Abstract
The article examines the scholarly and artistic problems that arise when the muxammases (takhmis poems) of the nineteenth-century Khorezmian poet Ogahiy are translated into other languages. Unlike a ghazal, a muxammas weaves the lines of two poets into one stanza, so a translator must preserve the stanza structure, the rhyme scheme, the audible dialogue between the voices and the mystical imagery at the same time. Three translation approaches (literal, free and artistic-equivalent) are compared, and a structure-preserving, compensatory strategy is proposed.