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One thousand and one nights Unknown Published: 9th century CE Source: en.wikisource.org Edition: The Penn Publishing Company, Philadelphia, 1928 Illustrator: Virginia Frances Sterrett Downloaded from www.aliceandbooks.com.
Bir ming bir kecha Noma'lum Nashr: IX asr Milodiy manba: en.wikisource.org Nashriyot: Penn Nashriyot Kompaniyasi, Filadelfiya, 1928-yil Illyustrator: Virjiniya Frances Sterrett Yuklab olingan: www.aliceandbooks.com saytidan.
Explore more public- domain books on our website.
Bizning veb-saytimizda ko'proq jamoat mulki bo'lgan kitoblarni o'rganing.
One thousand and one nights Foreword
"Ming bir kecha" bashorati
A Few Words About the Stories Hildegarde Hawthorne A good story belongs to the whole world.
Hildegarde Hawthorne haqidagi hikoyalar haqida bir necha so'z Yaxshi hikoya butun dunyoga tegishli.
At that point East and West meet, no matter how different they may be in training, government, religion or habit of living.
O'sha nuqtada Sharq va G'arb uchrashadi, ularning ta'limi, hukumati, dini yoki yashash odatlari qanchalik farq qilmasin.
The stories known as the Thousand and One Nights are very old.
"Ming bir kecha" nomi bilan tanilgan hikoyalar juda qadimiy.
They are known to have existed in their present form as early as the Thirteenth Century, and many of them were told, quite possibly, as early as the Ninth.
Ularning hozirgi shaklida o'n uchinchi asrdan beri mavjud bo'lgani ma'lum va ularning ko'pchiligi, ehtimol, to'qqizinchi asrdan beri aytilgan.
They folΒ­lowed naturally upon the half-spoken, half-chanted poems celebrating heroic deeds and reciting gallant adventures which the Arabs were accustomed to listen to from one of their number as they rested in the evening about their campfire in the desert.
Ular, tabiiyki, yarim aytilgan, yarim kuylangan, qahramonlik ishlarini nishonlaydigan va arablar cho'lda o'zlarining lager olovlari haqida kechqurun dam olayotganda, ularning biridan eshitishga odatlangan jozibali sarguzashtlarni aytib beradigan she'rlarga befarq bo'lishardi.
They were handed down from one to another, since there were no books and both history and romance must live in man’s memory or else die.
Ular bir-biridan o'tib ketardi, chunki kitoblar yo'q edi va tarix ham, romantika ham inson xotirasida yashashi kerak edi, aks holda o'lishi kerak edi.
That man who had a genius for memorizing and for improvising was a great man in his tribe, and people would come from far away to hear one of these orators.
O'sha yodlash va improvizatsiya qilish iste'dodiga ega bo'lgan odam o'z qabilasi ichida buyuk odam edi va odamlar bu notiqlardan birini eshitish uchun uzoqdan kelishardi.
After the spoken word came the written word, as always.
Og'zaki so'zdan keyin har doimgidek yozilgan so'z keldi.
And so the Thousand and One Nights came finally to be written in the beautiful Arabic scrip, on fine pieces of parchment.
Shunday qilib, "Ming bir kecha" nihoyat go'zal arab yozuvida, nozik qog'oz bo'laklariga yozilgan.
Men still recited them, but they were usually readers then, who had memorized them.
Erkaklar ularni hali ham tilovat qilishardi, lekin ular odatda o'sha paytdagi o'quvchilar edi, ularni yod olganlar.
They altered them somewhat, and other collections were written, but on the whole the stories kept their form and it was always Scheherazade, or Shirazad as it is often spelled, who told them to save her life from the unjust decree of the sultan whom she had married.
Ular ularni biroz o'zgartirdilar va boshqa to'plamlar yozildi, lekin umuman olganda hikoyalar o'z shaklini saqlab qoldi va har doim Sheherazade yoki ko'pincha yoziladigan Shirazad ularga turmushga chiqqan sultonning adolatsiz farmonidan uning hayotini saqlab qolishni aytdi.
The stories originally numbered about 250, split up into the thousand and one parts in which the sultaness told them, but since that first definite collection other tales have been added and there have been some changes, not very important.
Hikoyalar dastlab taxminan 250 ta bo'lib, sultan ayol ularga aytgan ming bir qismga bo'lindi, lekin o'sha birinchi aniq to'plamdan beri boshqa hikoyalar qo'shildi va ba'zi o'zgarishlar bo'ldi, unchalik muhim emas.
Europe first came to know the stories in 1704–1712, when Antoine Galland, a Frenchman, published a translation in twelve volumes.
Yevropa bu hikoyalarni birinchi marta 17041712 yillarda, fransuz Antuan Galland o'n ikki jilddan iborat tarjimasini nashr etganida bilgan.
They had a great success among the rather restricted public who could get hold of the books, and graduΒ­ally their fame spread.
Ular kitoblarni qo'lga kiritishga qodir bo'lgan, ancha cheklangan jamoatchilik orasida katta muvaffaqiyatga erishdilar va asta-sekin ularning shuhrati tarqaldi.
In 1811 a certain Jonathan Scott brought out a partial translation in English, which did not become generally known, and in 1840 E.
1811-yilda bir Jonatan Skott ingliz tiliga qisman tarjima qildi, u umuman ma'lum bo'lmadi, va 1840-yilda E.
Lane, the scholar and writer, brought out his edition, not complete, as he omitted parts of many stories and some entire tales, but still a careful and accurate work.
Layn, olim va yozuvchi, o'zining to'liq bo'lmagan nashrini chiqardi, chunki u ko'plab hikoyalarning qismlarini va ba'zi butun hikoyalarni o'chirib tashlagan, ammo baribir ehtiyotkorlik va aniq asardir.
From then on the One thousand and one nights kept increasing in popularity.
Shundan so'ng Ming bir kecha mashhurligi tobora ortib bordi.
Since then it has gone into more countries and is known more generally the whole world over than any other book except the Bible, and the stories have become part of the literature of every land that has one.
Shundan beri u ko'proq mamlakatlarga yo'l oldi va Injildan boshqa har qanday kitobdan ko'ra butun dunyoga kengroq ma'lum bo'ldi, hikoyalar esa har bir mamlakat adabiyotining bir qismiga aylandi.
Aladdin’s palace, and its unfinished winΒ­dow, the magic words β€œOpen Sesame,” Ali Baba himself, these are as familiar to you as they are to a merchant of BagΒ­dad or an Arab of the desert, as they are to a child in Italy or France.
Aladdin saroyi va uning tugallanmagan shamollari, "Ochiq kunjut" sehrli so'zlari, Ali Babaning o'zi, sizga xuddi Bag'dod savdogari yoki sahro arabisi uchun Italiyadagi yoki Fransiyadagi bola uchun qanday tanish bo'lsa, xuddi shunday tanishdir.
Scheherazade is as well known as the Sleeping Beauty and more so, and so is Sinbad the Sailor.
Scheherazade "Uxlayotgan go'zal" va undan ham ko'proq narsa sifatida tanilgan, xuddi dengizchi Sinbad ham shunday.
When you read the stories you must remember that they were told by a race and in a time far removed from our own.
Hikoyalarni o'qiganingizda, ular irq tomonidan va biznikidan ancha uzoq vaqt ichida aytilganini yodda tutishingiz kerak.
They come from a different world than any we know, with manners and beliefs quite removed from any we posΒ­sess.
Ular biz bilgan dunyodan boshqacha dunyodan kelishadi, odoblari va e'tiqodlari bizda mavjud bo'lgan dunyodan ancha uzoq.
The people who told them believed quite simply that beΒ­sides the human beings and animals and birds of the natural world there were other and magic creatures who mixed themselves up in the affairs of men, helping or hindering as they chose.
Ularga aytgan odamlar tabiiy olamdagi insonlar, hayvonlar va qushlardan tashqari, odamlarning ishlarida aralashib, xohlaganidek yordam beradigan yoki xalaqit beradigan boshqa sehrli mavjudotlar ham borligiga ishonishardi.
They also believed in charms and talismen, in sorcerers and magicians.
Ular sehrlar va talismanlarga, sehrgarlar va sehrgarlarga ham ishonishardi.
The genii were usually wicked and dangerous, the peris always kind and good, and there were good and bad fairies.
Donolar odatda yovuz va xavfli edilar, parilar doim mehribon va yaxshi, yaxshi va yomon parilar ham bor edi.
These fairies are quite different from those of Western fancy, however, not tiny creatures but per­‐ sons with the appearance of men and women, capable of vanishing and of changing themselves into what form they chose.
Bu parilar G'arb tasavvuridan butunlay farq qiladi, ammo ular mayda maxluqlar emas, balki erkaklar va ayollar ko'rinishiga ega bo'lgan, yo'qolib ketishga va o'zlarini xohlagan shaklga o'zgartirishga qodir bo'lgan o'g'il bolalardir.
The genii might be controlled if you found the proper charm or talisman, but the fairies and the peris were too clever for that.
Agar to'g'ri joziba yoki talisman topsangiz, daholar nazorat qilinishi mumkin edi, lekin parilar va parilar buning uchun juda aqlli edilar.
All these strange beings, with talking birds and animals, are to be found in the tales.
Bu g'alati mavjudotlarning barchasi, gapiradigan qushlar va hayvonlar bilan ertaklarda uchraydi.
Justice and good government as we think of them did not exist.
Adolat va biz o'ylagandek yaxshi hukumat mavjud emas edi.
The caliph was a tyrant with unlimited power, the ofΒ­ficials under him ruled by graft and fear, if they were bad, and they usually were.
Xalifa cheksiz hokimiyatga ega bo'lgan zolim edi, uning ostidagi amaldorlar, agar yomon bo'lsalar va odatda yomon bo'lsalar, o'g'irlik va qo'rquv bilan hukmronlik qilishardi.
A good vizier or imaun could not deΒ­pend upon being safe because he was good.
Yaxshi vazir yoki imom yaxshi bo'lgani uchun xavfsiz bo'lishiga bog'liq bo'lmas edi.
His caliph could have him executed for a whim no matter how good he might be.
Uning xalifasi uni qanchalik yaxshi bo'lmasin, xurofot tufayli qatl etishi mumkin edi.
So the main business was to please the caliph.
Demak, asosiy ish xalifani xursand qilish edi.
The beggars were legion.
tilanchilar legion edi.
Some of them were religious brotherhoods, like the dervishes and the calenders, others just plain beggars.
Ularning ba'zilari dindor birodarlar edi, masalan, dervishlar va kalendarlar, boshqalari esa oddiy tilanchilar edi.
The people were cruel, and used to seeing death and torture.
Odamlar shafqatsiz edilar va o'lim va qiynoqlarni ko'rishga odatlangan edilar.
Beatings were a popular form of punishment, executions were public.
Zo'rlash jazolashning ommabop usuli edi, qatl qilish esa ommaviy edi.
Hands were cut off for trifling offences, and heads for those not much more serious.
Qo'llar mayda jinoyatlar uchun kesilgan, boshlari esa unchalik jiddiy bo'lmaganlar uchun.
All these things are reflected in the stories.
Bularning barchasi hikoyalarda aks etadi.
Everything was in extremes, there was the most marvellous luxury side by side with the most terrible poverty, slaves were common, pirates and robbers abounded.
Hamma narsa haddan tashqari edi, eng ajoyib hashamat eng dahshatli qashshoqlik bilan yonma-yon edi, qullar oddiy edi, qaroqchilar va qaroqchilar ko'p edi.
It was a wild world, where any adventure might be waiting around the corner.
Bu yovvoyi dunyo edi, u yerda har qanday sarguzasht kutib turishi mumkin edi.
The women were kept secluded, but they managed to get out more or less, or to circumvent their masters in one way or another, and some of them had a quite amazing amount of freedom, if they were rich and widowed, or powerful in their connections.
Ayollar chetda saqlanardi, lekin ular kammi-ko'pmi chiqib ketishga yoki xo'jayinlarini bir yo'l bilan chetlab o'tishga muvaffaq bo'lishdi va ularning ba'zilari, agar boy va beva bo'lishsa yoki o'z aloqalarida kuchli bo'lishsa, juda ajoyib miqdorda erkinlikka ega edilar.
Of course very little was known of the outside world, and so all sorts of things were imagined about it.
Albatta, tashqi dunyo haqida juda kam narsa ma'lum edi, shuning uchun u haqida har xil narsalar tasavvur qilingan edi.
Valleys strewn with diamonds, islands where queer people and queerer aniΒ­mals were found, fantastic birds and serpents, giants, dwarfs and what not, lay in wait for the bold traveler who left BagΒ­dad and set out to see for himself.
Olmoslar bilan to'la vodiylar, g'alati odamlar va g'alati hayvonlar topilgan orollar, ajoyib qushlar va ilonlar, ulkanlar, mittilar va hokazo Bag'dadni tark etgan va o'zi ko'rishga otlangan jasur sayohatchini kutishardi.
It was a highly colored life, and it lost nothing in the tales men told of it.
Bu juda rang-barang hayot edi va odamlar u haqida aytgan ertaklarda hech narsa yo'qotmadi.
Only a very few of the stories are contained in this book, but they are among the most famous.
Ushbu kitobda hikoyalarning juda oz qismi mavjud, lekin ular eng mashhurlaridan biridir.
You will find the English a little quaint, not just what is used to tell a story today, but not enough so to be a bother.
Siz inglizlarni bugungi kunda hikoya qilish uchun ishlatiladigan narsalar emas, balki bezovta qiluvchi bo'lish uchun yetarli bo'lmagan biroz g'alati deb topasiz.
As you read you must fancy that it is Scheherazade who is speaking, in her low and musical voice, while her slave girl lies at her feet and the sultan sits beside her on the rich couch with its Eastern
O'qiyotganingizda, shuni tasavvur qilishingiz kerakki, gapirayotgan Sheherazad, uning past va musiqiy ovozi bilan, uning qul qizi uning oyoqlari ostida yotadi va sulton uning yonida sharqiy divan bilan boy o'tiradi.
Remember that she is telling each story to save her life, and the lives of the many maidens who would follow her to death if she should fail to hold the interest of her husband.
Esda tutingki, u har bir hikoyani o'z hayotini va erining manfaatlarini saqlab qolmasa, unga ergashib o'limga olib boradigan ko'plab qizlarning hayotini saqlab qolish uchun aytib bermoqda.
She breaks off as day comes, and always she tries to do this at a point that will make him anxious to hear more.
U kun kelib uzib ketadi va har doim buni uni ko'proq eshitishga ishtiyoqli qiladigan nuqtada qilishga harakat qiladi.
It is she who invented the continued story.
U davom etayotgan hikoyani o'ylab topgan.
Through the tall, narrow windows, with their arched tops, veiled with silken curtains, the sun at length pierces, and at that signal she must stopβ€”safe, she hopes, for another day.
Baland, tor derazalar orqali, ularning egri tepaliklari bilan, ipak pardalar bilan qoplangan holda, quyosh oxir-oqibatda teshib kiradi va shu signalga u to'xtashi kerak xavfsiz, u yana bir kun umid qiladi.
And now I will stop, and let you get to the tales themselves.
Endi men to'xtayman va sizga ertaklarning o'ziga o'tishga ruxsat beraman.
Scheherazade It is written in the chronicles of the Sassanian monarchs that there once lived an illustrious prince, beloved by his own subjects for his wisdom and prudence, and feared by his enemies for his courage, and for the hardy and well-disciplined army of which he was the leader.
Sheherazad Sassoniy monarxlarining yilnomalarida shunday yozilganki, bir vaqtlar o'z hukmdorlari tomonidan donoligi va donoligi uchun sevilgan, dushmanlari tomonidan jasorati va yetakchisi bo'lgan qat'iy va yaxshi intizomli armiyasi uchun qo'rqargan mashhur shahzoda yashagan.
This prince had two sons, the elder called Schah-riar, and the younger Schah-zenan, both equally good and deserving of praise.
Bu shahzodaning ikki o'g'li bor edi: kattasi Schah-riar va kichigi Schah-zenan, ikkalasi ham bir xilda yaxshi va maqtovga loyiq edi.
The old king died at the end of a long and glorious reign, and Schah-riar, his eldest son, ascended the throne and reigned in his stead.
Qari shoh uzoq va shonli hukmronlikning oxirida vafot etdi va uning to'ng'ich o'g'li Shax-riar taxtga o'tirdi va uning o'rniga hukmronlik qildi.
A friendly contest quickly arose between the two brothers as to which could best promote the happiness of the other.
Ikki aka-uka o'rtasida tezda do'stona bahs boshlandi, bir-birining baxtini qaysi biri eng yaxshi ko'tarishi mumkinligi haqida.
The younger, Schah-zenan, did all he could to show his loyalty and affection, while the new sultan loaded his brother with all possible honors, and in order that he might in some degree share his own power and wealth, bestowed on him the kingdom of Great Tartary.
Kichigi Shah-zenan o'z sadoqatini va mehrini ko'rsatish uchun qo'lidan kelgancha harakat qildi, yangi sulton esa akasiga barcha imkoniyatlar bilan yukladi va u o'z qudrati va boyligini ma'lum darajada baham ko'rishi uchun unga Buyuk Tartariya shohligini berdi.
Schah-zenan left to take possession of the empire allotted him, and fixed his residence at Samarcand, the chief city.
Shah-zenan imperiyani egallab olish uchun ketdi, unga taqsimladi va bosh shahri bo'lgan Samarqandda o'z qarorgohini o'rnatdi.
After a separation of ten years Schah-riar ardently desired to see his brother, and sent his first vizier, with a splendid embassy, to invite him to revisit his court.
O'n yillik ajralishdan so'ng Schah-riar akasini ko'rishni juda xohladi va o'zining birinchi vazirini, ajoyib elchixonasi bilan, uni saroyiga qayta tashrif buyurishga taklif qildi.
Schah-zenan being informed of the approach of the vizier, went out to meet him with all his ministers, magnificently dressed for the occasion, and urgently inquired after the health of the sultan, his brother.
Shah-zenan vazirning yaqinlashgani haqida xabar topgach, uni barcha vazirlari bilan kutib olishga chiqdi, bu tadbir uchun ajoyib tarzda kiyingan va zudlik bilan sultonning, akasining sog'lig'ini so'radi.
Having replied to these affectionate inquiries, the vizier unfolded the more especial purpose of his coming.
Vazir bu mehrli so'rovlarga javob berib, kelishining yanada maxsus maqsadini ochdi.
Schah-zenan, much affected at the kindness of his brother, then addressed the vizier in these words: β€œSage vizier, the sultan, my brother, does me too much honor.
Schah-zenan, akasining mehribonligidan juda ta'sirlanib, keyin vazirga shunday dedi: Dono vazir, sultan, mening akam meni juda ko'p hurmat qiladi.
It is impossible that his wish to see me can exceed my anxious desire of again beholding him.
Uning meni ko'rishni istagani, uni qayta ko'rishga bo'lgan tashvishli istakimdan ham oshib ketishi mumkin emas.
You have come at an opportune moment.
Siz qulay lahzaga keldingiz.
My kingdom is tranquil, and in ten days’ time I will be ready to depart with you.
Mening shohligim tinch, va o'n kundan keyin siz bilan ketishga tayyor bo'laman.
In the meanwhile pitch your tents on this spot.
Ayni paytda shu joyga chodirlaringizni qo'ying.
I will order every refreshment and accommodation for you and your whole train.” At the end of ten days everything was ready.
Siz va butun poyezdingiz uchun har bir dam olish va turar joy buyurtma beraman. O'n kun oxirida hamma narsa tayyor edi.
Schah-zenan took a tender leave of the queen, his consort, and accompanied by such officers as he had appointed to attend him, left Samarcand in the evening, to be near the tents of his brother’s ambassador, with the intention of proceeding on
Shah-zenan malika va uning turmush o'rtog'idan mehribonlik so'radi va unga tashrif buyurishga tayinlagan ofitserlar hamrohligida kechqurun Samarkandni tark etib, akasining elchisi chodirlariga yaqinlashdi va davom etish niyatida edi.
Schah-Zenan Took a Tender Leave of the Queen his journey early on the following morning.
Schah-Zenan keyingi kuni erta tongda qirolichaning sayohatidan nozik ta'til oldi.
Wishing, however, once more to see his queen, whom he tenderly loved, and whom he believed to return his love with an equal affection, he returned privately to the palace, and went directly to her apartment, when, to his extreme grief, he found that she loved a slave better than himself.
Biroq, u yana bir bor o'z malikasi bilan ko'rishni xohladi, uni mehr bilan sevardi va u o'z muhabbatini teng darajada qaytarib berishiga ishonuvchan edi, u saroyga alohida qaytib, to'g'ridan-to'g'ri uning kvartirasiga bordi va nihoyatda qayg'uga to'lib, uning o'zidan ko'ra yaxshiroq qulni sevganini aniqladi.
The unfortunate monarch, yielding to the first outburst of his indignation, drew his scimitar, and with one rapid stroke slew them both.
Bechora monarx g'azabining birinchi portlashiga taslim bo'lib, o'zining simitarini tortdi va bir tez zarba bilan ikkalasini ham o'ldirdi.
After that he threw their bodies into the foss or great ditch that surrounded the palace.
Shundan so'ng u ularning jasadlarini saroyni o'rab turgan chuqurga yoki katta ariqqa tashladi.
Having thus satisfied his revenge, he left the city as privately as he had entered it, and returned to his pavilion.
Shunday qilib, o'z qasosini qondirib, u shaharga kirganidek, o'z holicha chiqib ketdi va o'z paviloniga qaytdi.
On his arrival, he did not mention to any one what had happened, but ordered the tents to be struck, and began his journey.
U yetib kelganida, nima bo'lganini hech kimga aytmadi, lekin chodirlarni urishni buyurdi va o'z safarini boshladi.
It was scarcely daylight when they commenced their march to the sound of drums and other instruments.
Ular barabanlar va boshqa asboblar ovozi bilan yurishni boshlaganlarida, kun deyarli yorim edi.
The whole train was filled with joy, except the king, who could think of nothing but his queen’s treachery, and became a prey to the deepest grief and melancholy.
Butun poyezd quvonchga to'ldi, faqatgina qirolidan boshqa hech narsa haqida o'ylamaydigan va eng chuqur qayg'u va tushkunlikka duchor bo'lgan shoh bundan mustasno.
When he approached the capital of Persia, he perceived the Sultan Schah-riar and all his court coming out to greet him.
U Fors poytaxtiga yaqinlashganda, u Sulton Shah-riorni va uning butun saroyi uni kutib olish uchun chiqayotganini ko'rdi.
As soon as they met the two brothers alighted and embraced each other; after a thousand expressions of regard, they remounted and entered the city amid the acclamations of the multitude.
Ular ikki aka-uka uchrashgan zahoti pastga tushib, bir-birlarini quchoqlashdi; ming hurmat izhoridan so'ng, ular qayta ko'tarilib, olomon olqishlari orasida shaharga kirishdi.
The sultan conducted the king, his brother, to a palace which had been prepared for him.
Sulton o'z akasini shoh uchun tayyorlangan saroyga olib bordi.
It communicated by a garden with his own and was even more magnificent.
U o'z bog'i bilan bog'lashardi va undan ham ulug'vorroq edi.
Schah-riar left the King of Tartary, in order that he might have time to bathe and change his dress after the fatigues of the journey; on his return from the bath he went to him again.
Shah-riar Tatariston Qirolini yo'ldagi charchoqdan keyin cho'milishga va ko'ylaklarini almashtirishga ulgurishi uchun tark etdi; vannaxonadan qaytib kelgach, u yana uning oldiga bordi.
They seated themselves and conversed with each other at their ease, after so long an absence; and seemed even more united by affection than blood.
Ular o'tirishdi va uzoq vaqtdan so'ng xotirjamlikda bir-birlari bilan suhbatlashdilar; va hatto qondan ham mehr bilan birlashgan ko'rinishardi.
They dined together and after their repast they again conversed, till Schah-riar, perceiving the night far advanced, left his brother to repose.
Ular birga ovqatlanishdi va ovqatdan keyin yana suhbatlashdilar, toki Schah-riar tun ancha oldinga o'tib ketganini anglab, akasini dam olishga qoldirdi.
The unfortunate Schah-zenan retired to his couch; but if the presence of the sultan had for a while suspended his grief, it now returned with redoubled force.
Bechora Shax-zenan o'z divaniga chekindi; lekin agar sultonning hozirligi uning qayg'usini bir muddatga to'xtatib turgan bo'lsa, u endi kuch bilan qaytdi.
Every circumstance of the queen’s wickedness lived in his mind and kept him awake, impressing such a look of sorrow on his countenance that the sultan next morning could not fail to remark it.
Qirolichaning yovuzligining har bir holati uning xayolida yashagan va uni uyg'otgan holda saqlagan, yuziga shunday qayg'u nigohini singdirganki, ertalab sulton buni sezmay qolmasdi.
Conscious that he had done all in his power to testify to his continued love and affection, he sought diligently to amuse his brother, but the most splendid entertainments and the gayest fΓͺtes only served to increase his melancholy.
U o'zining doimiy muhabbati va mehrini ko'rsatish uchun bor kuchini sarflaganini anglab, akasini xursand qilishga astoydil harakat qildi, ammo eng ajoyib ko'ngilochar tadbirlar va eng gey ziyofatlar uning qayg'usini kuchaytirishga xizmat qildi.
Schah-riar having one morning given orders for a grand hunting party, at the distance of two days’ journey from the city, Schah- zenan requested permission to remain in his palace, excusing himself on account of a slight indisposition.
Shah-riar bir kuni ertalab shahardan ikki kunlik masofada bo'lgan katta ov partiyasiga buyruq berganidan so'ng, Shah-zenan ozgina noqulaylik tufayli o'z saroyida qolishga ruxsat so'radi.
The sultan wishing to please him, gave his consent and went with all his court to partake of the sport.
Sulton uni xursand qilishni xohlab, rozilik berdi va sportda ishtirok etishga butun saroyi bilan bordi.
The King of Tartary was no sooner alone than he shut himself up in his apartment, and gave way to sorrowful recollection of the calamity which had befallen him.
Tartariya qiroli o'z xonadoniga qamalib, boshiga tushgan falokatni qayg'uli tarzda eslashga yo'l qo'yganicha, u yolg'iz qolmadi.
As he sat thus grieving at the open
U ochiq havoda shunday qayg'urib o'tirar edi.
window looking out upon the beautiful garden of the palace, he suddenly saw the sultana, the beloved wife of his brother, meet in the garden and hold secret conversation with a man.
Saroyning go'zal bog'iga qaragan deraza, u birdan akasining suyukli xotini bo'lgan sultonni bog'da uchrashayotganini va bir odam bilan yashirincha suhbatlashayotganini ko'rdi.
Upon witnessing this, Schah-zenan determined within himself that he would no longer give way to inconsolable grief for a misfortune which came to other husbands as well as to himself.
Bunga guvoh bo'lgan Schah-zenan o'zida boshqa erlariga ham, o'ziga ham kelgan baxtsizlik uchun taskin bermaydigan qayg'uga yo'l qo'ymasligini aniqladi.
He ordered supper to be brought, and ate with a better appetite than he had before done since his departure from Samarcand, and even enjoyed the fine concert performed while he sat at table.
U kechki ovqatni olib kelishni buyurdi va Samarqanddan ketganidan beri hech qachon qilmaganidan yaxshiroq ishtaha bilan yedi va hatto dasturxonda o'tirganida ijro etilgan ajoyib konsertdan ham bahramand bo'ldi.
Schah-riar, on his return from hunting at the close of the second day, was delighted at the change which he found had taken place in his brother, and urgently pressed him to explain both the cause of his former deep depression, and of its sudden disappearance.
Schah-riar ikkinchi kunning oxirida ovdan qaytganida, akasida sodir bo'lgan o'zgarishdan xursand bo'ldi va uni avvalgi chuqur depressiyasining sababini ham, uning to'satdan yo'qolishini ham tushuntirishga zudlik bilan majburladi.
The King of Tartary being thus pressed, related to his brother the narrative of his wife’s misconduct, and of the severe punishment which he had visited on the offenders.
Tartariya qiroli shunday bosim ostida bo'lib, akasiga xotinining xatti-harakatlari va jinoyatchilarga yetkazilgan qattiq jazosining hikoyasini aytdi.
Schah-riar expressed his full approval.
Schah-riar o'zining to'liq roziligini bildirdi.
End of preview. Expand in Data Studio

πŸ“– English ↔ Uzbek Literary Translation Dataset

Language Pair Domain Size License


🌟 Dataset Summary

This dataset contains parallel sentence pairs translated between English (EN) and Uzbek (UZ), extracted from the classic literary work One Thousand and One Nights (Ming bir kecha / Ω…ΫŒΩ†Ϊ― بیر Ϊ©ΫŒΪ†Ω‡).

The dataset is ideal for:

  • πŸ€– Training and fine-tuning Neural Machine Translation (NMT) models for the EN↔UZ language pair
  • πŸ“Š Benchmarking translation quality on literary text
  • πŸ” Linguistic research on English–Uzbek language structure
  • πŸ“š Low-resource language NLP development (Uzbek)

πŸ“‚ Dataset Structure

Translation1_en_uz.jsonl

Each line is a JSON object with two fields:

Field Type Description
en string English source sentence/segment
uz string Uzbek translated sentence/segment

πŸ”Ž Example Entry

{
  "en": "A good story belongs to the whole world.",
  "uz": "Yaxshi hikoya butun dunyoga tegishli."
}
{
  "en": "The stories known as the Thousand and One Nights are very old.",
  "uz": "\"Ming bir kecha\" nomi bilan tanilgan hikoyalar juda qadimiy."
}

πŸ“Š Dataset Statistics

Property Value
Format JSONL
Total pairs ~2,245
Source language English (en)
Target language Uzbek (uz)
Domain Literary / Classic
Text type Prose, narrative
Script (UZ) Latin (Uzbek Latin alphabet)

πŸ“– Source Material

πŸ›οΈ One Thousand and One Nights β€” an ancient collection of Middle Eastern folk tales compiled during the Islamic Golden Age.

Property Details
Title One Thousand and One Nights / Ming bir kecha
Origin 9th century CE
Publisher The Penn Publishing Company, Philadelphia, 1928
Source en.wikisource.org
Illustrator Virginia Frances Sterrett
Download www.aliceandbooks.com
License Public Domain (CC0 1.0)

πŸš€ Loading the Dataset

Using πŸ€— HuggingFace Datasets

from datasets import load_dataset

dataset = load_dataset("ML-Jonibek/Translation1_en_uz", split="train")
print(dataset[0])
# {'en': 'A good story belongs to the whole world.', 
#  'uz': 'Yaxshi hikoya butun dunyoga tegishli.'}

Manual loading with Python

import json

data = []
with open("Translation1_en_uz.jsonl", "r", encoding="utf-8") as f:
    for line in f:
        data.append(json.loads(line))

print(f"Total pairs: {len(data)}")
print(data[0])

🎯 Intended Use

βœ… Suitable for

  • Fine-tuning multilingual models (mBART, NLLB, mT5, etc.) on EN↔UZ
  • Creating Uzbek language corpora for NLP research
  • Training sequence-to-sequence translation models
  • Evaluating BLEU/chrF scores on literary Uzbek text

⚠️ Limitations

  • Text is literary in style β€” may not generalize well to news, technical, or conversational domains
  • Uzbek translations may reflect older translation conventions
  • Some segments are sentence fragments due to literary segmentation

πŸ’‘ Example Use Case: Fine-tuning with transformers

from transformers import MarianMTModel, MarianTokenizer

model_name = "Helsinki-NLP/opus-mt-en-uz"
tokenizer = MarianTokenizer.from_pretrained(model_name)
model = MarianMTModel.from_pretrained(model_name)

texts = ["A good story belongs to the whole world."]
inputs = tokenizer(texts, return_tensors="pt", padding=True)
translated = model.generate(**inputs)
print(tokenizer.decode(translated[0], skip_special_tokens=True))

πŸ“œ License

This dataset is derived from public domain source material and is released under the Creative Commons Zero (CC0 1.0) license.

You can copy, modify, distribute and perform the work, even for commercial purposes, all without asking permission.


πŸ™ Citation

If you use this dataset in your research, please cite:

@dataset{translation1_en_uz_2024,
  title     = {English-Uzbek Literary Translation Dataset (One Thousand and One Nights)},
  language  = {en, uz},
  source    = {One Thousand and One Nights, Penn Publishing Company, 1928},
  license   = {CC0 1.0 Universal},
  url       = {https://huggingface.co/datasets/your-username/Translation1_en_uz}
}

🀝 Contributing

Contributions, corrections, and improvements are welcome!
Feel free to open an issue or pull request on the dataset repository.


Made with ❀️ for the Uzbek NLP community πŸ‡ΊπŸ‡Ώ

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