The Main Reasons That Led Hamlet To The Tragedy And Its Expression In The Translation
The study focuses on the expression and translation of feelings of love and hate in the text of the Hamlet tragedy. Hamlet’s reverence and love for his ancestors, his love and hate for his mother, and his beautiful Aphilia, and those feelings that eventually led to the tragedy, were skillfully expressed in the work and translated.
Hamlet is the Crown Prince of Denmark. He is a famous hero of world literature. The language of Hamlet captivates the soul as a stream of endlessly exhilarating illumination in Shakespeare’s works. Shakespeare does not use metaphors and metaphors in ordinary speech, but the author is known for his thought-provoking thoughts and monologues. His spirit is pure, pure, human and sophisticated that will not leave a reader indifferent. Hamlet is overwhelmed with strong passion and conflicting emotions. His exciting life, as well as the enthusiastic listener and reader, evolves throughout the work in harmony with the image. Hamlet’s personality, attitude to his surroundings, his ideas, and, at the same time, his interpretation of the play continue to lie under the subconscious. Many writers believe that Hamlet’s soul and mind reflect the traumatic, traumatic conditions of Shakespeare’s life, although the playwright’s personal life has not yet been documented. Based on the psychological and realistic analysis of Shakespeare’s experts, such as Shakespeare’s researchers, one can hardly imagine that the spirit of the prince was not in vain, and his spirit really reflected the author’s mood at some point.
The books about the Hamlet tragedy make up the whole sea. Alpine efforts have been made to undermine its essence, as Hamlet is one of the most mysterious and mysterious tragedies in the world. The tragedy is correct and the essence of the study is to solve two puzzles:
- Belief in Shakespeare genius
- Careful study of the work, the contradictions in the work are not the disadvantages of Shakespeare, but the work of art.
One of the usual contradictions is that Hamlet’s age, according to the essence of the first curtain, shows that Hamlet is not nearly 20 years old, and that the 5th Parade of Gaytons is already 30 years old. We find out in the scene of the crack-fun clown. Hamlet was a coffin acquaintance when he was very young. Indeed, the dude remembers pouring a bottle of Roman wine on the head of the crack. Another thing we should know is that the clowns only made their professional commitments during the ranks of the nobles and during the royal reign.
Hamlet’s anxious, restless, anxious state of mind cannot ignore the inhuman evils of life, he does not want to accept them. This is the priority of the play. This development is a critical element in the development of the prince’s recognition of evil – both the good and the evil, and thus the nature of humanity. Mankind is a fascinating central issue of reconciliation with a broken, broken nature of human nature. In Hamlet, the conclusion that the relationship develops is presented in the image of a glorious and powerful owner.
Hamlet’s grief is so deep that he is convinced that nothing can happen. The second scene of the first veil depicts her miserable plight in verses 76-86, which looks as though she is in tears, in tears, in tears, in tears. It is not the executor who can or will not solve the plot of the world that surrounds him, but rather the life of the person who is more thoughtful, thoughtful, and full of issues and problems that are directly related to the suicide of a person. On the one hand, and on the other, the goodness of mankind, on the one hand, and the evil on the other. Above all, it does not stop thinking about the nature of evil and the conditions that cause it.
It draws our attention to the difference between reality and appearance, which is different in a particular way, with the protagonist’s outfit, color, mood, character, behavior, complexity, confusion; he tries to cover the world, the man, with his great emotional wounds. The senselessness of his previous scenes seems to him thin, thin and lifeless like an onion peel, which is nothing compared to the endless, inexhaustible pain and loss of the pacifier. Hamlet’s mother is in no hurry to touch her brother-in-law Claudius, and her father’s dignity, his portrayal of her as a man of noble character, and the demand for murder for her, are a source of bitterness. He sees his father as a truly great king and king in the highest dream.
He cannot forgive his mother’s acceptance of Claudius as a substitute for her father. Hamlet is the father of one mother, and one of her uncles, a goat’s hoof, is a mother’s mother. The fact that he has a way of escape from the desperation of a world in which he has fallen is low morale, and that death is better than life, but the world has said that the sin of suicide is great. And the world in which he lives:
“Qanday ayanch, qanday jirkanch va to’mtoq bo’lib
Ko’rinadi butun olam, butun kori bor.
Qarab – qarab ko’ngli aynib ketadi!
Xuddi g’ovlab ketgan, tashlandiq bir boqqa o’xshaydi.
Qadam qo’yish maxol, axlat, hammayoq axlat.”
This attitude towards life in the human world is proof of the depression and despair of man. Another of Hamlet’s strange remarks is seen in his hangout with his classmates Rosenkrants and Gildenstern:
“Recently, for some reason I lost all my joy and my passion for training. It is so damaging that this universe, the globe, is in my eyes an ineffective, blurry rock. What a wonderful variety of nature! How high is his intelligence! How endless! What a classic and perfect character! How close is life to the angels! The End of the World The beauty of the universe! The crown of all life! So, what is the basis of this hokeh, the first thing to me? Men are not interested in me, and women are not like me… He says that his life is not worth the “bridle money”, that is, “I see my life worth a penny” (24.65). In fact, he agrees with his death, as stated in monologue 1:
“O, koshkiydi, shu zil gavda, shu bir xalta go’sht
Irib-chirib ketsa, shabnam bo’lib taralsa,
O, koshkiydi, o’z joningga qasd qilib,
Xalos bo’lsang, gunoh emas, savob sanalsa.
Yo Xudoyim! Yo Rabbano! YO Parvardigor!”
He refuses to commit suicide, first of all the religious teachings do not allow it, and on the other hand, he hates and despises the changes that have completely ruined Hamlet’s life. After all, he needs to improve the world: The theory that Hamlet loved his mother, like King Edip – cannot be reconciled – because he had to deal with real life (Charles Boyz) but disagree with Boyce. Imagine that Hamlet, a well-educated philosopher, was expected to become the ruler of a whole hereditary state, and would be separated from the Aelian. We know, however, that his daughter, Polonius, was sympathetic towards Laert’s sister. Following the famous monologue of ‘Surviving or Dying’ reveals that he loves Ofelia when he meets her, and the more convincing proof is that we find Laert in the cemetery.
Analysis and Results
Shakespeare’s tragedies, unlike other works, are wider and more widely distributed and used, that is, read, analyzed, and tried to read. He deserves to be assessed for a rigorous, rigorous analysis of tragedies over other plays. Shakespeare, according to experts, has never commented on the tragedy. But some of his contemporaries, such as Ben Jerkson and Vipstir, have opinions about the images of the tragedy, in which high and excellent tragedy reveal the greatest wounds and portray wounds. The kings of this scene feared to be bloodthirsty, tyrannical, tyrannical, and bloodthirsty men feared to expose their cruelty and nature; some were happy with their feats, some were even proud, they had no sympathy, of course they had learned from the uncertainties of the world, and knew that such a weak foundation would speak like a golden grape. However, not only is Shakespeare’s commentary on Aristotle’s insistence that he was unaware of theories about the Greek tragedy, some Shakespeare scholars.
There is a saying that ‘the translation text is a strictly decisive key-word interpretation of the original.’ The word ‘commentary’ is used here in a way that is, in a sense, modestly beyond its limits.
Ability to understand and interpret texts. Peter Scondi wrote about the genesis of hermeneutics: ‘generally considered to have oregenated in the Efforts of the Atheneans of the classical period to establish the literal sense of the words of the Homerik epics, the language of which was no longer accessible to them. Hermeneutics is thus in the first place, a disceplino designed to mediate = vositachilik qilmoq successive stages of a language’.
The following is a list of ready-made phrases that define the power of Shakespeare’s language and are still used today, which we have just mentioned:
Absent thee from felicity awile.
All is not well. The bird of dawning singeth all night loug.
Brevity is the soul of wit.
Frailty thy name is woman!
Give me that Man/That is not passion slave.
Give the thoughts no tongue.
How all occasions do inform against me I am sick at heart.
I could a tale unfold.
In my mind’s eye.
It cannot come to good.
It started like a guilty thing.
The lady doth protest too much.
Lay not that flatter emotion to your soul.
Leave her to heaven.
Like sweet beus jangled, out of tun and harsh.
Man delights not me:/nor woman neither.
More honoured in the breach than the observance.
More in sorrow than in anger.
More watter, with less art.
Neither a borrower, nor a louder be.
Not a mouse stirring
Why, tis a loving and a fair reply.
Be as ourself in Denmark-Madam, come
This geutle and unforced word of Hamlet
Sits smiling to my heart, in grace whereof
No jocund health that Denmark drinks today
But the great cannon to the clouds shall tell,
And the King’s rouse the Heaven shall bruit again,
Respeaking earthly thunder.Come away.
Mana bu xush so’zing g’oyat ma`quldir bizga.
Daniya o’z uying. Qani, malikam, yuring.
Lutfi karam qilib, zero o’g’limiz Hamlet
Sevinch-surur soldi hozir yuragimizga,
Buning sharafiga bazm-u jamshid tuzaylik,
Qadaxlarning dovrug’ini so’ng zambaraklar
Qah-qahasi bulutlarning bag’riga eltsin.
Va samoviy gulduroslar yangrab galma-gal
Qadahlarning jarangiga qo’shilib ketsin.
From Hamlet’s observation of Claudius in this scene – the murder of Gonzaga, it became clear that the play made Claudius’ heart hurt, his taste soaring. Claudius’s departure from the spectacle proved to be a sin in the eyes of Hamlet and Horaceio. Both Hamlet and Loert were fatally wounded, which was fatal. Not intentionally, unintentionally, unintentionally, unintentionally. Nevertheless, Hamlet wounded Claudius to death. At the closing of the play, Fortinbras, the nephew of the king of Norway, who had lost the battle to the beloved King Hamlet, was returning from a battle on the pretext of a small place in Poland. He comes in with his troops, and Hamlet has already advised Horaceio that Denmark should recognize him as king. Fortinbras orders that Hamlet be buried with all the customs.
By the time of Shakespeare, drama had revised the specifics of the tragedy. The Greek plays must surely be the hero of the tragedy, he can achieve great success, then be defeated and disappointed with life, realizing his tragic guilt and defect. Hamlet was born into a noble family of nobility, his countrymen respected him, they wanted to change the world that surrounded Hamlet, and in the end Hamlet had to sacrifice his life so that justice could prevail. The tragedy of Arthur Miller’s ‘Inheritance of the Dealer, the Death of a Seller’, the richness of Jujin O’Neill’s ‘Mourning for Elenta’ and the need to remove the blockage that makes it difficult to comprehend every deeper word used in the work. Our small students or students combined into individual variants must explore Hamlet’s interesting scenes and answer the questions of others, and have their say in the discussions.
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- Brown, J. (1956). “Eight Types of Puns,” PMLA 71:1, pp.14-26.
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- Carey, L. (1994). “Hamlet Recycled, or the Tragical History of the Prince’s Prints,” ELH 61:4, pp. 783-205.
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- Ewbank, Inga-Stina. (1995). “Hamlet and the Power of Words,” in David Scott Kastan (ed.), Critical Essays on Shakespeare’s Hamlet. Simon and Schuster Macmillan, pp. 56-78.
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