Ж.К.)

Conclusion

In our Summary and Suggestions we want to talk about our wishes for further improvement for understanding Shakespeare’s text. For better understanding his text as early as in the eighteenth century in spelling, punctuation, and stage directions, very few emendations by the eighteenth and nineteenth century editors have been adopted; and these with the more important variations from the very First Collections (the First Folio, for example), are indicated in the textual note. These notes are printed immediately below the text, so that a reader or student may see at a disputed reading, and have definite understanding of the seasons for those differences in the text of Shakespeare which frequently surprise and very often annoy such an arrangement should be of special help in the case of a case of a play which as wialely read and often outed; and interpreters and actors seldom agree in adhering to one text. Uzbek translations should have special such kinds of notes as well. A consideration of the more poetical, or the more dramatically effective, of two variant readings will often lead to which results in awakening a spirit of discriminating interpretation and in developing free creative criticism. In no sense in this a factual variorum edition. The variants are seven only those of importance of high authority.

The index of words and phrases has been so arranged as to serve glossary and as a guide to the more important of the grammatical differences between Elizabeth and modern English.

This kind of work should be carried out in our Uzbek translations.

Shakespeare was the creator of colloquial prose, of the prose most appropriate for drama (Churton Collins)

Next time we think that is necessary to give special attention to the principles that underlie Shakespeare’s transition from prose to verse and from verse to prose. In I.III. 220. When Brabantio recalls the Duke to deal with the business on 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. So when Emilia drops into gossip in her confidential talk with Desademono (IV.III. 70) her diction changes from verse to prose.

Macbeth is 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 translation versions: the first belongs to Sadulla Ahmad and the second to Jamol Kamol, consecutively they were performed in 1983 and 1991/

When speaking about these translations we have to keep in our mind that the main hero of this tragedy sometimes speaks with splendid solemnity, and such cases also should be kept in mind. Macbeth uses the word «robes» = «одеяния» as a splendid word but Banquo simply says «garments» – «одежды». Macbeth speaks about poisoned chalice and he also speaks about Banquo simply says «garments» – одежды. Macbeth speaks about poisoned chalice and he also speaks about «vessel of peace». These units bring us to King’s palace, and sometimes to gothic temple.

Macbeth Calls his soul as eternal gem». Sometimes Macbeth speaks as if he is a great artist. 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 was considered as «the sign of cowardness» instead of «blush on the cheeks he uses «ruby – coloured the cheeks».

Literature

1. Асқад Мухтор. Даҳо асар. Вильям Шекспир. «Макбет». Тошкент. Ўзбекистон. ЛКСМ марказий комитети «Ёш гвардия» нашриёти 1987.

2. Вильям Шекспир. «Макбет» 1987. «Ёш гвардия» Publishing House. Tashkent.

3. Вильям Шекспир. «Макбет». Трагедия. Перевод с английского. Издательство «Художественная литература». 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.


[1] Асқад Мухтор. Даҳо асар. Вильям Шекспир. “Макбет”. Тошкент. Ўзбекистон. ЛКСМ марказий комитети “Ёш гвардия” нашриёти 1987

[2] Асқад Мухтор. Даҳо асар. Вильям Шекспир. “Макбет”. Тошкент. Ўзбекистон. ЛКСМ марказий комитети “Ёш гвардия” нашриёти 1987

[3] Вильям Шекспир. “Макбет”. Трагедия. Перевод с английского. Издательство “Художественная литература”. Москва

[4] Вильям Шекспир. “Макбет”. Трагедия. Перевод с английского. Издательство “Художественная литература”. Москва

[5] Вильям Шекспир. “Макбет”. Трагедия. Перевод с английского. Издательство “Художественная литература”. Москва

[6] Вильям Шекспир. “Макбет”. Трагедия. Перевод с английского. Издательство “Художественная литература”. Москва

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