СРАВНИТЕЛЬНЫЙ АНАЛИЗ СИНТАКСИЧЕСКИХ ОСОБЕННОСТЕЙ ТАДЖИКСКОГО АНАФОРИЧЕСКОГО ПОВТОРА КАК СТИЛИСТИЧЕСКОГО ПРИЕМА И ИХ АНГЛИЙСКИХ ЭКВИВАЛЕНТОВ

It is well-grounded that repetition as an essential stylistic device fulfills multifarious functions, including emphasis, intensification, and the generation of rhythmic and aesthetic effects. In Tajik, repetition reveals in various forms, spanning from simple lexical iteration to intricate syntactic parallelism.

Consequently, anaphora is characterized by the recurrence of a lexical unit or phrase at the initiation of consecutive clauses to constitute a salient stylistic device evident across languages, and to realize a spectrum of rhetorical objectives, including emphasis, rhythmic cadence, and emotional intensification.

In Tajik, anaphora assumes a pivotal role in modifying the text and semantic import of belles-lettres works. The present study focuses on the syntactic peculiarities and stylistic functions of anaphoric repetition in Tajik, drawing primarily upon illustrative examples from “Reminiscences” by S. Aini.

1.1. Theoretical Frameworks

Anaphora is a rhetorical device categorized by the repetition of a word or phrase at the beginning of consecutive linguistic units, typically clauses, sentences, or verses. “The relevant repetition serves to create a discernible rhythmic pattern, amplify emphasis on the repeated element, and generate a cohesive textual structure”

In conformity with Miller`s opinion, “anaphora acts as a powerful tool for persuasion, subtly shaping the audience`s perception by repeatedly emphasizing key terms and ideas”

The primary source material for this study is “Reminiscences” by S. Aini

The methodological approach of this study is to conduct the comparative analysis, focusing on the syntactic and semantic equivalence between the Tajik anaphoric structures and their English equivalents. The analysis is informed by principles of translation studies, particularly the notion of functional equivalence, and considers the stylistic and pragmatic implications of different translation choices. The study also draws on insights from the linguistic literature on anaphora and rhetorical devices.

The corpus of our study dwells on an enhanced comprehension of cross-linguistic variations in the placement of anaphora and furnishes insights into the complexities of interlingual stylistic device translation. The comparative analysis concerning the theme explored reveals a noteworthy number of instances of anaphoric repetition serving a variety of stylistic functions. Hereby, we decided to consider certain syntactic peculiarities of Tajik anaphoric repetition as a stylistic device and their English equivalents on the example of “Reminiscences” by S. Aini

Examples and analysis:

1. Emphasizing the Subject`s State or Perspective:

Tajik: Ман дар ин вақт хурд будам, ман дар ин вақт чизеро намефаҳмидам

English: I was young at that time; I didn't understand anything at that time (translated by the author).

Designing on the premise of the above-mentioned sentence one can adhere that the repetition of ман/I underscores the speaker`s youthful naivety. The English translation mirrors this with the repetition of I retaining the emphasis. Anaphora with personal pronouns effectively highlights the subject`s state or perspective in the languages under comparison.

2. Emphasizing Actions and Character:

Tajik: Вай ба ман китоб дод, вай ба ман қалам дод, вай ба ман коғаз дод

English: He gave me a book, he gave me a pen, he gave me paper (translated by the author).

Based on the second sentence one can assert that the repetition of вай/he fulfills the generosity of the person described. The English translation replicates the anaphora with he maintaining the emphasis on the benefactor`s actions. Hence, anaphora with personal pronouns can accentuate the actions and character of an individual.

3. Creating a Sense of Finality or Determinism:

Tajik: Ин буд насибаи мо, ин буд тақдири мо

English: This was our lot, this was our destiny (translated by the author).

Proceeding from the assumption of the above-adduced sentence, we can confidently express our opinion that the repetition of ин/this highlights acquiescence and acceptance of fate. The English translation retains the anaphoric structure with this assigning inevitability. Here, anaphora with demonstratives can create a sense of finality.

4. Emphasizing Cyclical or Continuous Nature of Events:

Tajik: Ҳар рӯз кор мекардем, ҳар рӯз азоб мекашидем

English: Every day we worked, every day we suffered (translated by the author).

On the basis of this sentence, we can lay an emphasis upon the idea that the repetition of ҳар рӯз/every day stresses the relentless nature of their lives. The English translation resorts to the anaphora denoting monotony and hardship. It is worth mentioning that anaphora with temporal phrases reveals the cyclical nature of events.

5. Illustrating Variability and Dynamism:

Tajik: Баъзан механдидем, баъзан мегиристам

English: Sometimes we laughed, sometimes we cried (translated by the author).

Hence, the repetition of баъзан/sometimes highlights fluctuating emotions. The English translation uses the same anaphoric structure apprehending different moods. It is necessary to keep in mind that anaphora with adverbs of frequency illustrates variability.

The conducted analysis testifies that anaphoric repetition in Tajik, as exemplified in “Reminiscences” by S. Aini serves various stylistic functions, including to emphasize the subject`s state; to highlight actions and character; to generate a sense of finality; to accentuate the cyclical nature of events, and to illustrate variability. The English translations generally engage analogous anaphoric structures to maintain these stylistic properties. However, subtle differences emerge owing to the inherent syntactic and rhetorical variations between Tajik and English. For instance, Tajik frequently resorts to anaphora with pronouns, while English might determine for other devices like demonstratives or adverbs to achieve a similar result.

The choice of English equivalent is often influenced by the specific context and stylistic consequence. While direct repetition is often effective, translators may sometimes indicate alternative strategies, such as using synonyms or slightly modifying the sentence structure, to avoid monotony or to better suit the stylistic norms in English. These adoptions can lead to subtle shifts in meaning or emphasis, highlighting the challenges inherent while translating stylistic devices in the languages under comparison.

Adducing the results of the conducted comparative analysis dealing with the theme explored, one can come to the conclusion that Tajik anaphoric repetition and its English equivalents reveals the difficulties of cross-linguistic stylistic devices. The study shows that anaphora in Tajik is a multipurpose stylistic device with various functions, and that English translations often engage analogous structures to maintain its influence. However, the inherent differences between the compared languages necessitate careful consideration of the specific context and the wanted stylistic result, often leading to subtle shifts in meaning or emphasis. The findings promote a profounder understanding of the challenges and strategies faced while translating literary works rich in stylistic devices, and highlight the importance of the consideration of both semantic equivalence and stylistic consequence in the translational process. Future research could expand the theme explored by dwelling on anaphora in a wider range of Tajik literary works and exploring its interaction with other stylistic devices.