الترجمة الابداعية Creative Translation

النسخ

1 King Faisal University Deanship of E-Learning and Distance Education الرتمجة االبداعية Creative Translation Instructor / Dr. Ahmad M Halimah By

2 السالم عل كم ورحمة هللا وبركاته حب ت اع د تنس ق ملزمة الترجمة االبداع ة وحل أغلب التمار ن 1 -الدكتور قرأ فقط المحتوى و ترك لكم حل التمار ن مالحظات مهمة : واغلب اسبلة االختبار بالجزء النظري فدققو عل ها 2 -تقسم المحاضرات الى : ) (مقدمة عن الترجمة االبداع ة )اسال بها انواعها المشاكل الت تواجهك بالترجمة 3 -المحاضرة 5 ترجمة النصوص الد ن ة )القران الكر م )...( وبعض طبعا ترجمة القران تكون حرف ة بدون ابداع ولو واجهتك مشكلة بترجمة نقوم بعمل تفس ر لال ة ووضعها ب ن قوس ن. هناك بعض الكلمات ال تترجم تكتب مثل ما ه مثل )ذكر- زكاة حج...( هناك مشاكل وقع ف ها كث ر من المترجم ن عند ترجمة بعض من آ ات القران 4- المحاضرة 6 ترجمة النصوص الد ن ة )الحد ث الشر ف ) كذلك تكون ترجمته حرف ة مع االنتباه لمعنى بعض الكلمات 5- المحاضرة 7 ترجمة الخطابات. جب ان تشد انتباه القارئ لها 6- المحاضرة 8 ترجمة الشعر واالب ات الشعر ة جب مالحظة ان ترجم الشعر بشعر وان ال توفق النص المترجم عن النص االصل واالنتباه لالختالفات الثقاف ة ب ن اللغت ن وقد ننحرف عن ترجمة الشعر االصل للوصول للقاف ة والوزن المطلوب ن 7 -المحاضرة 9 ترجمة القصص القص رة هنا كمن االبداع بلفت نظر القارئ وتشو قه بسرد قصة مع نة 8- المحاضرة 11 ترجمة الدراما 9- المحاضرة تدر بات 11 -المحاضرة 14 مراجعة لمحتوى المحاضرات + حل تدر بان -11 باالختبار النهاب لم خرج الدكتور عن التمار ن المضافة بالمحتوى لكن غ ر بالخ ارات 12- الجزء النظري حتاج تدق ق وفهم قبل الحفظ 13- قمت بعمل تضل ل لبعض الفقرات وتحد دها النها كانت موضع اسبلة اختبارات نهاب ة للسنوات الماض ة وحل التمار ن اجتهاد شخص قد حتمل الخطؤ فؤرجو االنتباه تنس ق 1 SeamOOn

3 Lecture 1 What is Creative Translation? Learning Outcomes By the end of this lecture, you should be able to 1. show knowledge of different meanings of the term creativity. 2. show understanding of the concept of creativity in relation to translation. ؼ حإلريحع وخ أ فؼ The Meaning of Creativity as a Noun or a Verb The origin of the word creativity comes from the Latin term creō "to create, make": The word "create" appeared in English as early as the 14th century, notably in Geoffrey Chaucer ( , to indicate divine creation in the Parson s Tale.) أط و شcreativity طؤط creō ح ظط ق ح الط ١ "ه ك ط غ": و ش "ه ك "create" ف ح غش حإل ٠ ١ ش ف رخ ٠ ش ح م ح حرغ ػش ظ ص خصوصا ف Chaucer, Geoffrey لتش ر الى الخلق االله divine creation In Arabic, you need to be very careful when translating words like: to create, creation, creator as these words still have their own religious connotations such as : this اخترع أوجد أبدع وؼ رها : as you could always use alternatives such خ لق خ ل ق خ ا ل ق will depend on the type of text and the context it is used in. رخ غش ح ؼ ر ١ ش ػ ١ ه أ طى ك ح ؿيح ػ ي ط ؿ ش و خص ؼ : ه ك ه ك ح وخ ك to create, creation, creator و خ أ ح ى خص ال ط حي ح يالالص ح ي ١ ٠ ش ح وخطش ر ؼ خ: ه خ ك ه ك ه ك ٠ ى ىحث خ ح ظويح ح زيحث ؼ : أريع أ ؿي حهظ ع غ ١ خ ح ف ٠ ؼظ ي ػ ع ح ض ح ١ خق ح ح ظوي ف ١. Example The dictionary definition of word creative is inventive and imaginative ; characterized by originality of thought, having or showing imagination, talent, inspiration, productivity, fertility, ingenuity, inventiveness, cleverness رؼش ٠ ف ا مب ط ى خ creative 'حريحع ه ١ خي ' ط ١ حإل خ حإل ظخؿ ١ ش ح وظ رش حالريحع حالرظىخ ح وخء رخ فى ح ي ٠ ي رؼي أ ػ ع ح و ١ خي ح ز تنس ق 2 SeamOOn

4 Now how would you translate the following into Arabic? ح ٢ و ١ ف أ ٠ ظ ؿ خ ٠ ا ح غش ح ؼ ر ١ ش A. The Creator of the Universe..هخ ك ح ى B. There must be a maker of this world الفرق ب ن صنع اخترع صنع / اعادة تصن ع لش ء سابق > تعد ل اخترع / اختراع ش جد د ح ح ى ٠ ذ أ ٠ ى هخ ك C. The creator of this beautiful machine وظ ع حال ش ح ١ ش. D. The maker of Mercedes must have been a genius ح ؼزم طخ غ ١ خ س ح ١ ي. E. The inventor of the lightbulb is Thomas Edison وظ ع ح ظزخف ط خ أى ٠ رؼغ ح ظؼخ ٠ ف ح ؼخ ش إلريحع Some General Definitions of Creativity Authors have diverged in their definitions of creativity. The following are just a few: :لذ اخز ف ا إ ف ١ ف رؼش ٠ فبر إلثذاع. رؾظش ف ١ ب ٠ In a summary of scientific research into creativity, Michael Mumford suggested: " that creativity involves the production of novel, useful products" (Mumford, 2003, p. 110). ب ٠ ى ف سد الزشػ :. "أ حإلريحع ٠ شظ ػ - 1 ا ظخؽ ح ي ٠ ي ح زظى 2- ظ ١ ف ١ ي Creativity can also be defined "as the process of producing something that is both original and worthwhile". االبداع مكن ان نعرفه ا ضا كعمل ة إنتاج شا ما مبتكر وذات اهم ه ف ان معا تنس ق 3 SeamOOn

5 Creativity refers to the invention or origination of any new thing (a product, solution, artwork, literary work, joke, etc.) that has value. اإلثذاع ٠ ش ١ ش ئ حهظ حع أ حرظىخ ال ش ء ؿي ٠ ي أ ٠ ى ح ل ١. ؼ )ح ظؾ ح ل ح ؼ ح ف ح ؼ حألىر ىظش ا ن( "New" may refer to the individual creator or the society or domain within which novelty occurs. "Valuable", similarly, may be defined in a variety of ways. "عذ ٠ ذ" "New" لي طش ١ ا هخ ك ح ف ى أ ح ظ غ أ خي ىحه ػ فض ف ؽ ق وظ ف. حالكيحع ح لي ٠ ؼ. "ل ١ ش" ظشخر ر خ المز د من تعر فات االبداعCreativity More Definitions of Creativity is the act of turning new and imaginative ideas into reality. اإلثذاع Creativity لخ ظل ٠ حألفىخ ح ي ٠ يس ح زظى س ا حلغ.. 3 رؼبس ٠ ف خبط ثNaiman Linda Creativity involves two processes: thinking, then producing. اإلثذاع Creativity شتمل على عمل ت ن هما: التفك ر ثم إنتاج. االبتكار Innovation Innovation is the production or implementation of an idea. هو إنتاج أو تنف ذ فكرة. If you have ideas, but don t act on them, you are imaginative but not creative. Linda Naiman ا ح وخ ي ٠ ه أفىخ ى ال طؼ ػ ١ أ ض ه ١ خ ى ض زيع. ا ٠ ؼب Rollo May عرفها ب 3 تعار ف Creativity is the process of bringing something new into being "اإلثذاع Creativity ػ ١ ش اىهخي ش ء ؿي ٠ ي ا ك ١ ح ؿ ى... creativity requires passion and commitment. ٠ ظط ذ حإلريحع ا ؼبؽفخ اال زضا. تنس ق 4 SeamOOn

6 د) Out of the creative act is born symbols and myths. Rollo May, The Courage to Create ح و ؽ ح ؼ حإلريحػ ٠ ي ح حأل خؽ ١. ا ٠ ؼب Lubart, Sternberg & لد ة 3 تعار ف A product is creative when it is (a) novel and (b) appropriate. ) خ ز. ا ز ١ غ رى اثذاع ػ ي خ طى )أ( زظى ا مظ د ب ثب ز ١ غ )) ٠ ؼ ز ١ غ رشع خ ا ض ضال ا غ ١ ض ا ػشث ف ب ا ض ا ؼشث ا فش ع ٠ ى جزىش بعت ض ا ظذس اال غ ١ ض (( A novel product is original not predictable. النت جه الجد ده تكون جد ده ال مكن التنبإ بها. The bigger the concept and the more the product stimulate further work and ideas, the more the product is creative. Sternberg & Lubart, Defying the Crowd ا ف االوجش االوضش ز ١ غخ رؾفض ص ٠ بدح ا ؼ االفىبس ا ز ١ غ االوضش رى االثذاع Creative Translation in Theory Approaches to translation go far back to ancient times, with Cicero and Horace (first century BCE) and St Jerome (fourth century CE). But in modern times there has been a greater rise of theories and schools or models which have so much developed the art of translation. Philological, linguistic, sociolinguistic, functional, semiotic, and communicative or manipulative methodologies have failed to meet at a united stand. ى ف ا ؼظش ا ؾذ ٠ ش وب بن اسرفبع أوجش ا ظش ٠ بد ا ذاسط أ ا برط ح ظ ؽ ص وؼ ١ ح ف ح ظ ؿ ش. ١ خص ئ فخط ح غ ٠ ش ح غ ٠ ش حالؿظ خػ ١ ش ح ف ١ ش ػ ىالالص ح ؼال خص ح طزخىي حالفىخ أ أ خ ١ ذ ح ظالػذ طظالث ػ ي لف كي. So we have the idea that nothing is communicable or translatable on the one hand and we have the thought that everything is translatable into any language, on the other hand. تنس ق 5 SeamOOn

7 خك ١ ش حه ػ ١ خ ح ظفى ١ ف أ و ش أ غخ ه ي ٠ خ فى س غ ١ لخر ش ال ظمخي أ ح ظ ؿ ش لبث زشع خ ئ Susan Bassnett suggests that Exact translation is impossible, حلظ كض رؤ "ا زشع خ ا ذل ١ مخ رى غزؾ ١ خ " Susan Bassnett suggests ح رخ ض implying the translatability of untranslatable things but at certain degrees of approximation or sameness. رزظ اش ١ بء لبث خ اش ١ بء غ ١ ش لبث خ زشع ى ػ ذ دسعخ ؼ ١ خ ا زمبسة أ ا ز بص. E. Gentzler realises that the translator is required to painstakingly reveal competence as literary citric, historical scholar, linguistic technician, and creative artist. ) Gentzler.غ ١ زغ ش ٠ ي ن أ ح ظ ؿ ح ظ ز ي لظخ ؿ يس ٠ ىشف وفخءس literary citric ح خلي حالىر, historical scholar ح زخكغ ح ظخ ٠ و, technician linguistic ح ف ح غ, artist creative ح ف خ ح زيع. The bewildering question is: if the translator is most often regarded as an artist, which is the title of any good author, why is he denied the right of creativity? As a well versed Egyptian writer and translation practitioner, Enani, depending on other scholarly notions, contends that the translator, unlike the writer, is deprived of the freedom of creativity or thought, because he is confined to a text whose author has happened to enjoy such right; he is committed to literally recording the original s ideology from a language, which has got its own assets of culture and tradition as well as social norms, into another different language. The bewildering question ا غإاي ا ؾ ١ ش: ا ح وخ ح ظ ؿ ٠ ؼظز ف أغ ذ حألك ١ خ وف خ ػ ح أ وخطذ ؿ ١ ي خ ح ف ح لك ف حإلريحع و خ خ ح ح ى كك حالريحع وخ ىخطذ ح ظ خ ح ظ ؿ ل ي ػ خ حػظ خىح ػ ح فخ ١ ح ؼ ١ ش حأله ٠ يػ أ ح ظ ؿ ال ٠ شز ح ىخطذ "ؽش ؽش ٠ خ اإلثذاع ا فىش ظشا أل ٠ مزظش ػ ض ا جالؽ ا ز ؽذس ز زغ ث زا ا ؾك أ زض ؽشف ١ ب رغغ ١ ض األط غخ ا ز ؽظ ذ ػ أط ب ا خبطخ ضمبفخ ا زمب ١ ذ فؼال ػ ا ؼب ١٠ ش االعز بػ ١ خ ئ غخ خز فخ أخش. This vision seems to limit creativity to the ability of creating new ideas ح إ ٠ ش طزي وؤ خ طلي 'اإلثذاع' creativity ا ح مي س ػ ه ك أفىخ ؿي ٠ يس تنس ق 6 SeamOOn

8 or, in other words, to the content rather than the form of a text. If authors are thus looked upon as creative artists as being the inventors of genuine ideas, how about those ones who derive their ideas from other sources? Would they still be creative? If not, as implied by Enani, this is going to shake a well-established and wide-ranging creativity of innumerable authors in the world. أ رؼزخ س أه لظ ريال شى ح ض. ا ح وخ ح ئ ف ى ح ٠ ظ ا ١ وخ ف خ ١ ح زيػ ١ وب ٠ خى ح وظ ػ ١ ألفىخ كم ١ م ١ ش خ ح ػ أ جه ح ٠ ٠ أفىخ ظخى أه ف طى ظظ حريحػ ١ ش ا ح ٠ ى حأل و ه ػ ػ خ ح ٠ د ا اريحػخص ح و ح ؼ ح طخق ئ ف ١ ح ظ ال كظ خ ف ح ؼخ. A modern vision of the term may not go far from its orthodox context. According to psychologists, creativity is an intellectual capacity for invention. إ ٠ ش كي ٠ ؼش ظط ق لي ال ط ذ رؼ ١ يح ػ ١ خل خ ح ئ ف. فمب ؼ بء ا فظ اإلثذاع لذساد ا فىش ٠ خ الخزشاع. It is this lecture s main target to prove that translation is not an ordinary activity of everyday life, but rather a real field of creativity. ح لخػ ح يف ح ث ١ اػزخص أ ح ظ ؿ ش ١ غذ شبؽب ػبد ٠ خ ؾ ١ بح ا ١ ١ خ ى ا ٠ ؼب ؽم ؽم ١ م إلثذاع. Ideally creative translation is defined as a rewriting process which meets three independent requirements: accuracy, naturalness and communication. ظش ٠ ب طؼ ف ح ظ ؿ ش حإلريحػ ١ ش وؼ ١ ش ط ١ خغش ح ظ طزي 3 ر ظط زخص ظم ش : ح يلش - ح ز خؽ ح ظ حط The first is bound up with transmitting the overall meaning of the ST accurately, األول ) accuracy (مرتبط انتقال المعنى الكل للنص المصدر. the second with applying suitable natural forms of TL to the ST, ا ضب ( ح ض ح ظيST ح ط خ ذ ططز ١ ك ح شى ح طز ١ ؼ غش ح ظ يفTL )naturalness تنس ق 7 SeamOOn

9 ر( while the third with carrying the meaning and emotional force of the ST to the target reader, as much effectively as they are communicated to the ST readers. ث ١ ب ا ضب ش communication( ظل ح ؼ ل س ح ؼخؽف ١ ش ح ض ح ظيST رمي فؼخ ١ ش و خ أ خ ط ا ل حء ح ض ح ظي ST ح ح مخ ة ح ظ يف In this way, translation reproduces the total dynamic character of the communication. Though this process gives room for the manifestation of great creativity, through adapting formal and linguistic parameters of the ST to different form and language dimensions and conventions, it should be governed by certain criteria. ر ح ط ٠ مش ٠ ظ ن ح ظ ؿ ش "ؽخرغ شؾ هخص رخال ظمخي ". ػ ح غ أ ح ؼ ١ ش طؼط خال الظ خ ػظ ش حالريحع هالي الث ش ح خ ح ؼخ ح غ ٠ ش ض ح ظي رشى وظ ف أرؼخى ػخىحص غ ٠ ش وظ فش فب ٠ زغ أ طلى خ ؼخ ١٠ ؼ ١ ش. Dagmar Knittlova points out: The text reads well but elegant creativity should not make the text sound better, more vivid than its original version, even if the translator is stylistically talented, gifted and inventive. Dagmar Knittlova ىحغ خ و ١ ظ فخ طش ١ ا : "ل أس ح ض ؿ ١ يح ى ق حإلريحع ال ٠ زغ أ ٠ ؼ ح ض ٠ زي أفؼ أوؼ ػ كخ وظ حألط ١ ش كظ ا ح وخ ح ظ ؿ د رخ ر د زظى ". Example To show how creativity works in the translation process one may need to examine certain common theories of the subject on which practicing translators depend. إلظ خ و ١ ف ٠ ؼ حإلريحع ف ح ظ ؿ ش ػ ١ ش حكيس لي طلظخؽ ا ى ح ش رؼغ ح ظ ٠ خص ح شخثؼش ح ح ػ ع ح ظ ٠ ؼظ ي ػ ١ خ ح ظ ؿ ١ ح خ ١. The equivalence theory is followed by an endless list of translators, but not without problems at words and lexical. ظش ٠ خ ا زىبفإ طى ظز ػخ رمخث ش ال خ ٠ ش خ ح ظ ؿ ١ ى ري شخو ف ح ى خص ح ف ىحص. تنس ق 8 SeamOOn

10 As a very simple example, yes in English is generally understood as an expression of agreement, meaning right or all right, whereas the Arabic equivalent نعم (Na am) is interpreted differently, in relation to the situation. The creative translation is one adapted skilfully to any of such situations as: Here I am (the reply to somebody s asking a group for someone whom he had not met or known before); What do you want? (the response to someone s demand that has not been properly heard); Come again? (if somebody s feeling is hurt by another one s offensive words). كمثال بس ط جدا 'نعم' ف اللؽة اإلنجل ز ة هو المفهوم عموما كتعب ر عن االتفاق بمعنى 'الحق' أو 'كل الحق ' عادل ح ن نعم Na am العرب ة تم تفس رها بشكل مختلؾ ف ما تعلق بالحالة. الترجمة اإلبداع ة احدى المهارات المالبمه الي موضع كهذا : 'أنا هنا' am Here )الرد I على شخص ما سؤل مجموعة عن شخص منهم أنه لم عرفه أو قابله قبل( ماذا تر د )استجابة للطلب شخص ما لم سمعه بشكل صح ح( اعد مرة اخرى ' )وإذا كان شعور شخص ما هو سا باالخر للكلمات الهوجوم ه. Creative Translation in practice بمعنى ان كلمة " نعم " لها اكثر من معنى وتفس ر ع حسب الحالة The dictionary definition of word creative is inventive and imaginative - which, while being unexceptionable, lacks the very quality that characterises the creative: an amalgamation of surprise, simplicity and utter rightness (leading one to exclaim, Now, why didn t I think of that before?). طؼ ٠ ف ح مخ ى ش creative' ' 'اريحع ه ١ خي '-ح ظ ك ١ ٠ ي الػ ١ ذ ف ١ خ ٠ فمي طف ؿيح ط ١ حالريحع : خ ١ ؾ ا فبعأح ا جغبؽخ ا ؾم ١ م ا ط م )طم ى حكيح ١ ظ م "ح ٢ خ ح أفى ف ه لز No matter how advanced machine translation computer software programmes may be, they would still fail to replace the human mind when it comes to translating creative writings such as literary different genres. رغغ ح ظ ػ و ١ ف طط ط ؿ ش ر ح ؾ ح ى ز ١ ط حال ١ ش ر خ ظظ فخش ش ظل ل ح ؼم ح زش ػ ي خ ٠ ظؼ ك حأل رظ ؿ ش ح ئ فخص حإلريحػ ١ ش ؼ حأل حع حألىر ١ ش ح وظ فش. تنس ق 9 SeamOOn

11 This could be illustrated by a computer programme when it was made to translate the proverbial phrase out of sight, out of mind into Russian and then translate the translation back into English: the resulting printout read: invisible idiot. Its "بع دا عن األنظار من العقل " follows: translation in Arabic was as ٠ ى ط ػ ١ ق ه رز خ ؾ و ز ١ ط ػ ي خ ط ؿؼ ظ ؿ ش ح ؼزخ س و خ ٠ م ي ح ؼ out of sight, out of invisible " : ا ح غش ح ١ ش ػ ط ؿ ش ح ظ ؿ ش ا حإل ى ٠ ١ ش: ل حءس ظ ١ ش ح وش ح طز ػش mind ". idiot ح ظ ؿ ش ح ح غش ح ؼ ر ١ ش ػ ح ل ح ظخ : "رؼ ١ يح ػ حأل ظخ ح ؼم " Example Now how would you translate such a proverb out of sight, out of mind into Arabic? Is it A, B, C, D, E, F or something else? Continued خارج عن البصر خارجعن العقل بع دا عن األنظار بع دا عن العقل بع دأ عن بصرك بع دا عن عقلك بع دا عن الع ن بع دأ عن القلب بع د عن ع نك بع د عن قلبك البعد جفاء والقرب رخاء إلخ....A.B.C.D.E.F.G The question of equivalence gets much more complicated when specific words or structures of a language find no equivalent or even approximate meanings in another language. غأ خ ا زىبفإ / طلظ أوؼ طؼم ١ يح غش أه. ػ ي خ ي و خص ؼ ١ أ ر خء ح غش غ ١ ظىخفت أ خ ؼ ل ٠ ذ ف :ػ عج ١ ضبي ا زؼج ١ ش اإل ى ١ ض ا شبئغ expression: As an example, the common English Mother Nature is angry sounds obscure or senseless to an Arab Moslem listener who may know English well but is ignorant of the cultural and religious images behind it. ستمع ال ها المسلم ن عرفون الذ ن العرب angry Mother Nature is صوتها ؼامض أو الت ال معنى لها اإلنجل ز ة ج دا ولكن جهلون الصور الثقاف ة والد ن ة الت وراء ذلك. تنس ق 10 SeamOOn

12 However, the good translator tests his own background of Western culture and religions against the expression to adapt its meaning in a suitable cultural and linguistic context of the target audience. Being aware of the cultural and religious differences between the West and the East, the translator knows that Mother Nature is used in many English speaking countries to refer to god or goddess, images which have no existence in the Arab Moslem s mind. The latter believes in One and Only One God, whose image is never likened to any male figure or referred to as female. غ ه حهظزخ حص ه ف ١ ش ح ظ ؿ ح ١ ي ؼمخفش ح غ ر ١ ش حألى ٠ خ طؼى ح ظؼز ١ ح ؼ ح الث ف ح ؼمخف ح خ ز ح ١ خق ح غ ٠ ح ظ يف. اى حوخ الهظالفخص ح ؼمخف ١ ش ح ي ١ ٠ ش ر ١ ح غ د ح ش ق ٠ ؼ ف ح ظ ؿ أ 'ا طج ١ ؼخ اال Nature 'Mother ٠ غزخذ ف ا ؼذ ٠ ذ ا ج ذا ا بؽمخ ثب غخ اإل ى ١ ض ٠ خ إلشبسح ئ 'هللا' أ 'آ خ' ح ظ ح ظ خ ١ ض ؿ ى ف ح ؼم ح ؼ ر ح. ٠ ؼظمي رؼ ١ يح ف ح كيح ١ ح ح آهلل حكي ط ط الطشز أ شوض و أ طش ١ ح أ ؼ. No Moslem would be expected, normally, to say: Nature is angry, but may say: God is angry at me (or us), when s/he feels that none of his/her prayers is answered, but not to describe a day s bad weather, as Western non-moslems do. On the contrary, Moslem Arabs always equate rainfall (but not a deluge) with the English expression, that is to say, as a clear sign of God s satisfaction with them, because rains are needed for the cultivation of their desert lands on which they mainly depend. ح ال ٠ ى أ ٠ ظ لغ ٠ ؼظخى ل ي : 'ح طز ١ ؼش غخػزش ' Nature is angry ى لي ٠ م ي: ' هللا غخػذ ػ )أ ػ ١ خ( ػ ي خ / ٠ شؼ رؤ أكي خ طالط حإلؿخرش ى ال طظف ء حألك حي ح ٠ ش ح ١ و خ ٠ فؼ ح غ د غ ١ ح ١. ػ ح ؼى ه "ح ؼ د ح ١ " ىحث خ ٠ خ ط ي حأل طخ ) ى ١ ؽ فخ ( رخ ظؼز ١ حإل ى ١ أ وبشخ س حػلش ػخ هللا ػ ١ أل خن كخؿش ا حأل طخ حػش أ حػ ١ ح ظل ح ٠ ش ح ظ ٠ ؼظ ي ػ ١ خ أ خ خ. According to Francis Jones (2011, p154), creativity in translation means generating target text solutions that are both novel and appropriate. فمب فشا غ ١ ظ ع ض )2111 (p154 حإلريحع ف ح ظ ؿ ش ٠ ؼ ط ١ ي ك ي ح ض ح ظ يف أ طى وال خ ؿي ٠ ي الث ". تنس ق 11 SeamOOn

13 In other words, as illustrated in the example above, the Arabic creative translation of the English expression Mother Nature is angry should be new and adequate to have the wow factor in translation! رؼزخ س أه و خ ػق ف ح ؼخي أػال ٠ زغ أ طى ح ظ ؿ ش حإلريحػ ١ ش ح ؼ ر ١ ش ظؼز ١ حإل ى ١ 'ح طز ١ ؼش حأل غخػز angry 'Mother Nature is "ؿي ٠ يس وخف ١ ش" 'ػخ خف رخ ف ح ظ ؿ ش!" So, now how would you translate such expression into Arabic as a creative translator? Is it A, B, C, D, E, or something else? A. الطب عة األم غاضبة B. الكون غاضب عل نا C. اآللهة غاضبة عل نا D. ربنا غاضب عل نا E. ربنا غاضب F. إلخ... Only a creative mind can provide an appropriate translation. The word bathroom, for example, has no existence in the Arabic language dictionaries, and is alien to ancient Arabic culture, even though it is used much in the modern Arab world. فمؾ ح ؼم ح زيع ٠ ى ط ف ١ ح ظ ؿ ش ح خ زش. و ش bathroom ػ ز ١ ح ؼخي لي ال ؿ ى خ ف ل ح ١ ح غش ح ؼ ر ١ ش غ ٠ زش ػ ح ؼمخفش ح ؼ ر ١ ش ح مي ٠ ش ػ ح غ أ خ ط ظوي وؼ ١ ح ف ح ؼخ ح ؼ ر So, now how would you translate such expression into Arabic as a creative translator? Is it A, B, C, D, E, F, any one would do or something else? A. المرحاض B. ب ت الخالء C. ب ت الراحة D. ب ت الغابط E. الحمام F. محل األدب G. إلخ... تنس ق 12 SeamOOn

14 Literary Texts Unlike other text types such as technical, scientific, legal, commercial texts, literary texts such as orations, poetry, drama, short story, novels, are the areas where creativity in translation is most apparent in the special challenge that these literary and classical texts present for the translator. ػ ػى ح حع ح ظ ص حأله ؼ ح ظ ص ح ظم ١ ش ح ؼ ١ ش ح مخ ١ ش ح ظخ ٠ ش ظ ص أدث ١ خ ؼ ح وطذ ح شؼ ح ي ح خ لظش لظ ١ س ح ٠ خص خؽك ك ١ غ حإلريحع ف ح ظ ؿ ش حألوؼ ػ كخ ف ح ظلي ح وخص ح طمي ح ظ ص حألىر ١ ش ح ىال ١ ى ١ ش ظ ؿ. How to convey the dimensions of experience and meaning that may well have no precise counterpart in the target language. It is advisable here to always remember that you are dealing here with an art not a science, when you are engaged in a creative translation activity. و ١ ف ٠ ى أ أ م أرؼخى هز ح ؼ ح لي ٠ ى ظ ١ ح ال ظ ١ ىل ١ ك ف ح غش ح ظ يف. ف ح ظل خ أ ظ و ىحث خ أ و ض طظؼخ خ غ ف ال ػ ػ ي خ و ض طشخ ن ف شخؽ ط ؿ ش اريحػ ١ ش. Example Now how would you creatively translate the following Arabic line taken from the Prophet s (PBBUH) farewell sermon into English? Is it A, B, C, D, E, F or something else? أ ها الناس اسمعوا قول فإن ال أدري لعل ال ألقاكم بعد عام هذا بهذا الموقف أبدا. A. O people, listen to say, I do not know not to meet you after the years that this situation never. B. O People! Listen carefully to what I say, for I don't know whether I will ever meet you again here after this year. C. You people, listen to my speech. I don t know whether I will ever see you again in this place. D. People of Makkah, listen to me. I don t know if I am going to be with you here next year. تنس ق 13 SeamOOn

15 E. O pilgrims! Listen to my sermon. I am not sure whether I will be with you here next year. F. Etc L1 Practical A Translate the following couple of poetry lines into Arabic. Use your own imagination! When he smells the scent of the rose, he wants to see it, When he sees the face of the rose, he wants to pluck it. L1 Practical B Translate the following into English. Use your creative ability in your translation. نفحات من اإل مان ف مكة والمد نة المنورة نفحات األنس ف دب ل ال األنس ف بار س ^ س تم ترجمتها بالمحاضرة الثان ة Lecture 2 Problems & Pitfalls in Creative Translation Learning Outcomes By the end of this lecture, you should be able to 1. identify problems and pitfalls in creative translation. 2. start translating creatively. Introduction Translation is not simply confined to the movement of ideas and information between two distinct languages. ح ظ ؿ ش ال طمظظ رز خؽش ػ ك وش حألفىخ ح ؼ خص ر ١ غظ ١ وظ فظ ١. تنس ق 14 SeamOOn

16 Seen in its widest sense as interpretation, it occurs between different historical periods, dialects and registers of one and the same language, between different state of mind (such as dreaming and waking), between fictional narrative and critical analysis, between literal and figurative, between thought and word even. حػظزخ حص ح ؼ وخ ظفinterpretation ١ طليع ر ١ فظ حص طخ ٠ و ١ ش وظ فش ح خص الص ف ح غش ح حكيس ر ١ كخ ش وظ فش ؼم ) ؼ ح ل حال ظ ١ مخظ( ر ١ ح ى ح و ١ خ ح ظل ١ ح مي ر ١ ح ل ف ح خ ر ١ ح فى كظ ح ى ش. Translation from one language to another is merely a subset, a special case of communication. This state of affairs gives rise to different types of problems and difficulties which translators of literary texts encounter and for which they try to find solutions in the target language. ح ظ ؿ ش غش ا أه ى ػش ف ػ ١ ش زذ هخص ظ حط. ح ح ػغ ٠ ؼ ١ أل حع وظ فش ح شخو ح ظؼ رخص ح ظ ط حؿ ف ١ خ ح ظ ؿ ظ ص حألىر ١ ش ح ظ ٠ لخ ا ٠ خى ح ل ي ف ح غش ح ظ يف. أ حع ح شخو حالهطخء ف ح ظ ؿ ش حإلريحػ ١ ش Types of Problems and pitfalls in creative translation The following are just a few types of problems mainly encountered in literary texts of poetry, drama, novel, short stories, oratory speeches and other types of literary genre: ف ١ خ ٠ ػيى ل ١ أ حع ح شخو ح ظ ط حؿ أ خ خ ف ح ظ ص حألىر ١ ش ح شؼ ح ي ح خ ح ٠ ش لظض لظ ١ س ح وطخرش ح وطذ أ حع أه ح ع حألىر : انتقال )تحوله ) المعان عبر الزمن 1. Semantic Shifts Over Time To take the historical parameter, for instance; in the twenty-first century we have to be told that when Shakespeare ( ) wrote the words silly sooth he actually meant simple truth. اله ؼ طخ ٠ و فؼ ز ١ ح ؼخي ف ح م ح لخى ح ؼش ٠ ػ ١ خ أ م ي أ ػ ي خ وظذ شى ز ١ ) ( ػزخ س 'ط يثش و ١ فش' sooth silly أ ف ح حلغ ٠ ؼ 'ح لم ١ مش ح ز ١ طش truth. simple.' " بمعنى انه تم تؽ ر معناها مع مرور الزمن " ترجمتها الحرف ة تختلؾ عن معناها تنس ق 15 SeamOOn

17 So when you translate such words in a literary text such that of Shakespeare s, you need to be aware of the semantic changes that might have happened to such words. كظ ػ ي خ طظ ؿ ح ى خص ف ض أىر ؼ ط ه شى ز ١ أ ض رلخؿش ا أ طى ػ ػ طغ ١ ح يالالص ح ظ طى لي كيػض ظ ه ح ى خص. ) مسرح ة لشكس بر اسمها ) twelfth night Example So how would you translate such words silly sooth? Is it A, B, C, D, E, F or something else? تهدبة سخ فة.A بمعنى ان الكلمة تغ ر وتبدل معناها بمرور الزمن الحق قة البس طة.B الحق قة السهلة.C الحق قة المطلقة.D الحق قة المجردة.E الصراحة المطلقة.F إلخ... G. 2. Poetic licence or liberties Creative translation of poetry could be fraught with difficulties, if not utterly impossible. So in terms of both form and content, it seems quite appropriate that our دع األ ام تفع ل ما تشاء Poem: next example should be a line from AlShafee s ح ظ ؿ ش حإلريحػ ١ ش شؼ ٠ ى أ طى لف فش رخ ظؼ رخص ا ح طى ظل ١. ح ؼ فب ٠ زي خ ذ ط خ ح ه ؼخ خ ح مخى كظ ك ١ غ ح شى ط لظ ١ يس ح شخفؼ : دع األ ام تفع ل ما تشاء دع األ ام تفعل ما تشاء وطب نفسا إذا حكم القضاء When trying to translate such poetic line, the translator encounters difficulties not only in conveying the religious implactures of the poem which was written more than twelve hundred years ago but also in transferring the poetic form implied in the rhyming and rhythm of the line. تنس ق 16 SeamOOn

18 ػ ي لخ ش ط ؿ ش ح ح ط ح شؼ ح ظ ؿ حؿ طؼ رخص ١ فمؾ ف م ا ظؤػ ١ ح ي ٠ مظ ١ يس ح ظ وظزض لز أوؼ جش حػ ػش ػخ خ ى أ ٠ ؼخ ف م ح ؽ ح شؼ طؼ ف ح مخف ١ ش ا ٠ مخع ح ط. " ر ؼ ح ط ؿ شحالر ١ خص ح شؼ ٠ ش ٠ فؼ ح طظ ؿ رز ١ ض شؼ حه رمخف ١ ح ٠ مخع ١ م " ١ ظ ش ك خ رخ لخػ حص ح مخى ش رخ هللا Example So how would you translate first line? Is it A, B, C, D, E, F or something else? A. Let the days do what they want and be happy with whatever that might happen B. Let the days do what they want and be happy with whatever fate has ruled C. Let life takes its toll whether you rise or fall D. Let the days take their toll and be happy whether you rise or fall E. Let life takes its toll and be happy whether you rise or fall F. Etc 3. Multiple or Compound Multiple Meaning باحد االختبارات الدكتور حذف اجابةDمن خ اراته E فكانت االنسب فانتبهو تحفضو الخ ارات Multiple meaning or compound multiple meaning of any expression in literary texts tends to pose serious problems for translators in general and creative translators in particular. We could take as an example the Arabic expression ( االنس (نفحات and make a list of some of the alternative meanings that could be given to the elements in this short phrase that could be used in different contexts: ظؼيىس ؼ أ غ ١ ٠ ظؼيىس ؼ أ طؼز ١ ف ظ ص أىر ١ ش طشى ح ظ ؿ ١ حالريحػ ١ هخطش. شخو هط ١ س ظ ؿ ١ ػخ ش ل ٠ ى أ طظو و ؼخي ػ ح ظؼز ١ ح ؼ ر ) فلخص حإل ( طمي ٠ لخث ش رؼغ ح ؼخ ح زي ٠ ش ح ظ ٠ ى أ طؼط ؼ خط ح ؿ ىس ف ح ؼزخ س ح مظ ١ س ح ظ ٠ ى أ ط ظوي ف ١ خلخص وظ فش: تنس ق 17 SeamOOn

19 Continued نفحات أونس gusts being intimate puffs sociableness outbursts humbleness breaths (of wind) familiarity diffusing odours friendliness scents friendly atmosphere Fragrances love fragrant breezes affection fragrant gales society reputations companionship gifts, presents cheerfulness serenity tranquillity purity, pureness geniality Example " هناك بعض جمل وكلمات تختلف ترجمتها على حسب معناها وص اغتها بالجملة " Looking at the two elements above (which we may link together with the word of ), we can realize that the phrase is capable of up to a hundred possible interpretations, depending on how ambiguous the elements may be. ح ظ ف ح ؼ ظ ٠ أػال )ح ظ لي رؾ ؿ زخ ا ؿ ذ غ و ش of' ' ( ٠ ى حى حن أ ح ؼزخ س لخى س ػ طف ١ حص ى ش طظ ا خثش ر خ طؼظ ي ػ و ١ ف ١ ش غ ع ح ؼ خط. So how did you translate the following expressions requested in L1 Practical B? نفحات من اإل مان ف مكة والمد نة المنورة.1 نفحات األنس ف دب.2 ل ال األنس ف بار س.3 Was your answer in line with the following or something else? تنس ق 18 SeamOOn

20 1. Outbursts of humbleness/serenity/faith in Makkah and Madinah AlMunawarh 2. Diffusing odours of friendly atmosphere in Dubai 3. Nights of friendliness and intimacy in Paris. الوزن والقاف ة 4. Rhyme and Verse Equally problematic is the translation of the versification in poetry, i.e. the rhyming and versing in a poem. شى خ ا زغب طى ط ؿ ش حالر ١ خص ف ح شؼ, ح ح مخف ١ ش ف ح مظ ١ يس. Now immerse yourselves in the sounds of the following couplet of poetry and try to translate it into Arabic aiming for creativity but with clarity of meaning supported by rhythmic and stylistic elegance: ح ٢ حغ أ ف ى ف أط حص ح ز ١ ظ ١ ح ظخ ١١ شؼ لخ ش ط ؿ ظ خ ا ح غش ح ؼ ر ١ ش ر يف إلريحع ى غ ػ ف ؼ طيػ خ رب ٠ مخع ح د ح ١ ك. Example When he smells the scent of the rose, he wants to see it, When he sees the face of the rose, he wants to pluck it. So how did you translate the following two lines requested in L1 Practical A? When he smells the scent of the rose, he wants to see it, When he sees the face of the rose, he wants to pluck it. مالحظة / عندما تجد فاصلة باالب ات االنجل ز ة تحدد على انها شطر. Was your answer in line with the following? Which one is the most appropriate? عندما رى وجه الوردة ر د أن قطفها.A عندما شم رابحة الوردة ر د أن راها وإن رأها استحلى قطافها.B إن شمها استحلى رإ تها ولما رأها أرادها.C عب رها استهواه فطلب رإ اها فم ناه ف ألوانها وب هاها.D إن شم ر ح الورد ف أغصانها فكن ت ب ن أصابع رباه ما أحالها! وبدو ت ف ث وب الجمال تنس ق 19 SeamOOn

21 5. Cultural Allusion Another bottomless hole the translator can fall into is to fail to pick up an allusion that is common knowledge in the cultural environment of the source language. An example may be found in the tale of Ali Baba in the Thousand and one Nights. Who has not thrilled to the unforgettable phrase Open, Sesame! ف ػ ١ م حه ظ ؿ ٠ ى أ ط لؼ ف ح فش ال ظمخؽ ط ١ ق ح ح ؼ ف ح شخثؼ ف ح ز ١ جش ح ؼمخف ١ ظي ح غش. ؼال ٠ ى ح ؼؼ ف كىخ ٠ ش ػ رخرخ ف أ ف ١ ش ١ ش Nights.. the Thousand and one ح ال ٠ ؼخ حال رؼزخ س ال ط Sesame! Open, In our culture this has become a byword for conjuring up supernatural powers, ف ػمخفظ خ حطزق ي ٠ خ ؼال حىف ال ظو حؽ ل س هخ لش طز ١ ؼش. whereby mountains are rent asunder to reveal untold wealth. What a pity that this is not exactly what the original author had in mind. Apparently, Sesame and Camphor are traditional nicknames in Arabic for light-skinned and dark-skinned slaves. Thus the command open, Sesame! is addressed, not to occult elemental forces, but to a human being, in all probability dozing behind the huge door. ر ح طش ح ظجخ ح زخي ىشف ػ ح ؼ س ح ظ ال ط طف ف ػمخفظ خ. خ ئ ف أ ح ١ رخ ؼزؾ خ وخ ٠ ي ف ه ي ح ىخطذ حألط. ػ خ ٠ زي Camphor Sesame and حأل مخد ح ظم ١ ي ٠ ش رخ غش ح ؼ ر ١ ش ؼز ١ ي ح زش س ح فخطل رش س ىحو ش. ى ح حأل Sesame! open, ؿ ش ال ا ل حص ػ ظ ٠ ش غخ ؼش ر إل خ ف ؿ ١ غ حالكظ خالص ح غف س ه ف ح زخد ح ؼو. So the translator should be aware of such cultural untold references or suggestions that the text might have implied in its cultural context and historically in terms of time and space. ح ٠ زغ أ ٠ ى ح ظ ؿ ي ن ر ؼ حالشخ حص ح غ ١ ح لظفظ رخ ؼمخفش أ حلظ حكخص رؤ ح ض لي ٠ ى ػ ح ١ خق ح ؼمخف ح ظخ ٠ و ك ١ غ ح خ ح ىخ. Now can you come up with one or two examples of cultural allusion in Arabic or English and then translate them accordingly? تنس ق 20 SeamOOn

22 6. Technical Terms Every language has certain technical terms which pose problems and difficulties for translators in general and translators of literary texts in particular. A glance comparison between the word love in the following example and the one that follows shows that the term love is a problematic term in Arabic as it may mean different things expressed in different words as illustrated below: و غش خ ظط لخص ح ف ١ ش ؼ ١ ح ظ طؼ ١ ح شخو ح ظؼ رخص ظ ؿ ١ ػخ ظ ؿ ١ ح ظ ص حألىر ١ ش هخطش. مخ ش ٠ ؼش ر ١ ح ى ش love ف ح ؼخي ح ظخ ح ٠ ظ ٠ أ ظط ق love اشىخ ١ ش ف ح غش ح ؼ ر ١ ش لي طؼ أش ١ خء وظ فش ح ؼ د ػ خ ف و خص وظ فش و خ ز ١ أى خ : In a play called As you like it by Shakespeare, a character called Celia says to Touchstone: A. My father s love is enough to honour him enough: Speak no more of him; you will be whipped for taxation one of these days. B. In Romeo and Juliet, Romeo says: in sadness, cousin, I do love a woman page 247 C. On another occasion he says: Is love a tender thing? It is too rough, too rude, too boisterous, and pricks like thorn (page 250) Example Is the translation of love in A example above like that of B or B example is like that of C? How would you translate a technical term like love into Arabic? ٠ ظ ط ؿ ش 'ح لذ' ف ؼخي أػال ؼ د أ ؼ love ا ح غش ح ؼ ر ١ ش ؼخي د شؤ خ ف ه شؤ ؽ و ١ ف ٠ ى ه ط ؿ ش ظط ق ف الحب.A العشق.B Which one of the following would suit it best? كالهما معا.C ؼ رهما.D جا باالختبار " حسب معناها بالنص " وهو الصح ح لترجمة love تنس ق 21 SeamOOn

23 Does Arabic make any distinction between the following expressions? Try to provide creative translation for them if you can! A. very hot and too hot B. cool and cold العشق and المحبة.C 7. Concepts that lack a counterpart in the target language عدم وجود النظابر ( كالمصطلحات االسالم ة( Every language tends to have concepts that lack a counterpart in the target language. This is due to the dilemma of cross-cultural interpretations. Let s take, for example, the word dhikr or zikr.(ذكر) The literal meaning, which relates to remembering, is easy enough. The problem appears when we encounter it as a technical term. و غش ط ١ ا ح فخ ١ ح ظ طفظم خ ا ظ ١ ف ح غ ح ظ يف. طى وخف ١ ش ظؤ ط ؿ ش ح ؼمخفش ػز ح ؼظ. ؤه ػ ز ١ ح ؼخي wordذكر dhikr or zikr ح ؼ ح ل ف ح ٠ ظظ ا 'ط و ' remembering, ر خ ٠ ىف. طظ ح شى ش ػ ي خ حؿ ه و ظط ق ف. The English-speaking interpreter has a number of options. He can search around for the closest western equivalent-insofar as there is one, and insofar as he can grasp it. Perhaps he will come up with something like the word litany. But, oh dear, no, that will never do: far too churchy. ط ؿ ش ح ظليع حإل ٠ ١ ش ي ٠ ش ػيس ه ١ خ حص. أ ٠ ى ح زلغ ك خ خ ٠ م د ٠ خ ٠ ش ح غ ر ١ ش ؽخ خ ه. ر خ أ ف ٠ ؤط رش ء ؼ و ش "حرظ خي. litany ٠ ى ف Alternatively he can go for a descriptive paraphrase of what the Arabic concept seems to encompass: a (potentially ecstatogenic) remembering, repeating, and praising exercise. ريال ه ٠ ى طف حػخىس ح ظ ١ خغ خ ٠ زي ف ح غش ح ؼ ر ١ ش ط و طى ح ش ١ يح ر خ ش. ١ ش : ) ٠ لظ أ طى )ecstatogenic تنس ق 22 SeamOOn

24 This could become trifle and tedious if the little word occurs several times in the space of a paragraph. Or else he can simply attempt to naturalise it as dhikr or zikr (with italics, bold type, underlining, upper case, brackets, quotation marks, strange dots of all kinds added to taste). He can try any combination of these, but the fact of the matter is that, whatever he tries, both the translator and his readers will be well and truly stumped by a concept for which as yet there is no basis in their experience. ح ٠ ى أ طظزق طخف ش ا ح و ش ل ١ ش طليع ػيس حص ف خكش ح فم س. ح ٠ ى رز خؽش لخ ش ز خؽش dhikr or zikr )رخ وؾ ح خث غخ ك ح ظ ط ١ كخ ش ح ؼ حألل ح ػال خص حلظزخ ح مخؽ غ ٠ زش ر ١ غ أ حػ خ اػخفش ا ح ق(. أ ٠ ى ه لخ ش أ ٠ ؾ ى كم ١ مش حأل لخ ش وال خ ح ظ ؿ ح م حء ١ ى ؿ ١ يح ح ل ١ س كمخ ر ف ح كظ ح ٢ ال ٠ ؿي أ خ خ ف ط رظ Example So how would you translate dhikr or zikr?(ذكر) Is it A, B, C, D, E, F or something else? A. Remembering B. Litany " بن ثؼغ ا ى بد ا ظط ؾبد االعال ١ خ ال رزشع رىزت ض ب ا اسد ب ر ػ ١ ؼ ؼ ب ب ىزت ا ششػ ث ١ ل ع ١ " exercise.c Praising D. Dhiker or zikr ضبي " آرا ػ ١ ذ االػؾ وؼجخ ؽظ صوبح... " E. Invocation F. Supplication G. Etc In this most unsatisfactory of situations, there are a number of factors calculated to rescue us and keep us and help us on our way. ف حغ ذ ح لخالص غ ١ ػ ١ خن ػيى ح ؼ ح ح ظ طل ذ إل مخ خ طلفع خػيط خ ف ؽ ل خ. There is, firstly, the holistic capacity of the human mind, which is able, given sufficient encouragement and confidence, to perceive a total picture from material that is impressionistic, fragmentary and at times even downright defective. خن أ ال ؼش لي س ح ؼم ح زش ح ٠ ى لخى س ظش ١ غ ح ىخف ح ؼمش ١ ز ١ ح ظ س ح ىخ ش ع ح خىس ط ه طى ح طزخع ح ظ ثش طلي ٠ ي ح لض طؼ ١ ز رخ ظخو ١ ي. Thus in the case of our dhikr, we can hope, by dint of contact with a variety of information about it, to come to as realistic an understanding of what it entails as is possible- short of actually experiencing it for ourselves. تنس ق 23 SeamOOn

25 ى ح ف كخ ش dhikr, ٠ ى أ ؤ فؼ حالطظخي غ ػش ظ ػش ح ؼ خص ك ي ح ح ػ ع أ ٠ ؤط ا حلؼ ١ ش ف خ ط ط ػ ١ ى -أل ح حلغ ح ظ طؼخ أل ف خ. Experience of the concept itself is the second factor that can come to our rescue. So when we have people who themselves have direct experience of the essential meaning and purpose of dhikr can really appreciate the translation of such expressions. ط رش ف حط ح ؼخ ح ؼخ ح ٠ ى أ ٠ ؤط يط خ. كظ ػ ي خ ٠ ى ي ٠ خ ح خ ح ف ي ٠ هز س زخش س ؼ حأل خ غ ع وdhikr ٠ ى كمخ طمي ٠ ح ظ ؿ ش ح ظؼز ١ حص. L2 Practical A Translate the following expressions into Arabic. Use your own imagination! > حب ربان A. Divine love الحب العذري > love B. Platonic C. Brotherly love الحب االخوي > الحب المدنس > love D. Profane L2 Practical B Translate the following into English. Use your creative ability in your translation. ع ن ع ب د هللا ب ن ع م ر ق ال : ق ال ع م ر ب ن ال خ ط اب : " ل و ك ان الص ب ر و الش ك ر ب ع ر ن م ا ب ال ت أ ه م ا ر ك ب ت " جا السإال باالختبار وكانت الخ ارات متشابهه واالختالف بترجمة الصبر تنس ق 24 SeamOOn

26 ملخص المحاضرة / مشاكل واخطاء بالترجمة االبداع ة : Types of Problems and pitfalls in creative translation : كلمات تغير معناها مع مرور الزمن ) truth 1. Semantic Shifts Over Time ( silly sooth, simple دع األ ام تفع ل ما تشا ء وطب إذا حكم القضا ء ( liberties.2 Poetic licence or نفسا فؾبد اال ظ. ) ( Meaning 3. Multiple or Compound Multiple الوزن والقافية باالبيات الشعرية.4 Rhyme and Verse ( When he smells the scent of the rose, he wants to see it, When he sees the face of the rose, he wants to pluck it) 5. Cultural Allusion ( the Thousand and one Nights / Open, Sesame! ) مصطلحات تقنية تفهم معناها بسياق الجملة love).6 Technical Termsb ( عدم وجود البدائل فتكتب مثل ما هي او dhikr) 7. Concepts that lack a counterpart in the target language ( يوضع تفسير لها بين قوسين اليصال المعنى Lecture 3 Methods & Approaches to Creative Translation مناهج واسال ب الترجمة االبداع ة Learning Outcomes By the end of this lecture, you should be able to 1. show knowledge of a number of strategies used in translating literary texts. 2. apply these strategies to creative translation. A Two-Stage Approach to creative translation According to David Pendlebury (2005, page 15), creative translation usually involves two recognisable main stages: وفقا ل David Pendlebury الترجمة اإلبداع ة عادة تتضمن مرحلت ن رب س ة : 1. Firstly we produce a draft translation of the original that is as literal and accurate as possible. أ ال: زظ ا ىزت رشع خ ا غ دح ض األط ا رى ثؾشف ١ خ دل لذس اال ىب. تنس ق 25 SeamOOn

27 In any type of translation draft, we are bound to encounter a number of gaping holes and pitfalls. ف أ ع ط ؿ ش ح ىس ١ ر حؿ ش ػيى ا ضغشاد ا ضالد ا بئ. For the moment these simply have to be noted and left where they are. Such draft is also bound to throw up a number of gaffes and misconceptions which have to be left until they are pointed out by an expert in the source language, or until such time they work their way, like an itch, into the translator s conscious mind. رز خؽش الكع ظ ن ح الص ف ح ك. ر ك ش ح ىس ١ أ ٠ ؼخ رظ ن ػيى 'ح الص' ح فخ ١ ح وخؽجش ح ظ لي ظ و خ كظ طليى هخ ؿخ ػ ؽ ٠ ك هز ١ ف ح غش ح ظي أ كظ لض ػ ؽ ٠ مش رؼم ح ظ ؿ ح حػ. 2. We then translate this draft, with only minimal reference to the original, المرحلة الثان ة: ترجمة هذه المسودة مع اشاره بس طه للنص االصل into a form that as far as possible reflects and does justice to the author s overall intention, while doing minimum violence to the target language. ف ؽ لي حال ىخ ػى ػيح ش ١ ش ح ئ ف ١ ػخ ش أػ خء ح م ١ خ رخى ح خءس ح ح غش ح ظ يف. This stage of weaning away from the original is nearly always necessary; otherwise the end result is likely to remain unduly influenced by what are arbitrary features of source language. ر ح ك ش away weaning نفطمها بع دا عن ح ض حألط طم ٠ زخ ح ظ ٠ ؼ ر ك ش ط ؿ ش ح ى فظ خ ط خ خ ػ ح ض حالط هالف ه ح ظ ١ ش ح خث ١ ش لظ أ طظ ظؤػ س رخف حؽ ر ١ حص ػش حث ١ ش ح غش ح ظي. Example Now let s look at the translation of the following excerpt taken from a short story written by Dr Muhammad Alnaimi and see the difference between versions A and B هنا اعطنا مقتطفات بس طة من قصة قص رة كتبها الدكتور محمد النع م وانظر الفرق ب ن A و B ومثل ماوضح الدكتور بالشرح ان النوع scorching summer تعبر عن هو اكثر ابداع ة ولم تترجم ترجمة حرف ه مثل. A ودل على ابداعها استخدامه لهذه العبارة الثان B الحر الشد د وغ رها من التشب هات كان وما ملتهبا كطفل نالت منه الحمى. الشارع اإلسفلت عرب د أسود ضل طر قه. أما الشج رات على جانب الطر ق فقد كانت تلهث ألن هناك من نس ارواءها. الؽبار حناء تناثرت ف المكان لتصبػ حتى ثنا اه وأؼط ة البوظة الورق ة الذهب ة والفض ة والمحارم الناعمة المستخدمة تناثرت على مد البصر. تنس ق 26 SeamOOn

28 A. It was a very hot afternoon as the child experienced the heat of a fever. The Street was like a drunk who had lost his way. Trees on sides of the road were bare, thirsty and gasping as if someone had forgotten to water them. Dust covered the trees, and ice cream covers yellow and silver and used tissues scattered as far as one can see. تعبر عن الحر الشد دsummer scorching B. It was a scorching summer afternoon. The feverish heat of the day made people stay indoors. The street was as quiet as a mouse in the locker room. The trees on both sides of the street were as thirsty as a dog left behind in a desert panting for a sip of water. Dust was like henna scattered all over the place and used golden and silver ice-cream wrappers and facial tissues had already littered the street for a distance as far as one can see. كان وما ملتهبا كطفل نالت منه الحمى << جا باالختبار بص ؽة ثان ة وكانت االجابة The day was as hot as a child with afever. A. Holistic Approach to Creative Translation اوال : النهج الكل او الشامل للترجمة االبداع ة > جزء نظري According to Patricia Terry, a translator will always be motivated by a vision of language. فمخ ظؼ ٠ ف Patricia Terry ا زشع دائ ب ع ١ ى ثذافغ سؤ ٠ خ ا غخ. Where poetry translation is concerned, for example, this often means a vision of that peculiar force and strength that one may find to vibrate within the ST. ح خ ثزشع خ ا شؼش ػ ز ١ ح ؼخي غخ زخ طؼ إ ٠ ش ظ ه ح ض ح ظي. ح م س ح غ ٠ زش ح م ٠ ش ح حكي خ ٠ ي ح ظ ح ىحه This peculiar force and strength is crucial in justifying those moves poetry translators make that originate in places other than the ST. ز ا م ح ا غش ٠ جخ ا م ٠ خ رى ف رجش ٠ ش ز ا ؾشو ا شؼش ٠ خ ح ظ ػ خ حرظى خ ح ظ ؿ ف ح غش. Discussing how to construct one s own blueprint for translating poetry, for example, خلشش و ١ ف ١ ش ا شخء ف ح وطؾ ظ ؿ ش ح شؼ ػ ز ١ ح ؼخي تنس ق 27 SeamOOn

29 Robert Bly suggests that one will find the challenges intertwined into one difficulty, something immense, knotted, exasperating, fond of disguises, resistant, confusing, all of a piece (1970:13). Robertحلظ ف Bly رؤ 'أكي خ ف ٠ ي طلي ٠ خص طيحه ض ؿض ىحه ح وطؾ ' حكي ح ظؼ رخص حك ١ خ خ ح ؼش ؼميس ػش ىل ١ مش ظ ٠ ش طخ يس غ ١ حػلش, و ح مطغ ' )1970:13. Dixon:: It becomes obvious that it is impossible to find any blueprint that can tackle this complexity without missing something. فمب Dixon ب. حطزق ح حػق ا ا غزؾ ١ ا ٠ غبد ا خطؾ ٠ ى ا ٠ بخز زا ا زؼم ١ ذ د فمذا ش Dixon The holisticness in poetry translation originates in the very essence of poetry, as well as in all forms of literature and art: the unity and dynamism, the shell and the kernel in the work, may prove one (Dixon 1995:19). ا ضا وفقا لDixon الشمول ة holisticness >> مكن المقصود بمعنى هذه الكلمة الشمول ة ف ط ؿ ش ح شؼ ٠ شت ح خ ؿيح ف ح شؼ و ه ف ؿ ١ غ أشىخي حألىد ح ف : ح كيس ح ل ٠ ١ ش ح ١ ى ح حس ف ح ؼ لي ٠ ؼزض حكيس )1995:19 د ٠ ىغ This organic interrelation of the elements inside a poem is unavoidable highlighted by translation. هذه طب عة العالقة للعناصر الداخل ة للقص دة امر محتوم برزت بواسطة الترجمة. And in translation, this holisticness, or aesthetic coherence, will need to be regenerated through the system that the translator fabricates Example وف الترجمة هذه الشمول ة أو التماسك الجمال س حتاج الى اعادة انشاء خالل نظام تجم ع المترجم. It can be helpful for us as translators to visualize the complex holistic process of translating poetry as an aesthetic mass as we can see through a comparison in translation of the following couple of lines into Arabic: هذه االب ات مكن ان تساعدنا كمترجم ن الى تصور العمل ة الكل ة المعقدة ف ترجمة الشعر كفقدان الجمال ة كما نرى ف االب ات التال ة عندما نترجمها الى العرب ة > دققو ع الفواصل تنس ق 28 SeamOOn

30 When he smells the scent of the rose, he wants to see it, When he sees the face of the rose, he wants to pluck it. عندما شم رابحة الوردة ر د أن راها عندما رى وجه الوردة ر د أن قطفها.A وإن رأها استحلى قطافها.B إن شمها استحلى رإ تها ولما رأها أرادها.C عب رها استهواه فطلب رإ اها إن شم ر ح الورد ف أؼصانها م ناه ف ألوانها وب هاها!.D وبدو ت ف ث وب الجمال فكن ت ب ن األصابع رباه ما أحالها! Translation D would be a solution for that difficulty or challenge the translator might have encountered because he seems to have used a holistic approach to the translation of these two lines and has achieved an aesthetic coherence in the Arabic translation. الترجمة D مكن ان تكون حال لصعوبة تحدي المترجم الت ربما قد واجهته السبب قد بدو استخدم نهجا شمول ا holistic approach لترجمة هذ ن السطر ن وانجز تناسقا جمال ا aesthetic coherence ف الترجمة العرب ة. B. Andre Lefevere (1975) advances seven strategies and a blueprint Andre Lefevere قدم هنا سبع استرات جات ومخططات Andre Lefevere (1975) advances seven strategies and a blueprint to examine and compare the strengths and weaknesses different approaches may have. أ ي ١ ف ١ ف )1975( ؾ وظ ف. ' زغ حػظ ي ح ظ حط ١ ١ خص خ ٠ ى لي ح ظ ح ؼؼف ح م س مخؽ مخ ش ي ح ش هطش' They include: 1- adopting different elements of the ST, 2- as well as the phonemic unit; 3- the literal meaning; 4- the metre 5- and the rhythm of the ST, 6- as the basic upon which the TT may develop; تنس ق 29 SeamOOn

31 7- and adapting the ST into another genre, such as prose or free verse in the following originally Japanese Poem translated into English and then translated into Arabic prose By Muhammad AlNuaimi (forthcoming) رش : حػظ خى ػ خط وظ فش ض ح ظي ST حػظ خى كيس ط ط ١ ش حػظ خى ح ؼ ح ل ف حػظ خى لخف ١ ش ح ض ح ظيST حػظ خى ح ض ح ظ ؿ TT الذي قد تطور حػظ خى طل ٠ ح ض ح ظي ST ا ع آه ؼ ح ؼ أ ك ٠ ش ح شؼ ف ح مظ ١ يس طظ ؿض ا حإل ى ٠ ١ ش ػ ط ؿ ض ا ؼ ػ ر ر ح طش " ل ي ح ؼ ١ " <<phonemic ؽجؼب ػبسف ١ ا ٠ ش ا ف ١ اخز ب ثب ظ ر ١ بد ا ؾ ا غ ٠ بد حالط ح ١ خرخ ١ ش Example Yamabe no Akahito اماب نو آكاه تو When I take the path عندما آخذ الطر ق To Tago's coast, I see إلى شاط ء تاغو أرى Perfect whiteness laid On Mount Fuji's lofty peak By the drift of falling snow. غطاء أب ض وشحه الكمال على قمة جبل ف وج السامقة صنعه الثلج المتساقط المندوف هذه هنا ترجمة الدكتور احمد حل مة <<نثر ول ست شعر و مكن كتابتها جنب بعض على الطر ق على شاطا تاؼو ؼ طاء أب ض جم ل من ثلج منتوؾ على قمة جبل ف وج العال ة تنس ق 30 SeamOOn

32 C. Octavio Paz looks at translation as both bilingual and a bicultural activity. نظرة أوكتاف و للترجمة كناطق للغت ن وثقافت ن ابداع ة A. In contrast, Octavio Paz looks forward to the translating culture for a general basis on which creative negotiation may occur in translation. ف ح مخر أ وظخف ١ طظط غ ظ ؿ ش ح ؼمخفش أل خ ػخ ظفخ ع حإلريحػ ح لي ٠ ليع ف ح ظ ؿ ش. Believing parallelism, an aesthetic quality prevalent in Arabic literature, to be of key importance in exploring this realm, ٠ ؼظمي ا ا ز اص ؿ ىس ؿ خ ١ ش خثيس ف حألىد ح ؼ ر, ١ ى فزبػ ف حوظشخف ح ح خي Paz devices his own translating strategy in his attempt on Arabic poetry: to retain the number of lines of each poem, not to scorn assonances and to respect, as much as possible, the parallelism (Weinberger and Paz 1978: 47). اع ةPaz ا ظ حط ١ ١ ش ط ؿ ظ ف لخ ظ ف ح شؼ ح ؼ ر : 'حكظفع رؼيى حأل ط ى لظ ١ يس ٠ لظم ح غ اؽزش ثمذس اإل ىب ا ز اص ' parallelism assonances Paz s approach manifests the significance that translation is not only a bilingual activity but, in fact, also a bicultural one. ظ Paz طظ أ ١ ش أ ح ظ ؿ ش ١ ض حالريحع طى ر غظ ١ ى حالريحع ح لم ١ م ح ط رؼمخفظ ١. زا ا ضبي عجك اخز ب ث ظش ٠ خ ا زشع خ ثب ؾبػشح 13 Example Now let s look at the translation of the following couple of lines taken from Shakespeare s poem: To His Love and see whether Fatima AlNaib has done a good job or not: Shall I compare thee to a summer s day; Thou art more lovely and more temperate. Fatimah AlNaib translated it as follows (Khulusi, 1959): منذا قارن حسنك المغري بص ف قد تجلى وفنون سحرك قد باتت ف ناظري أسمى وأغلى " الب ت نقل نقال لغو ا صح حا لكن الخطؤ بالنقل الثقاف لكلمة الص ف " تنس ق 31 SeamOOn

33 By using the holistic approach explained above, we can say that although AlNaib was a poetess and well qualified to approach translating Shakespeare s poetry, she failed to capture the cultural dimension of the poem. رخ ظويح ا ظ ا ش ش ف أػال ٠ ى خ أ م ي أ ػ ح غ أ ح شخػ س فخؽ ش وخ ض ئ ش ظ ؿ ش ؾ شؼ شى ز ١ ى خ فش ض ف طظ ٠ ح زؼي ح ؼمخف مظ ١ يس. The mistake AlNaib made was the misunderstanding of the cultural significance of the key word of the whole poem- summer s day. She gave it the literal Arabic equivalent. الص ف This makes her translation lose the message Shakespeare wants to convey, the poetic and emotional effect on the reader and the climatic significance of the summer. هذه االخطاء صنعت عدم فهم اهم تة الثقافه لمفتاح كلمات كل قص دة day summer s. ه اعطتنا ترجمة ادب ة متساو ة. اخطاء ترجمتها افقدت رسالة شكسب ر الت اراد نقل جهده العاطف والشعري للقارئ واهم ة مناخ الص ف. A comparison between the connotation of the English and Arabic summers will show the seriousness of the problem that the translator may face while working on something relating to climatic features: اعطانا مقارنه ودالالت عن الص ؾ االنجل زي والص ؾ العرب الت ستعرض مشكلة المترجم الت قد واجهها عندما عمل على ربط بعض االش اء بمم زات المناخ English Summer A Symbol of beauty & liveliness Very short 1-2 months Cool and temperate Positive psychological effect Arabic Summer... Very long 3-4 months Dry/humid and hot Negative psychological effect ص ؾ The above rough comparison shows that if English summer is translated in Arabic summer, the translation does not make any sense to the Arabic reader, because his/her attitude towards summer is different from that of the English reader. طز ١ ح مخ ش ح ظم ٠ ز ١ أػال أ ا ح ط ؿ ح ظ ١ ف حال ١ ف ح ظ ١ ف ح ؼ ر, ال ٠ ى ح ٠ ي و خ ح مخ ة ح ؼ ر لف حطخ ح ظ ١ ف وظ ف ػ ح مخ ة حال ١. تنس ق 32 SeamOOn

34 Therefore, the substitution approach could be used to solve a problem as such. لذلك نهج التبد ل substitution مكن ستخدم لحل هذه المشكلة Substitution approach is one of a number of concepts and techniques in the general class of ordered metamorphosis. نهج التبد ل هو واحده من عدد من المفاه م واالسال ب ف الفبة العامه التحو ل المنظم. Substitution can operate in a way that maintains the matter and logic of a theme while altering the expression convention (Steiner, 1975). التبد ل مكن ان عمل طر قة تحفظ النمط والمعنى للفكرة عندما نبدل االسلوب المتوافق. In other words, Al Naib could have substituted the Arabic Spring الرب ع for the English summer as the connotations of Arabic Spring are more or less the same as those of the English summer. بمعنى اخرى كان بامكان فاطمة الناب استبدال الرب ع العرب بالص ؾ االنجل زي كبد ل عن الص ؾ العرب الن داللة الرب ع العرب ل ست بؤقل أو اكثر من الص ؾ االنجل زي. A rough comparison may illustrate this point: English Summer A Symbol of beauty & liveliness Very short 1-2 months Cool and temperate Positive psychological effect Arabic Spring A Symbol of beauty & liveliness Very short 1-2 months Cool and temperate Positive psychological effect تنس ق 33 SeamOOn

35 L3 Practical A Translate the following poem into Arabic. Use your own imagination! Fujiwara no Ietaka To Nara's brook comes Evening, and the rustling winds Stir the oak-trees' leaves. Not a sign of summer left But the sacred bathing there. L3 Practical B Translate the following excerpt from a short story into English. Use your creative ability in your translation. كان الملل قد تسرب إلى أعماق روحه فتشربته تشرب قم صه القطن لحب بات العرق ف هذه الظه رة الثق لة. تصفح عناو ن الكتب الق مة الت لم جد لها مكانا حشرها ف ه سوى ؼرفة نومه. أشاح بوجهه بع دا عنها. بدأ بتصفح أوجه أطفاله البالؽ ن الذ ن رآهم ؼارق ن بعوالمهم المن عة عل ه والناب ة عنه. حاول اللعب مع ولده الذي لم تجاوز العاشرة من عمره فوجده منهمكا بل منهكا ف متابعة لعبة أسرت لبه أمام شاشة الكمب وتر. انتظر فترة من الزمن رمق ولده هذا عله نته من لعبته ؼ ر أن األخ ر كان ع د اللعبة الكرة تلو الكرة بتصم م وإرادة أكبر ف سب ل تحق ق نقاط أعلى. بدأ بمناوشة الصؽ ر محاوال تحر ضه على ترك اللعب ؼ ر أن الجهود كلها باءت بالفشل. تنس ق 34 SeamOOn

36 Lecture 4 What is Literary Translation? Learning Outcomes By the end of this lecture, you should be able to 1. show understanding of the concept of literary translation. 2. translate certain types of literary texts. نماذج النصوص Types of Texts اول ش قسم نماذج النصوص الى نصوص ادب ة ونصوص غ ر ادب ة Texts are often viewed as either literary or non-literary, implying that literature should be seen as a large super-genre - with genre being regarded as a category of communication act whose rules are roughly pre-agreed within a discourse community of users, but which the producers and audience of an actual text may also negotiate on the spot. ؼالبا مانرى كل من النصوص االدب ة وؼ ر االدب ة تتظمن ذلك االدب مكن ان نراه كنوع فابق االتساع large super-genre بالنوع عتبر كفبة لنقل اداء تلك القواعد القو ة المتفق عل ها مسبقا داخل حد ث المجتمع للمستخدم ن, لكن الجمهور والمنتج ن للنص الفعل قد تفاوضون ا ضا على الفور. Typical features of literature as a super-genre or attributed to literary texts include the following: خص ؿ ١ ش الىد و ع ػخ super-genre ' أ حشخ ص ح ح ظ ص حالىر ١ ش طش خ ٠ : هنا نماذج النصوص االدب ة وه 1. They have a written base-form, though they may also be spoken. a written base-form, النصوص االدب ة قد كون لد ها شكل قاعدي مكتوب They enjoy canonicity (high social prestige) 2- للنصوص االدب ة متعه قانون ة ومكانة اجتماع ة عال ة enjoy canonicity 3. They fulfill an effective/aesthetic rather transactional or informational function, aiming to provoke emotions and/or entertain rather than influence or inform; تنس ق 35 SeamOOn

37 النصوص االدب ة تإدي فاعل ة وجمال ة an effective/aesthetic بدال من التاث ر او االبالغ بدال من وظ فة اعالم ة او معامالت,, They have no real-world value- i.e. they are judged as fictional, whether fact-based or not, أ خ ١ ض خ أ ل ١ ش ف ح ؼخ ح لم ١ م value- real-world --أ أ كى خ وو ١ خي حء وخ ح خ خ كم ١ م ح ال They feature words, images, etc.., with ambiguous and/or indeterminable meanings; 5- ب و بد ١ ضح ط س ئ خ. غ غ ع رؼزس رؾذ ٠ ذ ا ؼب. 6. They are characterized by poetic language use (where language form is important in its own n right, as with word-play or rhyme) and heteroglossia (i.e. they contain more than one voice ) ح ظ ص حالىر ١ ش طظ ١ رخ ظؼ خي ح غش 'ح شؼ ٠ ش' poetic language use )ك ١ غ شى ح غش ٠ ى ف كي حط و خ غ و ش ك ١ ش heteroglossia )أ أ خ طلظ ػ أوؼ 'ط ص' They may draw on minoritized style- styles outside the dominant standard, for example slang or archaism. انها تعتمد على نمط او نموذج اقل ة او صؽ رة minoritized style- styles outside خارج االنماط او النماذج الت لها قاعدة مه منة او سابدة.. مثال عام ة او ؼ ر متبعه او مهجوره -7 Literature may also be seen as a cluster of conventionally-agreed component genres. Conventional core literary genres are Drama, Poetry and fictional prose such as novels and short stories; however, a text may only display some of the features listed above. و خ ٠ ى حػظزخ األدة ػش حأل حع ح ى ح ظفك ػ ١ خ طم ١ ي ٠ خ. األ اع ا زم ١ ذ ٠ خ 'األعبع ١ خ األدث ١ خ' ا ذسا ب ا شؼش ا ضش خ ١ ب ١ خ ض ا ش ا ٠ بد ا مظض ا مظ ١ شح رخالػخفش ح ح ض لي ٠ ؼ ع رؼغ لخث ش ح خص حػالس. There also appear to be peripherally literary genres, where criteria such as written base form, canonicity or functionality are relaxed as in the case of children s literature and sacred texts (see Quran and Prophet Muhammad s Hadeethes) تنس ق 36 SeamOOn

38 خن أ ٠ ؼخ طزي ظى ح حع 'أىر ١ ش ل ١ ط genres peripherally literary ىز ة أ لب أ ظ ١ ف و ب ا ؾبي ألدة األؽفبي ا ظ ص ا مذعخ ك ١ غ هففض ؼخ ١٠ ؼ رط لبػذ ب ػؼ برط ا ظ ص ا غ ١ ش ادث ١ خ Conversely, genres, conventionally seen as non-literay may have literary features: advertising copy, for example. ػ ح ؼى ه األ اع ا زم ١ ذ ٠ خ ٠ ظش ئ ١ ب غ ١ ش ادث ١ خ ر خ خ خص حىر ١ ش: غخ اػال ػ ز ١ ح ؼخي. Thus while understanding and (re) writing literary texts forms part of the literary translator s expertise, literary translators real-time working strategies and text transformation techniques vary between literary text and genre but overlap with those used in other genres. ىزا ػ ذ ب رف )رؼ ١ ذ( وزبثخ ظ ص أدث ١ خ رشى عضءا خجشح ا زشع األدث ح ظ حط ١ ١ خص ػ لض ح ظ ؿ ١ حالىر ١ ح لم ١ م طم ١ ش طل ٠ طوظ ف ر ١ ح ض حالىر ح ع ى ط ظي غ ط ه ح ظوي ش ف حأل حع حأله. Traditionally, translation theories derived largely from literary and sacred-text translation. رم ١ ذ ٠ ب ظش ٠ بد ا زشع خ غز ذح ئ ؽذ وج ١ ش ا زشع خ األدث ١ خ ا ض ا مذط. Thus the interminable debates over Equivalence, whether framed as a word-for-word vs. sense for sense opposition, are relevant to literary translation but much less so to scientific and technical translation. ى ح خلشخص ؽ ٠ ش ػ ح ظىخفئ حء ف اؽخ ك ف ١ خ و ش رى ش ػي word-for-word vs ؼ ػى ؼ sense for sense opposition حص ط ش رخ ظ ؿ ش حألىر ١ ش ى ط ؿ ش ه أل رىؼ ١ ح ح ظ ؿ ش ح ؼ ١ ش ح ظم ١ ش. ز اػبفخ ز ػ ١ ؼ رشر ١ ت ا مبؽ,, وزجز ب خالي ششػ ا ذوز س ف ١ خ اخطأء ا ؼزسح ال وزجذ ؼب ثغشػخ : Look at translation Translating literary text we look at frome 3 points of you : تنس ق 37 SeamOOn

39 1- Translation as text 2- Translation as process 3- Translation with links with Social Context الترجمة كنص Translation as text You need 3 main issues : 1- The concept of equivalence 2- The concept of communicative purpose 3- The concept of style. Literary translation studies have traditionally concentrated on source-target text relations. و ص ى ح خص ح ظ ؿ ش حألىر ١ ش طم ١ ي ٠ خ ػ ػاللبد ا ض ظذس ا ض ا غز ذف Theoretical discussions focus on two closely-related issues: equivalence and communicative purpose. ح ظىخفئ equivalence ط و ح خلشخص ح ظ ٠ ش ػ ؤ ظ ١ ح طزخؽخ ح طزخؽخ ػ ١ مخ: غ ع ح م purpose. > communicative غرضك من الترجمة 1- In terms of equivalence, the question is whether translators can ever replicate the complex web of stylistic features found in many literary texts. ف ظط ؼ ا زىبفإ, ح ئحي خ ا ح وخ ح ظ ؿ ١ ٠ ى ح ظزيحي ح ظ و ١ ذ ح ؼمي ؾ ٠ ؿي ١ ف ح ؼي ٠ ي ح ظ ص حالىر ١ ش. If not what should translator prioritize? Or should they see the quest for equivalence as senseless and focus instead of communicative effectiveness? فؼخ ١ ش ا ح ح ٠ ى خ ٠ ذ ػ ح ظ ؿ ط ط ١ ز ح ظ حط أ ٠ ذ إ ٠ ش ح ئحي ح ظىخفئ وغزخء ظلم ١ ك ريال ح ظ و ١ 2- In terms of communicative purpose, the question is how far translators should prioritize loyalty to the source writer versus producing a text that works in receptor-genre terms. How fare, for example should they adapt or update? ف ظط ؼ غشع ا م ح ئحي و ١ ف ح ٢ ح ظ ؿ ١ ٠ زغ ح الء ح ىخطذ ح ظي مخر ف اعزمجبي ظط ؾبد ا ع. خ ي فؼ ز ١ ح ؼخي ٠ جغ ا ٠ ى ١ أ ا غ ١ ش ١ أ ه ح ؼ ض ا ظخؽ تنس ق 38 SeamOOn

40 3- Another concern is the translation of style is important in the context of literature for two reasons. First it inadvertently defines the writer s cultural space time. To a modern Arabic reader, the style of Ibn Qaim AlJawziyah s دار السعادة signalsمفتاح that it was written by one of the great scholars who lived in the 8 th century of the Hijri Calendar (i.e. in the medieval ages. ظي آه رشع خ ا ؾ ف ١ خق حألىد زز ١ : أ ال أ ٠ ؼ ف ػ غ ١ لظي ح ىخطذ ح ؼمخف '. ا ح مخ ة ح ؼ ر ح لي ٠ غ ح د "حر ح م ١ ح ١٠ ش" فظخف ىح ح ؼخىس اشخ أ وخ ىظ د ر حكي ح ؼ خء ح ؼظ خء ح ٠ ػخش ف ح م ح ؼخ ػش ح ظم ٠ ح )أ ف ح م ح ط. Secondly, writers may deliberately use non-standard styles- archaism, dialect or a style idiosyncratic to the writer, for example- to encode their attitude towards the text content, to mark out different voices. صب ١ ب ا ا ىز بة اػز ذ اعزخذا اعب ١ ت غ ١ ش ل ١ بع ١ خ,, اعب ١ ت لذ ٠ خ,, ظل ٠ لف طخ لظ ح ض ٠ ش ١ رؤط حص وظ فش. ؼال ىبرت خبص ؾ أ غخ ٠ ظ ؾ ح ظ ؿ ١ ؿخ ز ١ ال د Translators mediate both aspects of style via their own inadvertently signalled stylistic space-time, via deliberate stylistic choices, or both. اما عبر اسلوب ؼ ر مقصود اشار الى اسلوب ة الزمان والمكان. ح ػز ح و ١ خ حص أ ر ١ ش ظؼ يس ٠ ؼ مظ ىس أ و ١ خ معا. Part of the literary translator s conventions is that the translator speaks for the source writer, and hence has no independent stylistic voice. Some scholars, however, advocate that the translator s voice should be made distinctly present in the translated text, while others have argued that individual translators inevitably leave own stylistic imprint on the text they produce. ؿ ء حالطفخل ١ خص ح ظ ؿ ١ حالىر ١ ٠ ى ح ح ظ ؿ ح ظ ؿ ' ٠ زؾذس ػ ' ا ىبرت ا ظذس رخ ظخ لي ال ٠ ؿي ح د ط ط ظم. غ ه رؼغ ح ؼ خء ح ئ ٠ ي ح ط ص ح ظ ؿ ٠ ذ ح ٠ ظ غ ٠ مي رظ ١ ح ض ح ظ ؿ, ر ١ خ حاله ٠ خلش ح رالشه ح ظ ؿ ١ ح ف ط و رظ ش ح ر ١ ش هخطش ػ ظ ح ظؾ. تنس ق 39 SeamOOn

41 Example For example, let s now look at the following Hadeeth and see how Dr Halimah (2012) tried to achieve equivalence in English, communicative purpose of the Hadeeth in a style that signals that this is a translation of a Hadeeth of Prpohet Muhmmad (PBBUH) narrated by Abu Hurairah in 1 st Century of Hijri Calendar: أ ها الناس قد فرض هللا عل كم الحج فحجوا [Oh People, Allah has made performing Hajj obligatory on you. So do it.] الترجمة كعمل ة 2- Translation as process Literary translating may also be seen as a communication process. Two broad translation-studies approaches address this aspect: ط ؿ ش حألػ خي حألىر ١ ش أ ٠ ؼخ ٠ ى إ ٠ ظ خ وؼ ١ ش حطظخي ى ح ش ح ظ ؿ ش طظ خ ي ١ ح ح ذ : تعتمد على الحقابق الى حد كب ر data-driven, -1 one largely تحركها النظر ة الى حد كب ر theory-driven. -2 and one largely تنس ق 40 SeamOOn

42 The first, data-driven approach treats translation as behaviour... ا ظ األ ي ا ز رؼز ذ ػ ا ؾمبئك ٠ بلش ا زشع خ وغ ن... Data here derives mainly from translators written reports about their own practice, plus some interview and think-aloud studies. Written reports and interview studies can provide data on literary translator s techniques (i.e. how source text structure are modified in the target text, and why), and working relationships with informants or source writer. Poetry translators, for example, can spend considerable time brainstorming ways of reproducing a source text items mulit-valency (e.g its stylemarking, associative meaning, etc.) ح لمخثك خ ظ ي أ خ خ طمخ ٠ وظز خ ح ظ ؿ ١ ك ي ح خ ش ح وخطش ر رخإلػخفش ا رؼغ ػ ع ى ح خص ح ظفى ١ رظ ص ػخي. طمخ ٠ ىظ رش ى ح خص ؼ ػ ٠ ى أ طمي طمي كمخثك ػ طم ١ خص ح ظ ؿ حألىر ١ ش )أ و ١ ف ٠ ظ طؼي ٠ ر خء ح ض ح ظي ف ح ض ح ظ يف خ ح( ػ ػاللخص ػ غ ح وز ٠ أ وخطذ ح ظي. ظ ؿ ١ ح شؼ ػ ز ١ ح ؼخي ٠ ى أ ط فك لي ح وز ١ ح لض ؽ ق طزخىي حألفىخ ال ظ خم ح ض ح ظي,, ح ظىخفئ ؼال رظ ش حال د,, ح ؼ ح ظ حرؾ. The second approach to literary translation as a process is more theory-drive and may be term cognitive-pragmatic. ا ظ ا ضب زشع خ األدث ١ خ وؼ ١ خ رؾشو ب ا ظش ٠ خ اوضش لذ رى ظط ؼ ػ ؼشف الؼ ١ خ اوضش. The analysis of literary translation process here may be informed by literary cognitive stylistics and pragmatics of translation. These studies attempt to model communication between source writer, translator-as-reader, translator-as-rewriter and target reader. ح ظل ١ ؼ ١ ش ح ظ ؿ ش حألىر ١ ش خ حألىر ١ ش ر خ طى طشى ض رؤ خ ١ ذ ح ؼ ف ١ ش ػ ١ ش ظ ؿ ش. ز ا ذساعبد ؾب خ ا غز ذف.< الجمهور رط ا ىبرت ا ظذس ث ١ االرظبي ا زشع ومبسب ا مبسب وبرت واػبدح ا زشع Literary translators-as-rewriters communicate with target readers in a similar way. Thus when a modern translator translates, for example, Ibn Qaim Aljawziah s book into English modelled on 8 th century prose, he or she would "روضة المحب ن ونزهة المشتاق ن " assume that English readers know that the source work a medieval classic, that they realize the target style is meant to signal the works medieval-classic status, and this enhanced stylistic experience justifies the extra writing and reading effort involved. تنس ق 41 SeamOOn

43 زشع ١ االدة وبػبدح وزبثخ ا ز اط غ ا مشاء ا غز ذف ١ ف ؽشق زشبث. ى ح ػ ي خ ٠ ظ ؿ ح ظ ؿ ح لي ٠ ؼ ١ ػ ز ١ ح ؼخي وظخد حر ح م ١ ح خ ٠ ش " ػش ح لز ١ ش ح شظخل ١ " ا حإل ٠ ١ ش ػ غ ح ح ؼ ف ح م ح ؼخ ػش أ أ أ خ ف طفظ ع ؼ فش ح م حء حإل ٠ ١ أ ظي ح ؼ وال ١ ى ف ح م ح ط أ ٠ ي و ح ؾ ح ظ يف ٠ ى مظ ى إلشخ س ك ش وال ١ ى ١ ش ف ح م ح ط ح فغ طز ٠ هز س ح ر ١ ش وظخرش ػخ ١ ش ل حءس ح ي ح ز ي. Example Let s now look at the following excerpt taken from Ibn Qaim Aljawziah s book English, and try to achieve equivalence in "روضة المحب ن ونزهة المشتاق ن " (2009:98) communicative purpose of the excerpt in a style that signals that this is a translation of Ibn Qaim Aljawziah s 8 th Century of Hijri Calendar: "فنقول: اختلف الناس ف العشق هل هو اخت اري أو اضطرار ي خارج عن مقدور البشر فقالت فرقة: هو اضطراري ول س اخت اري قالوا: وهو بمنزلة محبة الظمآن للماء البارد والجابع للطعام هذا مما ال مل ك." A. We say: people disagree about falling in love; is it optional or compulsory and beyond of one s control? A group of people say that it is necessary and not optional, they go on and say: It is like the love of the thirsty for cold water, and the hungry for food, this is something that cannot be possessed." ) A (ترجمة حرف ة ^ B. We say: People seem to have different views of the concept of falling in love ; is it something optional or necessary beyond one s control? A group of people said: it is something necessary not optional; falling in love is like the need of a thirsty person for cold water and a hungry person for food, and this something cannot be possessed. 3- Translation with Links with Social Context Literary translation is also a form of action in a real-word context. رشع خ زشرجط غ ا غ ١ بق االعز بػ ح ظ ؿ ش حألىر ١ ش أ ٠ ؼخ شىال ؼ ف ١ خق و ش كم ١ م ١. > ١ خق حلؼ This context may be examined in terms of gradually widening networks: translation production teams ; the communities of interest fields and systems with which they تنس ق 42 SeamOOn

44 operate. Other issues which are central to the real-world context of literary translating are connected with the subject-setting relationship: ideology, identity and ethics. : ح ٠ ي ٠ ؿ ١ خ, ح ٠ ش ح ح ١ خق لي ى ف ظط لخص ظي ؽ شزىخص ح ؼ : ح ظ ؿ ش 'ف ق حإل ظخؽ' ح ظ ؼخص ظش ٠ ك '' ح لم ي ' ' ح ظ ' ح ظ ٠ ؼ ف ١ خ. ظخى أه ح ظ ح خ ١ خق و ش كم ١ مش ظ ؿ ش حألىر ١ ش ط طزؾ رؼاللش ػغ ح ػ ع حألهالق. Ideology تعن االفكار الت تعكس الحاجات االجتماع ة وطموحات فرد او جماعة او ثقافة. Example Now look at the translation of the following excerpt taken from AlNaimi s short story Cut & Chat and try to re-write it in your own words taking into account the links implied in the social context it was written in. Make an effort to make it as creative as possible. كانجو ؼرفة الض وؾ باردا ومنعشا هدهد جفونه و ؽر ه بق لولة ممتعه لكن الملل لبس لبوس القرؾ ولؾ شباكه حول روحه القلقة المت قظة. فكر ف قص شعره الذي طال ف بعض األماكن من رأسه وهر من أماكن أخرى. سر ح شعره بؤصابع ده ال منى القص رة وتذكر كم كانت زوجته تكرر على مسامعه ف مناسبات عدة أن شعره بدا وكؤنه سلة قش ل لة عرسه. A.The air in the living room was fresh and tempted him to take a nap, but his thoughts captured his desperate soul. He thought about trimming his hair, which had grown enough in some areas to have a shaggy appearance. He tried to comb his hair with the fingers of his right hand, and he remembered how many times his wife asked him to cut and comb his hair on many occasions. She always described it as a straw basket! )الخ ارات كانت متشابهه واالختالف بكلمة ق لولة ) L4 Practical A Translate the following speech by Shylock taken from Merchant of Venice by Shakespeare into Arabic. تنس ق 43 SeamOOn

45 SHYLOCK I'll have my bond; I will not hear thee speak: I'll have my bond; and therefore speak no more. سؤنال حق ولن أسمعك, ستنفذ شروط العقد فال معنى لمز د من الكالم I'll not be made a soft and dull-eyed fool, To shake the head, relent, and sigh, and yield To Christian intercessors. Follow not; I'll have no speaking: I will have my bond. L4 Practical B Translate the following excerpt from a short story into English. Use your creative ability in your translation. كانجو ؼرفة الض وؾ باردا ومنعشا هدهد جفونه و ؽر ه بق لولة ممتعه لكن الملل لبس لبوس القرؾ ولؾ شباكه حول روحه القلقة المت قظة. فكر ف قص شعره الذي طال ف بعض األماكن من رأسه وهر من أماكن أخرى. سر ح شعره بؤصابع ده ال منى القص رة وتذكر كم كانت زوجته تكرر على مسامعه ف مناسبات عدة أن شعره بدا وكؤنه سلة قش ل لة عرسه. الترجمة باعلى الصفحة Lecture 5 Translation of Sacred Texts: The Quran Learning Outcomes By the end of this lecture, you should be 1. familiar with certain problems of sacred-text translation. 2. able to translate simple examples of sacred texts. 1-What is a sacred text in terms of translation? Religious texts, also known as scripture, scriptures, holy writings, or holy books, are the texts which various religious traditions consider to be sacred, or of central importance to their religious tradition. النصوص الد ن ة و عرؾ أ ضا باسم الكتاب المقدس الكتب المقدسه والكتابات العظ مة أو الكتب العظ مة ه النصوص الت موروثة د ن ة مختلفة تعتبر مقدسة او مهمة اساسا الى تلك الموروثات الد ن ة. تنس ق 44 SeamOOn

46 Many religions and spiritual movements believe that their sacred texts are divinely or supernaturally revealed or inspired. العد د من األد ان والحركات الروح ة تعتقد بؤن تلك النصوص المقدسة ه إله ا أو اوح ت غ ب ا او موحى بها. Examples of religious or sacred texts are: Islamic sacred texts (the Quran & Hadeeths of Prophet Muhammad (PBBUH), امثلة د ن ة للنصوص المقدسة : النصوص االسالم ة المقدسة القران الكر م وحد ث الرسول محمد صلى هللا عل ة وسلم. Christianity sacred texts (the Bible New Testament) Judaism sacred text (Old Testament) النصوص المس ح ة المقدسة النصوص ال هود ة المقدسة. عهود قد مة. and other non-heavenly sacred texts like those of Buddhism and Hinduism sacred texts.. والنصوص المقدسة الؽ ر سماو ة مثل النصوص البوذ ة والهندوس ة. A sacred text tends to have something religious and canonical about it which distinguishes it from other types of text and requires special attention from the translator. النص المقدس م ل الى بعض االش اء الد ن ه والقانون ة الت تم زها عن االنواع االخرى للنص و تطلب اهتمام خاص من المترجم. 2. The Quran as Central Text A. From a legislative perspective Undoubtedly, the most authoritative source of the Islamic law is the Holy Quran. It is the Word of Allah revealed to Muhammad (p.b.b.u.h) through Angel Gabriel, over a period of twenty-three years. Since it was revealed to Muhammad (p.b.b.u.h), the Last Messenger of Allah (p.b.b.u.h), and until now no corruption of whatever kind has ever occurred to it, neither for its content nor for its form as it has been guarded by Allah who Himself sent it down to all Mankind and undertaken to keep it as pure as when it was revealed. تنس ق 45 SeamOOn

47 مما ال شك ف ه هو المصدر األكثر موثوق ة للشر عة اإلسالم ة "القرآن الكر م". هو "كالم صلى هللا عل ة وسلم عن طر ق جبر ل عل ة السالم على مدى فترة ثالثة وعشر ن عاما. الموحى بها هللا" لمحمد منذ أن اوح الى محمد صلى هللا عل ة وسلم " اخر رسول هلل هو محمد صلى هللا عل ة وسلم وحتى اآلن لم حدث الفساد أ ا كان نوعه من أي وقت مضى لذلك ال لمضمونه قبل هللا نفسه الذي أرسلة على البشر ة جمعاء والت تعهدت البقابه نق كما أنزل. من لحراسة خضع كان كما لشكله وال Allah (SW) said: إ نا ن ح ن ن زل ن ا الذ ك ر و إ نا ل ه ل ح اف ظ ون ]سورة الحجر: 9 ] We have, without doubt, sent down the Message; and We will assuredly guard it (from corruption). ( S.15, A.9) Therefore, the Quran is considered not only an absolute authority in Islam but it is also viewed as the most sacred, most valuable and most dear to Muslims. ولذلك عتبر القرآن اكثرعلى المسلم ن. عز ز ق مة واألكثر قدس ة األكثر أ ضا عتبر أنه بل اإلسالم ف مطلقة سلطة فقط ل س الكر م B. From a linguistic/stylistic perspective One of the prodigies of the Quran is its matchless discourse and rhetorical style..واحدة من معجزات القرآن الكر م هو كالم واسلوب خطاب المث ل له. The style of the Quran doesn t belong to any type of literary texts or genre -types, be it poetry, prose, drama or any other narrative style but it has its own miraculous and idiosyncratic style which would make one feel that they are simultaneously in front of a multi-types of texts; a narrative text on one occasion, a dramatic dialogue on another and an impressive text on a different occasion, nevertheless the Quran is neither of them when it is looked at as one complete distinctive style that has its own eloquence, diction, intensity and variety of expressions. أسلوب القرآن الكر م ال نتم إلى أي نوع من النصوص األدب ة أو نوع _ نماذج سواء كان ذلك ف الشعر والنثر والدراما أو أي أسلوب رواب اخر ولكن له اعجاز واسلوب مم ز الذي من شؤنه أن جعل المرء شعر بؤنه ف وقت واحد أمام انواع متعددة لنصوص النص الرواب ف مناسبة واحدة والحوار الدرام على آخر ونص مث ر لالعجاب ف مناسبة مختلفة ومع ذلك القرآن ل س كاي منهاعندما ننظر الى اسلوبه الم ز الكامل حتوي البالؼة الفصاحة والقوة وتنوع أشكال التعب ر. تنس ق 46 SeamOOn

48 In other words, the style of the Quran is like no other style as it combines between miraculously expressive rhetoric and discourse on the one hand and the prodigious past and the unseen future events for each of which there is evidence in the Quran on the other hand. And this is what makes the Quranic text a potential trap for translators to fall in. وبعبارة أخرى اسلوب القرآن الكر م ل س كؤي اسلوب آخر كما أنه جمع ب ن اعجازالبالؼة التعب ر ة والخطاب من ناح ة والماض المبشر وأحداث المستقبل لكل منها هناك أدلة ف القرآن الكر م من ناح ة أخرى. وهذا ما جعل النص القرآن فخ دف ن الخطاء المترجم ن. << بمعنى انه صعب تترجم القران ترجمة صح حة ووقع ف ه المترمج ن باالمثلة القادمة 3. The Translation of the Quran Introduction Since the revelation of the Holy Quran in 612AD, scholars from different fields have been trying to solve the controversy of translatability of the Quran. Orthodox Muslim scholars claim that since the Quran is the Word of Allah, it is untranslatable ; whereas a number of Muslim and non-muslim scholars claim the opposite. منذ ان أوح "القرآن الكر م" ف AD612 قد حاول العلماء من مختلؾ المجاالت حل الخالؾ لترجمتها للقرآن الكر م. دعون علماء المسلم ن الراشد ن ان القرآن الكر م هو "كالم هللا" untranslatable it is ؼ ر قابل للترجمة ف ح ن أن عددا من العلماء المسلم ن وؼ ر المسلم ن دعون عكس ذلك. No doubt at all, the meanings and/or tafseer interpretation- of the Quran has been translated into many different languages such as Persian, Turkish, Urdu, French, German, English and many others. What concern us here is the English versions of the Quran Tafseer being widely spread all over the world. ال شك على اإلطالق المعان أو 'تفس ر' ترجمة للقرآن قد ت رجم إلى العد د من اللؽات المختلفة مثل الفارس الترك ة القرآن الكر م 'لتفس ر' األوردو الفرنس ة األلمان ة اإلنكل ز ة وؼ رها الكث ر. ما همنا هنا هو نسخة اللؽة اإلنكل ز ة جري امتدت وانتشرت ف جم ع أنحاء العالم. The Quran has been transferred into English by scholars who speak different languages, belong to different religions and hold different ideological and theological views. This has definitely, whether consciously or unconsciously, influenced the product of its translation. Although these scholars were apparently competent in Arabic, the language of the Quran, they lacked the ability not only to have the feel of the Quranic word, but also to recognise the linguistic and cultural dimensions of it. تنس ق 47 SeamOOn

49 قد نقل القرآن الكر م إلى اللؽة اإلنكل ز ة بواسطة العلماء الذ ن تكلمون لؽات مختلفة و نتمون إلى أد ان مختلفة وعقد مختلؾ اآلراء العقابد ة والالهوت ة. هذا بالتؤك د سواء عن وع أو دون وع تؤثر المنتج لترجمتها. على الرؼم من أن هإالء العلماء كانوا على ما بدو مختص ن باللؽة العرب ة لؽة القرآن الكر م إال أنها ت القدرة ل س فقط الشعور بالكلمة القرآن ة ولكن أ ضا لالعتراؾ باألبعاد اللؽو ة والثقاف ة لذلك. 3.1 Procedure To investigate the issue more profoundly, an attempt will be made to discuss it from different angles. Each point discussed will have an example only. للتحق ق ف مصدر أكثر عمقا س تم إجراء محاولة لمناقشة األمر من زوا ا مختلفة. وس كون كل نقطة ناقشة مثال فقط. We have taken excerpts from five different English versions of the Quran, they are: داود عراق من اصول هود ه 1. Dawood, N.J. (1974) an Arab Jew ارب ري مس ح 2. Arbery, A. J (1988) an English Christian عبدهللا وسؾ عل هندي مسلم 3. Ali, A Y (1934,1977) An Indian Muslim 4. King Fahd Holy Quran Printing Complex Version of Ali s (1410H/1989G) وكسل ترك Muslim) 5. Yuksel. E, Al-Shaiban L and Schult-Nafeh (2007,2010) ( a Turkish مسلم Examples from each version are given and analysed from the point of view of translatability only. A comparison between five different versions of an excerpt, for example, will help to reach an objective conclusion. تعط أمثلة من كل إصدار وتحل لها من وجهة نظر قدرة الترجمة فقط. على سب ل المثال مقارنة ب ن خمسة إصدارات مختلفة من مقتطفات س ساعد على التوصل إلى نت جة موضوع ة. 3.2 Discussion Translation has been defined by Catford (1965) as the replacement of textual material in one language (source Language) SL by equivalent textual material in another language (Target Language) TL تعر فات الترجمة عرفها كاتفورد )1965( "كاستبدال أخرى )اللؽة المستهدفه( ". )اللؽة واحدة ف لؽة النص ة المواد المصدر SL (بما لؽة ف النص ة المواد من عادلها تنس ق 48 SeamOOn

50 . Newmark (1982) defines it as a craft consisting in the attempt to replace a written message and/or statement in another language. A more comprehensive definition, which will be adopted throughout our discussion here, ن ومارك )1982( تعرف على أنها "حرفة تتكون ف محاولة الستبدال رسالة خط ة و/ وأ ب ان ف لؽة أخرى". تعر ؾ أكثر شموال الذي س تم تبن ه ف جم ع أنحاء مناقشتنا هنا has been introduced by Etecria Arjona (Gerver 1977) as follows: translation is a generic term for the interlingual, sociolinguistic and cultural transfer for any message from one community to another through various modes of written, oral or mechanical means or combinations thereof أدخلت ات كر ا أرخونا )ج رف ر 1977( كما ل : "مصطلح والثقاف ألي رسالة من مجتمع إلى آخر من خالل أسال ب شتى مز ج منها من الترجمة". عام لنقل interlingual وعلم اللؽة االجتماع من الوسابل المكتوبة أو الشفو ة أو أو الم كان ك ة أو Having defined the criterion to base our analysis on, we can move on to first divide the translation subject matter into the following as far as translatability concerned: بعد تحد د مق اس تحل لنا مكن أن ننتقل إلى التقس م االول لموضوع الترجمة إلى ما ل ف ما تعلق بقدرة النقل : موضوع قابل للنقل.1 Translatable Subject-matter This involves technical and scientific texts; texts relating to diplomacy; texts relating to economics, finance and commerce and text of general nature. وهذا شتمل على النصوص التقن ة والعلم ة النصوص المتعلقة بالدبلوماس ة النصوص المتصلة باالقتصاد والمال والتجارة والنص ذات طب عة عامة.< ماف ها ابداع بترجمتها 2. Translatable subject matter but with great loss موضوع قابل للترجمة ولكن مع خسارة كب رة This involves the translation of literary prose, poetry and legal documents and scripts. However, skilful the translator may be he/she still fall victim to the historical, social or cultural associations and connotations attached to literary and religious texts. تنس ق 49 SeamOOn

51 وهذا شتمل على الترجمة األدب ة من كون ال زال قع ضح ة للمجتمعات والد ن ة. النثر والشعر والوثابق القانون ة والبرامج النص ة. ومع ذلك المترجم الماهر قد التار خ ة أو االجتماع ة أو الثقاف ة والدالالت الت تعلق على النصوص األدب ة موضوع غ ر قابل للترجمة.3 Untranslatable subject matter This involves only a textual material which through the process of translation loses over 90% of its originality. The English version of the Quran is taken as an example to investigate and find out whether it is translatable or not! وهذا شمل فقط مواد نص ة الت تفقد أكثر %90 من أصالته خالل عمل ة الترجمة. نسخة اللؽة اإلنجل ز ة من القرآن الكر م مؤخوذ كمثال التحق ق ومعرفة ما إذا كان قابل للترجمة أو ال! 3.3 The Translatability of the Quran from a Linguistic Point of View القدرة النقل ة للقرآن الكر م من وجهة النظر اللؽو ة The following excerpt has been chosen as example for discussion: "الزان ة والزان فاجلدوا كل واحد منهما مابة جلدة وال تؤخذكم بهما رأفة" )سورة النور: آ ة ) 2 A- The adulterer and the adulteress shall each be given a hundred lashes (Dawood,1956,1974, p.214). B- The fornicatress and fornicator- scourge each one of them a hundred stripes. (Arbery, 1964,1982, p352) C- The woman and the man guilty of adultery or fornication, - flog each of them with a hundred stripes (Ali, 1934, 1977, p 896) D- The woman and the man guilty of fornication, - flog each of them with a hundred stripes (King Fahd Complex Ali s revised Version, 1411H, p 1112) E- The adulteress and the adulterer, you shall lash each of them one hundred lashes. (Yuksel, 2007,2010, Surah 24:2). /adultery عالقة شرع ة محرمة بعد الزواج / fornication عالقة شرع ة محرمة قبل الزواج دابما ترجمات عل ه الصح فلو جا سإال باالختبار تكون ه االجابة الصح حة تنس ق 50 SeamOOn

52 Although the above example is void of any metaphor, the translators seem to have made serious mistakes as a result of their inability not only to find the right meaningful equivalent of the word but to also to understand the significance of the word order in the Quran as a whole. على الرؼم من أن المثال أعاله خال من اي استعارة بدو المترجم ن قد ارتكبو أخطاء خط رة نت جة فقط إل جاد ما عادل المعنى الكامل الصح ح للكلمة بل أ ضا لفهم أهم ة ترت ب الكلمة ف القرآن ككل. ل س لعجزهم, جلدةLash has been translated by them as فاجلدوا At the word level, the Arabic verb scourge كارثة او مص به and جلدflog respectively. The three different translation versions of the Arabic verb show that has no absolute equivalent in English. Although lash, scourge and flog sound acceptable, they still have different semantic connotations. They could be semantically ranked as follows: وقد ترجم الفعل العرب 'فاجلدوا' على مستوى الكلمة بها كما Lash' جلدة ' scourge كارثة او مص به flog جلد على التوال. ثالثة تعر فات مختلفة من الترجمة إلظهار فعل اللؽة العرب ة الت قد ال تواز ها مطلقا ف اللؽة اإلنجل ز ة. على الرؼم Lash' جلدة ' scourge كارثة او مص به flog جلد مقبولة صوتا ال زال لد هم معنى دالل مختلؾ. مكن أن تكون لؽو ا مرتبة على النحو التال : a. Lash>weak connotation b. Scourge>strong connotation c. Flog>mild connotation The semantic connotation of the Arabic verb may have a combination of the three of them. المعنى الدالل للفعل العرب قد كون مز جا لثالثة منهم As far as the word order is concerned, it is very important to note that although one can manipulate the word order in Arabic in general, one cannot manipulate in most cases-the word order followed in the Quran because it has its own significance. وبقدر ما تعلق بترت ب الكلمات من المهم جدا أن نالحظ أنه على الرؼم من امكان ة تالعب احد ما بترت ب الكلمات ف اللؽة العرب ة بشكل عام ال مكن للمرء التالعب ف معظم الحاالت وترت ب الكلمات المتبعة ف القرآن ألنه حتوي أهم ته الخاصة. In the above example, we can see that Dawood has violated a philosophical principle in Islam by putting in his translation of الزان ة والزان the male before the female. It is the only place in the Quran that the female is mentioned before the male. تنس ق 51 SeamOOn

53 ف المثال أعاله مكننا أن نرى أن داود قد دنس المبدأ الفلسف ف اإلسالم بوضع ترجمة 'الزان والزان ة' the female. male before the للذكور قبل اإلناث.وهو المكان الوح د ف القرآن الكر م المذكور ف ه اإلناث قبل الذكور. It is to add that it is the woman who is responsible when an illegal sexual intercourse takes place whether before or after marriage. If the sexual intercourse took place without the prior consent of the woman, then the whole act would not be called an adultery or fornication, but rather rape. هو إضاؾ أنها المرأة مسإولة عندما تجري اتصال الجنس ؼ ر المشروع سواء قبل أو بعد الزواج. إذا وقع الجماع الجنس دون موافقة مسبقة من المرأة اذن ال سمى هذا الفعل 'الزنا' أو 'الفجور' لكن سمى بدال من ذلك 'االؼتصاب.' 3.4 The Translatability of the Quran from a cultural point of view القدرة النقل ة للقرآن الكر م من وجهة نظر ثقاف ة The following example will show how serious a mistake in translation may be. It is not only a matter of translatability but rather of rendering a concept: المثال التال سوؾ تظهر مدى خطورة الخطؤ ف الترجمة. تقد م مفهوم: أنها ل ست فقط مسؤلة قدرة نقل من لؽة الى لؽة لكن بدال من "وال تقربوا الزنى أنه كان فاحشة وساء سب بال " )سورة األسراء: آ ة 32( A. Dawood: You shall not commit adultery, for it is foul and indecent (p.236) B. Arberry: And approach not fornication; surely it is an indecency, and evil as a way (p.272) C. Ali: Nor come nigh to adultery; for it is a shameful (deed) and an evil, opening the road (to other evils) (p703) D. Ali s revised: Nor come nigh to adultery: for it is an indecent (deed) and an evil way (p785) E. Yuksel: Do not go near adultery, for it is a sin and an evil path (Sura17:32) Unfortunately, the five versions clearly violate the Islamic concept of adultery. الحظ,, 5 تراجم واضحة تدنس المفهوم االسالم للزنى. ولسوء تنس ق 52 SeamOOn

54 Dawood s, Yuksel etal s and Ali s versions would mean to an English reader that it is prohibited to practise illegal sex only after marriage; تعن للقارئ ف كلمة adultery بانة سمح ممارسة Dawood s, Yuksel etal s and Ali s versions الزنى بعد الزواج فقط. whereas Arbery s version would mean that it is prohibited to practise illegal sex only before marriage. ب نما ترجمة Arbery s تعن للقارئ االنجل زي ان الزنى ممنوع فقط قبل الزواج الن كلمة fornication; مارس الشخص الزنى قبل الزواج. تعن ان According to western culture, it is socially and culturally acceptable to practise sex before marriage only not after marriage. وفقا للثقافة الؽرب ة,, سمح اجتماع ا وثقاف ا للمارسة الجنس قبل الزواج فقط ل س بعد الزواج. It seems that their English versions have given a much distorted picture of the Islamic principle which considers any illegal sexual intercourse, whether before or after marriage, is strictly prohibited. كما بدو ان ترجماتهم شوهت صورة االسالم لقانون االسالم الذي عتبر اي عالقة جنس ة محرمة سواء قبل الزواج او بعده محرمة تماما. (وال تقربوا الزنى أنه كان فاحشة وشاء سب ال( Ali: (Nor come near to adultery or fornication; for it is indecent (deed) and an evil way.) 3.5 The Translatability of the Quran from a Psychological Point of View قدرة النقل للقرآن الكر م من وجهة النظر النفس ة When it comes down to the psychological effects of the English versions of the Quran, the issue of translatability becomes more questionable. The following is just one example: عندما تعلق األمر باآلثار النفس ة لتراجم اللؽة اإلنكل ز ة للقرآن الكر م تصبح مسؤلة قدرة النقل مشكوك ف ها اكثر. المثال التال : تنس ق 53 SeamOOn

55 " ( فإذا جاءت الص اخ ة * وم فر المرء من أخ ه * وأم ه وأب ه * وصاحبته وبن ه * لكل امرء منهم ومبذ شؤن غن ه(" )سورة عبس: 38-33( الخطا بترجمة " وصاحبته وبن ه " A. Dawood: But when the dread blast is sounded, on that day each man will forsake his brother, his mother and his father, his wife and his children; for each one of them will on that day have enough sorrow of his own. (p.51) B. Arbery: And when the blast shall sound, upon the day when a man shall flee from his brother, his mother, his father, his consort, his sons, every man that day shall have business to suffice him (P. 631) C. Ali : At length, when there comes the Deafening Noise, that day shall a man flee from his own brother, and from his mother and his father, and from his wife and his children, each one of them, that Day, will have enough concern (of his own) to make him indifferent to the others. (P. 1690) D. Ali s revised: At length, when there comes the Deafening Noise, that day shall a man flee from his own brother, and from his mother and his father, and from his wife and his children, each one of them, that Day, will have enough concern (of his own) to مكررة < 1901) (P. make him indifferent to the others. E. Yuksel: So when the screaming shout comes, the day when a person will run from his brother. His mother and father. His mate and children. For every person on that day is a matter concern him. Sura80:33-38) Going through the above five versions, one can feel that psychological attendance of the whole picture of the hereafter is not clear especially when linguistic mistakes unconsciously have been made to interfere to blur the mental and emotional effect the original version leaves on the reader. This can be seen through the wrongly chosen words for وبن ه وصاحبته with wife/mate and sons respectively. خالل الترجمات الخمسة المذكورة أعاله مكن للمرء أن شعر أن الحضور النفس للصورة بؤكملها ل ست واضحة خصوصا عندما تكون االخطاء اللؽو ة ؼ ر مقصوده قد تعوق التاث ر العقل والعاطف الذي ترك ترجمة اصل ة على القارئ. وهذا مكن ان نراه خالل اخت ار الكلمات الخاطبة وصاحبته وبن ه مع sons wife/mate and على التوال. ترجمتها مكررة وه الصح " ترجمة عل " D C & تنس ق 54 SeamOOn

56 3.6 The Translatability of the Quran from the Rhythmic Point of View طواع ة للقرآن الكر م من وجهة نظر اإل قاع What the English versions of the Quran lack most is the rhymingness and rhythe micness carried by the word, the phrase and the whole verse in the Quran. Going through the following example is a concrete proof for a bilingual reader: ما ترجمات اللؽة اإلنكل ز ة تفقد القرآن اال قاع الت تحملها بالكلمة او عب ارة وآ ة ف القرآن الكر م كله. micness rhymingness and rhythe الذهاب من خالل المثال التال دل ل ملموس لقارئ : )س ؤ ص ل ه س ق ر )26( و م ا أ د ر اك م ا س ق ر )27( ال ت ب ق و ال ت ذ ر )28( ل و اح ة ل ل ب ش ر )29( ع ل ه ا ت س ع ة ع ش ر )31(( سورة المدثر: 31-26( " الخطا بترجمة كلمة سقر " A. Dawood: I will surely cast him into the fire of hell. Would that you know the fire of Hell is like! It leaves nothing, it spares none; it burns the skins of men. It is quarded by nineteen keepers. (p.56) B. Arbery: I shall surely roast him in sakar; and what will teach thee what is sakar? It spares not neither leaves alone scorching the flesh; over it are nineteen (P. 616) C. Ali : soon I will cast him into Hell Fire! And what will explain to thee what Hell-fire is? Nought doth it permit to endure, and naught doth it leave alone. Darkening and changing the colour of man, over it are nineteen (P. 1643) D. Ali s revised: soon I will cast him into Hell Fire! And what will explain to thee what Hell-fire is? Nought doth it permit to endure, and naught doth it leave alone. Darkening and changing the colour of man, over it are nineteen (P. 1849) E. Yuksel: I will cast him in the Saqar. Do you know what Saqar is? It does not spare nor leave anything. Manifest to all the people on it is nineteen. ( Sura 74: 26-30) الخاتمة Conclusions From the above discussion, we can undoubtedly conclude that the Quran is definitely untranslatable due to the linguistic sophistication of the Arabic language, cultural, تنس ق 55 SeamOOn

57 psychological, spiritually and melodic associations of the Quranic word above all it is the word of Allah revealed to Muhammad (pbbuh) من المناقشة الواردة أعاله مكن أن نستنتج مما ال شك ف ه أن القرآن الكر م هو بالتؤك د غ ر قابلة للترجمة بسبب التطور اللؽوي للؽة العرب ة الثقاف ة والنفس ة والروح ة ورابط كلمة الكالم القران قبل كل ش ء هو كالم هللا أنزل على محمد صلى هللا عل ة وسلم. This leads us to say that since it is unique in its style, it must have be produced by one who challenges not only translators but also Arabs scholars to produce a verse or chapter of its quality. It is Allah the all Knowing who produced the Quranic language. هذا إدي بنا القول أنه نظرا ألنها فر دة من نوعها ف اسلوبة فإنه جب أن نتجها أحد الذ ن تحدو ل س للترجمة ا ضا النتاج العلماء العرب لنوع ة الفصل واال ة. هللا سبحانه وتعالى هو العل م باللؽة القران ة. بل The above translators seem to have failed replicate the complex web of stylistic features found in the Quranic text. المترجم ن أعاله بدو أنها فشلو ف نقل الترك ب المعقدة للسمات األسلوب ة الت وجدت ف النص القرآن. They also failed in their quest for equivalence or communicative effectiveness they violated the loyalty to the source-text principle for the sake of producing a text that works in receptor-genre terms. هم ا ضا فشلو ف عمل ة التكافإ استقبال نوع المصطلحات. أنهم دنسو التواصل فعال ة أو ف عمل نص إنتاج أجل من المصدر النص لمبدأ الوالء توص ات عامةRecommendations.5 General When reading an English version of the Quran, it is recommended to remember that: عند قراءة ترجمةاللغة اإلنجل ز ة للقرآن فمن المستحسن أن نتذكر أن: It is not an equivalent translation to the Arabic textual version at all. ال وازي الترجمة للعرب ة ترجمة نص ة على االطالق It may be a rough interpretation or paraphrasing of the general meanings of the Arabic text but definitely not the exact equivalent of the original text. قد صعب االصل. ترجمة أو إعادة ص اؼة المعان العامة )التفس رات (من النص العرب ولكن ال توازي بالضبط النص تنس ق 56 SeamOOn

58 When you are not sure about any conceptual point, ask those who know about it. عندما تكون ؼ ر متؤكدة من مفهوم أي نقطة إسؤل أولبك الذ ن عرفون عنه. Any translation of the Quran should presuppose its importance for the community of faith, for those who hold the canonical treatment of the text as authoritative for faith and practice. (i.e. Arab Muslims in the main) جب ان تفترض أهم ة اإل مان المجتمع بالنسبة ألولبك الذ ن مسكون قانون اعادة بناء النصوص أي ترجمة للقرآن لإل مان والممارسة. )أي العرب المسلم ن ف المقدمة( بص ؽته الموثوقة The version authorized by King Fahd Holy Quran Printing Complex of Ali s Translation dated 1410H seems to be the most appropriate amongst the above five translations of the meanings/interpretations of the Holy Quran. أذن بالترجمة بمجمع الملك فهد لطباعة الكر م من تار خ H1411 ترجمة عل بدو أنها أنسب الترجمات الخمسة المذكورة أعاله لمعان / التفس رات للقرآن الكر م. ب ن L5 Practical A Translate the following Hadeeth into English. Use your creative ability in your translation. ع ن أ ب ه ر ر ة ق ال : ق ال ر س ول هللا : "م ن ك ان إ م ن ب اهلل و ال و م اآلخ ر ف ال إ ذ ج ار ه و م ن ك ان إ م ن ب اهلل و ال و م اآلخ ر ف ل ك ر م ض ف ه و م ن ك ان إ م ن ب اهلل و ال و م اآلخ ر ف ل ق ل خ ر ا أ و ل ص م ت ". )ر و اه الش خ ان( L5 Practical B Translate the following Hadeeth into English. Use your creative ability in your translation. تنس ق 57 SeamOOn

59 ع ن أ ن س ع ن النب ق ال : "ال إ م ن أ ح د ك م ح ت ى ح ب أل خ ه م ا ح ب ل ن ف س ه ". )ر و اه الش خ ان( Anas reported that the Prophet said : None of you is considered to be a believer until he loves for his Muslim brother what he loves for himself., Bokhari and Muslim - Lecture 6 Translation of Sacred Texts: The Hadeeth Learning Outcomes By the end of this lecture, you should be familiar with certain problems & pitfalls of Hadeeth translation. able to translate examples of such Hadeeths. The Sunnah of Prophet Muhammad (PBBUH) as central سنة الرسول محمد صلى هللا عل ة وسلم كاساس The Sunnah of the Prophet Muhammad (p.b.b.u.h) comes after the Holy Quran in order of legislative authority in Islam. سنة محمد صلى هللا عل ة وسلم جاءت بعد القراءن ف ترت ب السلطة التشر عة ف االسالم What is the Sunnah? The Sunnah involves the sayings, doings, practices, explicit or implicit approvals and disapprovals of the Prophet Muhammad (p.b.b.u.h) expressed in the form of Hadeeths. طشظ ح ش ػ أل حي أفؼخي خ خص ظخ س رخؽ ش لز ي فغ ز ل ي صلى هللا عل ة وسلم ح ؼز ػ خ ف شى أكخى ٠ غ. Although the Quran and the Sunnah are two separate entities, they are closely related. Along with His Message contained in the Holy Quran, Allah sent Muhammad as His Last Messenger (p.b.b.u.h) for all Mankind to elucidate and demonstrate it under His Guidance as the religion of Truth (Islam). ػ ح غ أ ح م آ ح ى ٠ ح ش خ و ١ خ خص فظ ش ف ط طزؾ ح طزخؽخ ػ ١ مخ ؿ زخ ا ؿ ذ غ خ ظ ح ح ىس ف ح م آ ح ى ٠ أ هللا ل ي ط هللا ػ ١ ش حه ح زش ٠ ش ؿ ؼخء ظ ػ ١ ق ش ف أ ف ظ ل ١ خىط ى ٠ ح لك حإل ال. تنس ق 58 SeamOOn

60 Allah (SW) سبحانه وتعالى says: ل ٠ خ أ ٠ خ ح خ ا ي هللا ا ١ ى ؿ ١ ؼخ ح ه ح خ ح ص حأل ع ال ا ا ال ٠ ل ١ ١ ٠ ض ف آ ح ر خهلل ح ز حأل ح ٠ ئ ر خهلل و خط حط ز ؼ ؼ ى ط ظ ي + س حألػ حف: 158 * Say: O men! I am sent to you all, as the Messenger of Allah, to whom the dominion of the heavens and the earth belong; there is no god but He; it is He that gives both life and death. So believe in Allah and His Messenger. The unlettered prophet, who believes in Allah and His Words: follow him so that you may be guided. (S.7, A.158) To endorse the role of Muhammad (p.b.b.u.h) as His Messenger and the obligation to obey him, Allah (SW) in many verses in the Holy Quran clearly states and urges those who believe to show absolute obedience to the Prophet Muhammad (p.b.b.u.h) because what he said, did, approved of or disapproved of had divinely been revealed. Therefore, obeying him is just as important as obeying ٠ ظ ى ل ي صلى هللا عل ة وسلم و ي حال ظ ح رطخػظ هللا سبحانة وتعالى ف آ ٠ خص وؼ ١ س ف ح م آ ح ى ٠ ٠ ض ر ػ ف ٠ لغ أ جه ح ٠ ٠ ؼظمي ؼ ع ح طخػش ح ط مش ز ل ي ص ىل هللا عل ه وسلم بسبب ماقال وفعل لز ش أ فؼ لي وشف خ رش. ه ؽخػظش طى ر ف ح ١ ش ؽخػش هللا زلخ ش طؼخ. Allah the Almighty who says: ٠ ط غ ح ي ف م ي أ ؽ خ ع هللا ط ف خ أ خ ن ػ ١ ك ف ١ ظخ + س ح خء: 80 * He who obeys the Messenger, obeys Allah; but if any turns away, we have not sent you to watch over their (evil deeds. (S.4,A 80) The Sunnah of the Prophet Muhammad (p.b.b.u.h) according to the consensus among the Muslims is considered to be the second major source of Islamic Law after the Holy Quran. ح ش ح ز ٠ ش فمخ ظ حفك ح ٢ حء ر ١ ح ١ طؼظز ح ظي ح ث ١ ح ؼخ "ح ش ٠ ؼش حإل ال ١ ش" رؼي "ح م آ ح ى ٠." 3. The Translation of the Prophet s Hadeethes (p.b.b.u.h) ط ؿ ش الكخى ٠ غ ح ي ط هللا ػ ١ ش Obviously, translating a literary or a scientific text is different from translating a religious text, let alone the Sunnah of the Prophet Muhammad (p.b.b.u.h). It is also of common sense that translating the prophet s Hadeeths into English requires extraordinary methodological and quality control criteria. ح حػق أ ح ظ ؿ ش حألىر ١ ش أ ض ػ ٠ وظ ف ػ ط ؿ ش ض ى ٠ خ ١ ه ػ ح ش ح ز ٠ ش. أ ٠ ؼخ ح ل ح شخثغ ح ط ؿ ش حألكخى ٠ غ ح ز ا ح غش حإل ٠ ١ ش طظط ذ ١ ش غ ١ ػخى ٠ ش حلزش ؼ ١ خ ح ىس. تنس ق 59 SeamOOn

61 Unlike any other type of text translator, the translator of Prophet Muhammad s Hadeethes (p.b.b.u.h) should have the following additional characteristics which would make him/her outstanding: هالفخ أل ع آه ظ ؿ ح ض ح ظ ؿ لي ٠ غ ح ز ل ي صلى هللا عل ة وسلم ٠ ذ أ طؼخف ف ١ ش ح وظخثض ح ظخ ١ ش ح ظ طؼ ر ط ١ : A. The translator should be a Muslim who fears Allah in executing his or her duties. ح ظ ؿ ٠ ذ ح ٠ ى ح ح ٠ وش هللا ف ط ف ١ حؿزخط. B. The translator s general religious knowledge should be very good. ح ظ ؿ ٠ ذ أ طى ؼ فظش ح ي ١ ٠ ش ح ؼخ ش ؿ ١ يس ؿيح. C. The translator should have excellent knowledge of (TL), (SL) Text-Type, Subject-area and contrastive knowledge. ح ظ ؿ ٠ ذ ح طى ؼ فظش ظخ س غش ح ظ يفش( TL ) ح غش ح ظي (SL) ع ح ض خي ح ػ ع ح ؼ فش ظزخ ٠. D. The translator should be able to transfer into English the linguistic, social, cultural and religious associations and connotations of the original text. E. The translator should be able to give as literal and faithful a translation of the meanings of the Hadeeths as possible. (i.e.. achieving maximum equivalence in his or her translation) ح ظ ؿ ٠ ذ ح ٠ ى لخى ح ػ حػطخء ط ؿ ش ك ف ١ ش طخرمش ؼ ح لي ٠ غ ط خ خ. ظلمك حلظ كي ح ظىخفئ ف ح ظ ؿ ش. F. The translator should be able to provide a translation that is stylistically and communicatively appropriate. (ie. achieving the communicative purpose of his/her translation) المترجم جب ان كون قادرا على توف رترجمة مالبمة اسلوب ا وتواصل ا. ظلمك حلظ كي ح ظىخفئ ف ح ظ ؿ ش. G. The translator should be able to write plainly, economically, gracefully and elegantly so that his or her translation would have the same effect on the TL reader as that of the Source language reader. المترجم جب ان كون قادرا على الكتابة بوضوح وتدبر بسهولة وجمال حتى تكون الترجمة لها نفس التؤث ر على القارئ اللؽة المستهدفة كقارئ اللؽة المصدر. Example For example, let s now look at the following Hadeeth and see how Halimah (2012) tried to achieve equivalence in English, communicative purpose of the Hadeeth, in a style that signals that this is a translation of a Hadeeth of Prophet Muhmmad (p.b.b.u.h) narrated by Omar in 1 st Century of Hijri Calendar: ػ ز ١ ح ؼخي ىػ خ ح ٢ ظ ف ح لي ٠ غ ح ظخ ح ظ و ١ ف كخ ي ك ١ ش )2012( ظلم ١ ك ح ظىخفئ ف ح غش حإل ٠ ١ ش غ ع ح ظ حط لي ٠ غ رؤ د ٠ يي ػ أ ح ط ؿ ش "كي ٠ غ ز ل ي "صلى هللا عل ه وسلم ػ ف ح م حأل ي ح ظم ٠ ح ح تنس ق 60 SeamOOn

62 عن ع م ر ق ال : س م ع ت ر س ول الل ي ق و ل : ال" ت ط ر ون ي ك م ا أ ط ر ت الن ص ار ى اب ن م ر ي م ف إ ن م ا أ ن ا ع ب د ه ف ق و ل وا: ع ب د الل و ر س ول و ". (رواه البخاري) Omar reported that he heard the Messenger of Allah (peace and blessings of Allah be upon him) saying: "Do not overpraise me as the Christians did to the son of Mary. I am just Allah's servant. You may just say `Muhammad is the servant and Messenger of Allah'." (Bukhari) 3.The Translation of Hadeeth from a Linguistic Point of View رشع خ ا ؾذ ٠ ش ع خ ظش غ ٠ خ Linguistically speaking, the translator of the Prophet s Hadeeth (p.b.b.u.h) needs to be aware of certain translation problems that might distort the meaning of the Hadeeth. طليع رخ غ ٠ ش ح ظ ؿ لي ٠ غ ح ز ٠ لظخؽ أ طى ػ ػ شخو ح ظ ؿ ح ث ١ ١ ح ظ لي طش ؼ ح لي ٠ غ. A simple comparison between Al-Fahim s translation (1997) and that of Halimah (2012) would explain the point. مخ ش ر ١ طش ر ١ ط ؿ ش فخؽ ش -)1997( ك ١ ش )2012( ف حش ف ح مطش. ى ر ي ر ة أ ن ر س ول الل ق ال : "أ ت د ر ون م ا ال م ف ل س " ق ال وا: ال م ف ل س ف ي ن ا م ن ال د ر ى م ل و و ال م ت اع. ف ق ال : ع ن أ ب ي و ق د ش ت م ى ذ ا و ق ذ ف ى ذ ا و أ ك ل م ال ى ذ ا و س ف ك م ن ي أ ت ي ي و م ال ق ي ام ة ب ص الة و ص ي ام و ز ك اة و ي أ ت ي " ال م ف ل س م ن أ م ت ي د م ى ذ ا و ض ر ب ى ذ ا ف ي ع ط ى ى ذ ا م ن ح س ن ات و و ى ذ ا م ن ح س ن ات و ف إ ن ف ن ي ت ح س ن ات و ق ب ل أ ن ي ق ض ى م ا ع ل ي و أ خ ذ م ن خ ط اي اى م ف ط ر ح ت ع ل يو ث م ط ر ح ف ي الن ار ". (ر و اه م س ل م) Al-Fahim s translation: On the authority of Abu Hurairah (may Allah be pleased with him who said: the Messenger of Allah (peace and blessings of Allah be upon him) once asked his companions: Do you know who a pauper is? The companions replied that a pauper is a person who has no money or property. The Prophet explained the point and said: A Pauper among my followers (Ummah) is one who will come on the Day of Judgement with a good record of Salat (prayers), Saum (fasting) and Zakat (payment of poor due) but who has also abused somebody; slandered someone; usurped the goods of another person, has killed someone or beaten another person. All the oppressed people will receive a part of the aggressor s good deeds. Should they fall short of his aggression, then the aggrieved person s sins تنس ق 61 SeamOOn

63 and defaults, will be transferred from them to him, and he will be thrown into the Fire (Hell). (Muslim) Example Halimah s Translation: Abu Hurairah reported that the Messenger of Allah (peace and blessings of Allah be upon him) asked: "Do you know who the bankrupt is?" His companions replied: "The bankrupt among us is he who has neither money nor property." The Prophet (p.b.b.u.h) then said: "The bankrupt among my people is he who comes in the Hereafter having performed prayers, fasted and paid `zakat' but has already abused someone, slandered someone, encroached upon someone's rights, killed someone and robbed someone. Each one of these people will be paid back from the bankrupt's good deeds. If he runs out of good deeds, he will be given some of their sins the result of which is that he is thrown in Hell-fire." (Muslim) At the lexical level, for example, AlFahim translated the Arabic word ح ف as a pauper which is not really appropriate because it has a financial connotation only which is not what is meant by the Prophet s saying (p.b.b.u.h) whereas Halimah used the word bankrupt which has both financial and spiritual connotations in English. Other examples of poor equivalence of AlFahim s lexical translations are as highlighted above. Try to make the comparison yourself and find out why they seem to be poor renderings of the Arabic versions. ػ ي ح ظ ح ؼ ح غ ػ ز ١ ح ؼخي ط ؿ ش فخؽ ش ح ف ح ى ش ح ؼ ر ١ ش و خ pauper 'ح فم ١ ' ١ ح خ ذ ط خ خ أل خ ىال ش خ ١ ش فمؾ ٠ مظي ح ي ط هللا ػ ١ ف ل,, ر ١ خ ىوظ ك ١ ش ح ظوي ح ى ش bankrupt 'افال ' ح ظ خ ىالالص ػ كي حء ح خ ١ ش ح ك ١ ش ف ح غش حإل ٠ ١ ش. أ ؼ ش أه ؼخى ش ح فم ١ س ح خلظش ظ ؿ ش فخؽ ش ح ظ ؿ ش ح غ ٠ ش ح ؼ ١ ش و خ ر أػال كخ ي ح مخ ش ر ف ه ح ٠ خى خ ح ٠ زي حالىحء فم ١ خلض ظ ؿ ش ح ؼ ر ١ ش. 4. The Translation of the Hadeeth from a Cultural point of View ط ؿ ش ح لي ٠ غ ؿ ش ظ ػمخف ١ ش Another concern of religious text translation is its cultural dimension, particularly the translation of the Prophet s Hadeeth (pbbuh). For example, let s now look at the تنس ق 62 SeamOOn

64 following Hadeeth and see how AlFahim (1992) and Halimah (2012) have tackled the cultural dimensions in the text. ا ظذسا ٢ خش زشع خ ا ظ ص ا ذ ١ ٠ خ ا جؼذ ا ضمبف ال ١ خ ط ؿ ش ح لي ٠ غ ح ز. ػ ز ١ ح ؼخي ىػ خ ح ٢ ظ ف ح لي ٠ غ ح ظخ ح ظ و ١ ف فخؽ ش )1992( ك ١ ش )2012( لي ط خ حألرؼخى ح ؼمخف ١ ش ف ح ض. الر ج ال عن انس ق ال : س م ع ت ر س ول الل ي ق ول : "إ ن م ن أ ش ر اط الس اع ة أ ن ي ق ل ال ع ل م و ي ظ ه ر ال ج ه ل و ي ظ ه ر الز ن ا و ي ش ر ب ال خ م ر و ت ك ث ر الن س اء و ي ق ل ح ت ى ي ك ون ل خ م س ي ن ام ر أ ة ال ق ي م ال و اح د ". (ر و اه ال ب خ ار ي ) AlFahim s translation On the authority of Anas (may Allah be pleased with him) who said: I heard the Messenger of Allah (peace and blessings of Allah be upon him) saying: Among the signs of the Last Day are: that knowledge will suffer complete extinction. Ignorance, adultery and drinking of wine will be alarmingly on the increase. The number of males will decrease while the number of females will increase until there will be only one male to look after fifty women Example Halimah s Translation Anas reported that he heard the Messenger of Allah (peace and blessings of Allah be upon him) saying: "Some signs of the Hour are: disappearance of scholarly knowledge, spread of ignorance among people, adultery and fornication become very common, drinking alcohol will become rife, increase in number of women and decrease in number of men to the extent that for each man there will be fifty women to look after. (Bukhari) AlFahim, once again fails to understand and appropriately translate the concepts of both و الزنى intoالخمر English. The meaning of adultery in western culture is a voluntary sexual intercourse between a married man or woman and a partner other than the legal spouse. If however such a sexual intercourse takes place between two people of opposite sex before marriage, it is not considered adultery which is completely different from what is meant in the Prophet s Hadeeth (p.b.b.u.h). طفش فخؽ ش س أه ف ط ؿ ش ح فخ ١ وال الخمر و الزنى ػ ل الث ا ح غش حإل ى ٠ ١ ش. ؼ adultery 'ح خ' ف ح ؼمخفش ح غ ر ١ ش حطظخي ح ح حى ر ١ ؿ ظ ؽ أ ح أس ش ٠ ه هالف ح ؽ ح مخ. ا ح ح حالطظخي ح طظ ر ١ شوظ ١ ح ح ٢ ه لز ح حؽ فب ال ٠ ؼظز ' ح خ ح ٠ وظ ف ط خ خ ػ خ ح مظ ى ف ح لي ٠ غ: ح ز. تنس ق 63 SeamOOn

65 Again with regard to the concept of الخمر, Al-Fahim inappropriately translated it as wine which really limits what is meant by it because the Arabic word covers all types of alcoholic drinks not only wine. The above example shows how serious a mistake in translation may be. It is not only a matter of translatability but rather of rendering a concept. س أه ف ١ خ ٠ ظؼ ك ر ف الخمر ط ؿ ش فخؽ ش و شwine ' ز ١ ' لي ى كمخ ر خ لظيطش ال ح ى ش ح ؼ ر ١ ش طش ؿ ١ غ أ حع ح ش رخص ح ىل ١ ش ١ فمؾ 'ح و '. ٠ ظ ح ؼخي أػال ٠ ؼ ع ش حالهطخء ح ظ لي طى ف ح ظ ؿ ش.أ خ ١ ض فمؾ ؤ ش لي س م غش ح غش ى ريال طمي ٠ ف. 4. The Translation of the Hadeeth from a Rhetorical Point of View رشع خ ا ؾذ ٠ ش ع خ ا ظش ا جالغ ١ خ Another concern is the translation of the Prophet s style. His style is divine and human at the same time. ظي رشع خ ا ؾ ا ج. أ ر ح رش ف ف ح لض. This combination makes it quite difficult even for an experienced translator. Therefore, any translator engaged in the translation of the Prophet s sayings should really be aware of the stylistic features and rhetorical dimensions of the Prophet s Hadeeths. ح ح ٠ ؾ ٠ ؼ ح ظؼذ ؿيح كظ رخ زش ظ ؿ ١ هز س. ه ٠ زغ أ ٠ ى ح ظ ؿ أ ٠ شخ ن ف ط ؿ ش أل حي ح ز ٠ ذ ح ٠ ى ي ن كمخ ح ١ حص حأل ر ١ ش حألرؼخى ح زالغ ١ ش حألكخى ٠ غ ح ز. For example, let s look at the following Hadeeth and see how Dr Halimah (2012) tried to achieve equivalence in English, communicative purpose of the Hadeeth in a style that signals that this is a translation of a Hadeeth of Prpohet Muhmmad (PBBUH) narrated by Aisha in 1 st Century of Hijri Calendar: ػ ز ١ ح ؼخي ىػ خ ظ ف ح لي ٠ غ ح ظخ ح ظ و ١ ف كخ ي ح يوظ ك ١ ش )2012( ظلم ١ ك ح ظىخفئ ف ح غش حإل ٠ ١ ش ح غ ع ح ظ حط ح لي ٠ غ ف حال د ح ٠ ش ١ ا أ ط ؿ ش لي ٠ غ ح ز ل ي ط هللا ػ ١ ش ح ػخثشش ف ح م حأل ي ح ظم ٠ ح : ع ن ع ا ئ ش ة ق ا ل ت : ق ال ر س و ل الل : "م ن أ ح د ث أ م ر ن ا ى ذ ا م ا ل ي س ف ي و ف ه و ر د ". ف ي (ر و اه الش ي خ ان) Aisha said that the Messenger of Allah (peace and blessings of Allah be upon him) said: "Anything innovative introduced to our religion is rejected." (Bukhari & Muslim) تنس ق 64 SeamOOn

66 L6 Practical A Translate the following Hadeeth into English. Use your creative ability in your translation. ع ن ع ث م ان ع ن الن ب ي ق ال : "إ ن أ ف ض ل ك م م ن ت ع ل م الق ر آن و ع ل م و ". (ر و اه الب خ اري) L6 Practical B Translate the following Hadeeth into English. Use your creative ability in your translation. اإل س الم ع ل ى خ م س : ش ه اد ة أ ن ال إ ل و إ ال الل و أ ن م ح م د ا ر س ول الل و إ ق ام الص الة و إ ي ت اء ع ن اب ن ع م ر ق ال : ق ال ر س ول الل : " ب ن ي (ر و اه الش ي خان) الز ك اة و الح ج و ص و م ر م ض ان ". تنس ق 65 SeamOOn

67 Lecture 7 Translation of Orations Learning Outcomes By the end of this lecture, you should be able 1. show understanding of what is meant by orations or oratorical speech. 2. to translate excerpts of oratorical speech. 1. What is Oratory? An oratory is an elaborate and prepared speech. It is the art of swaying an audience by eloquent speech. In ancient Greece and Rome oratory was included under the term rhetoric, which meant the art of composing as well as delivering a speech. Oratory first appeared in the law courts of Athens and soon became important in all areas of life. Classic Rome's great orators were : Cato the Elder, Mark Antony, and Cicero. ف ح وطخرش وال ي. ف طل ن ح رخ ىال ح ز ١ غ. ح وطخرش حالغ ٠ م ١ ش ح خ ١ ش حى ؿض طلض ظط ق ح زالغش خ ٠ ؼ ف ح ظ ل ١ فؼال ػ ا مخء هطخد. ف ح وطخرش ظ ص س حأل ف لخو ح مخ ف أػ ١ خ ػخ خ أطزلض خ ش ف ؿ ١ غ خالص ح ل ١ خس. اسل ػظ بء خطجبء س ب وب : وخط حالػظ خ ن أ ظ ١. The theory of rhetoric was discussed by Aristotle and Quintilian; and three main classes of oratory were later designated by classical rhetoricians: خلش ظ ٠ ش ح وطخرش أ ط و ٠ ظ ١ ١ خ ػالع فجخص ث ١ ١ ش ح وطخرش وخ ض ط ١ ف ١ خ رؼي وظخد ح طزمخص. (a) deliberative to persuade an audience (such as a legislature) to approve or disapprove a matter of public policy; ا غذ ١ خ إلل بع ع س ) ض ا ١ ئخ ا زشش ٠ ؼ ١ خ( ح حفمش ح ػي ح حفمش ػ حػ ١ غ ح ١ خ ش ح ؼخ ش. (b) forensic to achieve (as in a trial) condemnation or approval for a person's actions; ح مؼخث ١ ش ظلم ١ ك )و خ ح لخي ف لخو ش( اىح ش أ ح حفمش ػ اؿ حءحص ح شوض. تنس ق 66 SeamOOn

68 (c) epideictic "display rhetoric" used on ceremonial occasions. ا غبئذح ا جالغخ ا ؼش ػخ "" ا غزخذ خ ف اؽز ١ بعبد ا بعجبد ا شع ١ خ. Rhetoric was included in the medieval liberal arts curriculum. In subsequent centuries oratory was utilized in three main areas of public life politics, religion, and law. ح وطخرش أى ؿض ف ف ك س ف ح ؾ ح ي ح ف ح م ح ط. ف ا مش ا الؽمخ لذ اعزخذ ف ا خطبثخ ف صالصخ غبالد سئ ١ غ ١ خ ؾ ١ بح ا ؼب خ ح ١ خ ش ح ي ٠ ح مخ. During the Middle Ages, the Renaissance, and the Reformation, oratory was generally confined to the church, which produced a soul-searing orator such as Martin Luther. خالي ا ؼظ س ا عط ػظش ا ؼخ اإلطالػ ا ذ ٠ ا خطبثخ ػ ب الزظشد ػ ا ى ١ غخ ح ظ أ ظض هط ١ ذ ح ف ح لخ لش ؼ خ ط ػ. With the development of parliaments in the 18th cent., great political orators appeared. Because these politicians usually spoke to men of their own class and education, their orations were often complex and erudite, abounding in classical allusions. غ طط ح ز خ خص ف القرن ا ؼخ ػش ظ هطزخء ح ١ خ ١ ش ح ؼظ خء. أل ئالء ح ١ خ ١١ ػخىس خ طليع ؿخي ح فجش ح وخطش ح ظؼ ١ هطز غخ زخ خ ؼميس ؼمفش ط ه رخ ظ ١ لخص ح ىال ١ ى ١ ش. Religious sermons, normally addressed to a wide audience of diverse classes of people, tend to replete with religious allusions and appeal to the emotions, which profoundly influence the oratorical style of many orators or speakers. ػظخص ى ١ ٠ ش ػخىس ؿ ش ح غ فجخص ظ ػش ح خ ط ١ ا ١ جش رخ ظ ١ لخص ح ي ١ ٠ ش أ خشي ح ؼ حؽف ح ظ طظ ن آػخ ح ػ ١ مش ػ ؾ هطخر ؼي ٠ ي ح وطزخء أ ح ظى ١. The oratorical style could be described as bombastic like that of Hitler and Mussolini, and intimate and conversational, as in the "fireside chats" of President Franklin D. Roosevelt. مكن وصؾ أسلوب خطاب منمق مثل تلك مثل لهتلر وموسول ن ح ل ١ ش ح لخىػش و خ ف " حالكخى ٠ غ ح لي" ح ث ١ ف ح ى ١ ى. ف ض. تنس ق 67 SeamOOn

69 Now, television forced additional demands on the orator (usually now called the public speaker), who not only had to sound good but also had to look good. Still, most politicians, notably John F. Kennedy, succeeded in utilizing the ubiquitous television camera to heighten the impact of their speeches. ح ٢ أؿز ح ظ ف ٠ طخ ذ اػخف ١ ش ػ ح وط ١ ذ )ر خ ؾ ط ف ٠ ح ( public speaker ح ٠ وخ ١ فمؾ ظ ص ح ١ ي ى أ ٠ ؼخ ٠ ذ أ طزي ؿ ١ يس. ال ٠ حي ؼظ ح ١ خ ١١ ال ١ خ ؿ ف. و ١ ١ ي لض ف ح ظويح وخ ١ ح ط ف ١ ٠ ش ف و ىخ ٠ خىس طؤػ ١ و خط. 2. The Translation of Orations Translating orations ranges in terms of difficulty from translating simple farewell speeches of University outgoing students to the most difficult oratorical speeches of the Prophet Muhammad (p.b.b.u.h). Our main concern here is the translation of religious orations. I would however like to start with the following general example of oration trying to analyse it with you as a warm up for a more advanced type of rhetoric. ترجمة الخطب تترواح ف صعوبة المصطلحات الخطاب ة للنب محمد صلى هللا عل ه وسلم. من الترجمة البس طة لخطب طالب خر ج الجامعة الؼلب الخطب ح ظ خ خ ح ث ١ خ ترجمة الخطب الد ن ة.ومع ذلك أود أن تبدأ مع المثال العام التال لمحاولة لتحل ل الخطاب مع استعدادك لنوع متطور اكثر من الخطابة. A. General orations as in translating farewell speeches, for example, especially those of outgoing students, tend to be emotive with hints of gratitude and appreciation along with expressions of future prospects for both the audience and the outgoing students. ا خطت ا ؼب خ و خ ح لخي ف ط ؿ ش هطذ ح ىحع ػ ز ١ ح ؼخي ال ١ خ أ جه ح طالد ح و ٠ ١ ط ١ ا أ طى حال فؼخ ١ ش غ ط ١ لخص حال ظ خ ح ظمي ٠ ؿ زخ ا ؿ ذ غ ح ظؼز ١ ػ ح ظ لؼخص ح ظمز ١ ش ح طالد ح و ٠ ١. تنس ق 68 SeamOOn

70 For example, let s now look at the following short and adapted example of an outgoing student speech addressed to outgoing students at their graduation ceremony in the UK, and see how you would translate it into Arabic: ػ ز ١ ح ؼخي ىػ خ ح ٢ ظ ا ح ؼخي ح ظخ لظ س الث ظش ح ؼخي وطخد ح طخ ذ ح ظخى ح ؿ ش ا ح طالد ػ ي ح ح ظو ؽ ف ح ىش ح ظليس و ١ ف ف طظ ؿ ا ح غش ح ؼ ر ١ ش: Distinguished Guests Ladies and Gentlemen, My Fellow Students Good Afternoon I am greatly honored to be chosen to stand up here to represent my fellow graduates and welcome you to our Graduation Day. Today marks an extraordinary day in our lives. We have worked long and hard to get to this point. We have successfully achieved our Degrees. We have acquired knowledge, skills and experience. We have made new friends. As we take centre stage today to receive our Certificates we are also going to lift the curtain and recognise the people behind the scenes. On this special day, we wish to extend our sincere gratitude and gratefulness to our Dean, for his outstanding support and encouragement. Whenever we needed him, he was always there for us, very welcoming and helpful. Thank you, sir, for the time and attention you give to us and to our fellow students. A special thank-you goes from every one of us to every staff member, Principals, Managers, Tutors, Teachers and Administrators at this University where we have learned so much and acquired good knowledge and excellent academic and practical skills. It is the wish of every graduate of us to extend our love and appreciation to our loving parents for their prayers, love and guidance. We are sure that today they are proud of our success and very happy for us. تنس ق 69 SeamOOn

71 Last but not least, we would like to take the pledge that what we have learned and acquired of knowledge and skills we will use for the benefit of our beloved country, in its continued growth, development and expansion. Once again, thank you for being here today sharing with us our sense of pride and happiness, in our success. Thank you Distinguished Guests Ladies and Gentlemen ضيوفنا الكرام الس ادة احلضور زماليئ الط الب My Fellow Students الس الم عليمك ورمحة هللا وبراكته Good Afternoon I am greatly honored to be chosen to stand up here to represent my fellow graduates and welcome you to our Graduation Day. إنه لشرؾ كب ر ل مألن سعادة أن أقؾ هنا ال وم ممثال زمالب المتخر ج ن وأن أرحب بكم ف حفل تخرجنا. Today marks an extraordinary day in our lives. We have worked long and hard to get to this point. We have successfully achieved our Degrees. We have acquired knowledge, skills and experience. We have made new friends. شك ل ال وم بالنسبة لنا وما عظ ما ف ح اتنا لقد اجتهدنا للوصول لهذا الهدؾ. بنجاح. لقد اكتسبنا المعرفة والمهارات والخبرة كما أننا بن نا صداقات جد دة. لقد حصلنا على شهادات الدبلوم :(ح وطذ ح ي ١ ٠ ش ) ع غ ١ ح ز ٠ ش. type): B. Religious orations (non-prophetic B. Religious orations (non-prophetic type): as mentioned earlier, religious speech, short or long, tend to appeal to both hearts and minds, using a high stylistic approach to a wide audience of diverse classes of people in a variety of situation and settings. ا خطت ا ذ ١ ٠ خ ) ع غ ١ ش ا ج ٠ خ(: و خ و خرمخ ح وطخد ح ي ٠ لظ ١ أ ؽ ٠ ١ ٠ وال خ ا يحء ح ؼم ي ح م د ٠ ظويح ؾ أ ر ػخ ح غ فجخص ظ ػش ح خ ف حػغ كخالص وظ فش. Let s look at the following short rhetorical speech by our great Khalifa Omar bin AlKhattab (may Allah be pleased with him) addressed to the army leader Abu Obaid تنس ق 70 SeamOOn

72 bin Masood AlThaqafi while he was getting ready to liberate Iraq in 13H. How would you translate an oratory like that of Omar into English and achieve equivalence in English, communicative purpose of his speech, in a style that signals that this is a translation of Omar bin AlKhattab who said in that space of time and context of the first years of Islamic widespread expansion: ىػ خ ظ ف ح وطزش ح زالغ ١ ش ح مظ ١ س ح ظخ ١ ش رو ١ فظ خ ح ؼظ ١ ػ ر هطخد" ) ػ هللا ػ ( ؿ ح ح ١ ش "أر ػز ١ ي ر ؼ ى ح ؼمف " ػ ي خ وخ ٠ ظؼي ظل ٠ ح ؼ حق ف 13. لخثي رؤ د ٠ يي ػ أ طلم ١ ك ح ظىخفئ ح غ ع ح ظ حط وطزظش وزف ط ظط ١ غ ط ؿ ش هطزش ػ ح حال ٠ ١ ش ح ١ خق حص حأل ال ظشخ ػ ر ح وطخد ح ظ لخ خ ف ط ه ح فظ س ح ح ظ ؿ ش وطزش حال ال : عندما أم ر عمر ابن الخطاب أبو عب د بن مسعود الثقف على حرب العراق سنة 13 هجر ة قال له: " إنك ت ق د م على أرض المكر والخد عة والخ انة ت ق د م على قو م ق د ج ر ء وا على الش ر ف ع ل م و ه وت ناس وا الخ ر فجهل وه: فانظر ك ؾ تكو ن! واخز ن ل سا نك وال ت فش ن س ر ك فإن صاحب الس ر ماضبط ه م ت ح ص ن ال إتى من وج ه كره وإذا ض ع ه كا ن ب م ض ع ة!." Example Now how would you translate the following into English? Is it A, B, C, or D? " إن ك ت ق د م على أرض المكر والخد عة والخ انة" A. You are coming to the land of guile, deceit and treachery. B. You are going the land of guile, deceit and treachery. C. You are heading towards the land of guile, deceit and treachery. D. You are bound for the land of guile, deceit and treachery. Example Let s now look at the following excerpt taken from an English religious sermon and try to translate it into Arabic: Life is a warfare: a warfare between two standards: the Standard of right and the Standard of wrong. It is a warfare wide as the world; it rages in every nation, every city, in the heart of تنس ق 71 SeamOOn

73 every man. Satan desires all men to come under his Standard, and to this end lures them with riches, honours, power, all that ministers to the lust and pride of man. God on the contrary, invites all to fight under His Standard: the standard of Islam and His Messenger Muhammad (p.b.b.u.h), which is certain of ultimate victory against Satan and his army. Now comes the imperious cry of command: Choose! God or Satan? Choose! Sanctity or Sin? Choose! Heaven or Hell? And in the choice you make, is summed up the life of every man. Now how would you translate the following into Arabic? Is it A, B, C, D, E, F or something else? Life is a warfare: a warfare between two standards: the Standard of right and the Standard of wrong. الح اة حرب ب ن الصح والخطؤ.A الح اة حرب ب ن الصواب والؽلط.B الح اة معركة ب ن الحق والباطل.C الح اة مع معركة ب ن الخ ر والشر.D : ح وطذ ح ي ١ ٠ ش )ح ع ح ز type): c. Religious orations (prophetic d. Religious orations (prophetic type): Unlike any other type of text translator, the translator of Prophet Muhammad s orations (p.b.b.u.h) should have additional characteristics which would make him/her outstanding: the translator should be Godfearing, religiously knowledgeable, bilingual and bicultural person, above all should have this extra bit of rhetoric and style in both SL and TL. ح وطذ ح ي ١ ٠ ش ) ع ح ز ٠ ش(: ١ ض وؤ ع حه ض ظ ؿ ظ ؿ هطذ ح ز ل ي صلى هللا عل ه وسلم ٠ زغ أ ٠ ى هظخثض حػخف ١ ش ح ظ طؼ خ ظخ س : ٠ زغ أ ٠ ى ح ظ ؿ ٠ وش هللا ط غ ى ١ ٠ خ شوض ػمخف غظ ١ لز و ش ء ٠ زغ أ ٠ ى ح ؿ ء اػخف زالغش حأل د ف وال خ SL ح غش ح ظي ح غش ح ظ يفش TL. تنس ق 72 SeamOOn

74 For example, let s now look at excerpts taken from the Prophet s (p.b.b.u.h) Last Sermon and see how Halimah (2012) tried to achieve equivalence in English, communicative purpose of the sermon, in a style that signals that this is a translation of a Last Sermon of Prophet Muhmmad (p.b.b.u.h) reported by Ibn Ishaq: ػ ز ١ ح ؼخي ىػ خ ح ٢ ظ ف مظطفخص ؤه س ح ي ط هللا ػ ١ ش "هطزش ح ىحع " ح ظ و ١ ف كخ ي ك ١ ش )2012( طلم ١ ك ح ظىخفئ ف ح غش حإل ٠ ١ ش ح ظ حط ح غ ع ح وطزش رؤ د ٠ يي ػ أ ح ط ؿ ش "آه هطزش ز ل ي ط هللا ػ ١ ش ( ح حر ا لخق: قال ابن إسحاق :ثم مضى رسول هللا صلى هللا عل ه وسلم على حجه فؤرى الناس مناسكهم وأعلمهم سنن حجهم وخطب الناس خطبته الت ب ن ف ها ما ب ن فحمد هللا وأثنى عل ه ثم قال : أ ها الناس اسمعوا قول فإن ال أدري لعل ال ألقاكم بعد عام هذا بهذا الموقؾ أبدا أ ها الناس إن دماءكم وأموالكم عل كم حرام إلى أن تلقوا ربكم كحرمة ومكم هذا وكحرمة شهركم هذا وإنكم ستلقون ربكم ف سؤلكم عن أعمالكم وقد بلؽت فمن كانت عنده أمانة فل إدها إلى من ابتمنه عل ها وإن كل ربا موضوع ولكن لكم رءوس أموالكم ال تظلمون وال تظلمون. أما بعد أ ها الناس فإن الش طان قد بس من أن عبد بؤرضكم هذه أبدا ولكنه إن طع ف ما سوى ذلك فقد رض به مما تحقرون من أعمالكم فاحذروه على د نكم أما بعد أ ها الناس فإن لكم على نسابكم حقا ولهن عل كم حقا لكم عل هن أن ال وطبن فرشكم أحدا تكرهونه وعل هن أن ال ؤت ن بفاحشة مب نة فإن فعلن فإن هللا قد أذن لكم أن تهجروهن ف المضاجع وتضربوهن ضربا ؼ ر مبرح فإن انته ن فلهن رزقهن وكسوتهن بالمعروؾ واستوصوا بالنساء خ را. فإنهن عندكم عوان ال ملكن ألنفسهن ش با وإنكم إنما أخذتموهن بؤمانة هللا واستحللتم فروجهن بكلمات هللا فاعقلوا أ ها الناس قول فإن قد بلؽت وقد تركت ف كم ما إن اعتصمتم به فلن تضلوا أبدا أمرا ب نا كتاب هللا وسنة نب ه. أ ها الناس اسمعوا قول واعقلوه تعلمن أن كل مسلم أخ للمسلم وأن المسلم ن إخوة فال حل المرئ من أخ ه إال ما أعطاهعن ط ب نفس منه فال تظلمن أنفسكم اللهم هل بلؽت فذكر ل أن الناس قالوا : اللهم نعم فقال رسول هللا صلى هللا عل ه وسلم : اللهم اشهد. تنس ق 73 SeamOOn

75 Example أ ها الناس اسمعوا قول فإن ال أدري لعل ال ألقاكم بعد عام هذا بهذا الموقؾ أبدا O People! Listen carefully to what I say, for I don't know whether I will ever meet you again here after this year. أ ها الناس إن دماءكم وأموالكم عل كم حرام إلى أن تلقوا ربكم كحرمة ومكم هذا وكحرمة شهركم هذا وإنكم ستلقون ربكم ف سؤلكم عن أعمالكم وقد بلؽت فمن كانت عنده أمانة فل إدها إلى من ابتمنه عل ها وإن كل ربا موضوع ولكن لكم رءوس أموالكم ال تظلمون وال تظلمون. O People! Verily your blood and your property are sacred and inviolable until you appear before your Lord, as the sacred inviolability of this day of yours, this month of yours and this very town of yours. You will indeed meet your Lord and that He will indeed reckon your deeds. I have conveyed the Message of Allah to you. Return the goods entrusted to you to their rightful owners. Allah has forbidden you to take usury (interest), therefore all interest obligation shall henceforth be waived. Your capital, however, is yours to keep. You will neither inflict nor suffer any inequity. L7 Practical A Translate the following oratory into Arabic. Use your creative ability in your translation. Life is a warfare: a warfare between two standards: the Standard of right and the Standard of wrong. It is a warfare wide as the world; it rages in every nation, every city, in the heart of every man. Satan desires all men to come under his Standard, and to this end lures them with riches, honours, power, all that ministers to the lust and pride of man. God on the contrary, invites all to fight under His Standard: the standard of Islam and His Messenger Muhammad (p.b.b.u.h), which is certain of ultimate victory against Satan and his army. Now comes the imperious cry of command: Choose! God or Satan? Choose! Sanctity or Sin? Choose! Heaven or Hell? And in the choice you make, is summed up the life of every man. L7 Practical B Translate the following into English. Use your creative ability in your translation. تنس ق 74 SeamOOn

76 أما بعد أ ها الناس فإن لكم على نسابكم حقا ولهن عل كم حقا لكم عل هن أن ال وطبن فرشكم أحدا تكرهونه وعل هن أن ال ؤت ن بفاحشة مب نة فإن فعلن فإن هللا قد أذن لكم أن تهجروهن ف المضاجع وتضربوهن ضربا ؼ ر مبرح فإن انته ن فلهن رزقهن وكسوتهن بالمعروؾ واستوصوا بالنساء خ را. فإنهن عندكم عوان ال ملكن ألنفسهن ش با وإنكم إنما أخذتموهن بؤمانة هللا واستحللتم فروجهن بكلمات هللا. O people!verily you have certain rights over your women, and your women have certain rights over you. it is your right that they honar their conjugal duties and do not commit acts of impropriety ; if they do, you are authorized by Allah to separate them from your beds and chastise them, but not severely, and if they refrain, then clothe and feed them properly. Do treat your women well and be kind to them Lecture 8 Translation of Poetry ترجمة الشعر Learning Outcomes By the end of this lecture, you should be able to 1. show understanding of the concept of Poetry translation. 2. translate different excerpts of poetry. 1. Introduction The central question that all studies of translation of poetry have asked, implicitly or explicitly, is whether poetry can be translated. It obviously can be translated as translated poetry plays such a large part in the literature of most cultures as Omar Khayyam poetry in English. ح ئحي حال خ أ ؿ ١ غ ى ح خص ط ؿ ش ح شؼ لي ؤ ض ػ خ أ ط حكش خ ا ح وخ ٠ ى ط ؿ ش ح شؼ. ح حػق ح ٠ ى ط ؿ ظ خ و خ ٠ ؼذ ح شؼ ح ظ ؿ و ء وز ١ ف حالىد الغ ذ ح ؼمخفخص وشؼ ػ ح و ١ خ رخ غش حال ٠ ١ ش. The opposite view-that poetry translation is difficult or even impossible -arises from the coincidence of two assumptions: أ خ ح أ ح ؼخ ع-أ ح ظؼذ أ كظ ح ظل ١ ط ؿ ش ح شؼ تنس ق 75 SeamOOn - ٠ شؤ طؼخلذ حفظ حػ ١ :

77 a. Translated poetry should be poetry in its own right.. ٠ زغ أ ٠ ى ح شؼ ط ؿ ش ح شؼ ف كي حط > ر ؼ ح ه طظ ؿ ح شؼ رخ شؼ b. Poetry is difficult, ambiguous and exhibits a special relationship between form and meaning. الشعر صعب, ؼامض, برز عالقة خاصة ب ن الشكل والمعنى. Many translation writers seem to agree that the translation of poetry, more than that of any genre, demands both special critical abilities and special writing abilities. وؼ ١ وظخد ح ظ ؿ ش أري ح حفمش ػ ط ؿ ش ح شؼ أوؼ أ ع طظط ذ وال خ لي حص وظخر ١ ش هخطش. لي حص ح ظمخى ٠ ش هخطش One way of negotiating this difficulty is to translate poetry into prose, an approach sometime favoured for writers such as Shakespeare. This might be because prose is seen as easier to write, although Scott (2000:163) argues that prose translations of poetry have their own resourcefulness and their own freedom. Prose translations are however the exception. أ ي ؽ ٠ مش ظفخ ع ػ طؼ رش ط ؿ ش ح شؼ ا ح ؼ ؾ حك ١ خ خ فؼ ش شى ز ١ ىظخرش ح زذ ف ه ا ح ح ؼ ٠ ؼظز أ ىظخرش ػ ح غ أ ى ص )2000:163( ؿخىي أ ط ؿ ش ح ؼ ح شؼ ر خ 'ر حػظ ' ك ٠ ظ. ط ؿ ش ح ؼ غ ط ظؼ. Example " بمعنى ان هناك استثناء بترجمة الشعر وتحو له الى نثر " For example, let s look at the following poem by T.S.Eliot and see how Dr AlNuaimi (2012) tried to achieve equivalence in Arabic, communicative purpose of the poem in a prose style. تنس ق 76 SeamOOn

78 The winter evening settles down With smell of steaks in passageways. Six o'clock. The burnt-out ends of smoky days. And now a gusty shower wraps The grimy scraps Of withered leaves about your feet And newspapers from vacant lots; The showers beat On broken blinds and chimney-pots, And at the corner of the street A lonely cab-horse steams and stamps. And then the lighting of the lamps. حل مساء شتوي حامال معه رابحة الشواء ف الممرات. الساعة السادسة تماما. النهارات المحروقة أل ام مدخن ة واآلن زخات ماطرة تلفع البقا ا الكب بة لور قات جافة عند قدم ك وجرابد متناثرة من أمكنة فارغة. األمطار ما زالت تهطل على مصار ع النوافذ المكس رة والمداخن الخربة. وف زاو ة الشارع جواد عربة وح د متعر ق غذ الخطى تحت أضواء المصاب ح... ترجمة د. محمد نور النع م ( T. S. Eliot) Another way of dealing with the supposed difficulty of poetic translation is to move away from the original, producing instead imitations or new versions. خن ؽ ٠ مش أه ظؼخ غ طؼ رش ح ظ ؿ ش ح شؼ ٠ ش ح فظ ع حالرظؼخى ػ حألط ط ظؾ ريال ه وش أ اطيح حص ؿي ٠ يس. But Hamburger (1989:51) sees such deviation from the original as an admission of defeat. ى ٠ ز غ )1989:51( ؼ ح حال ل حف ػ حألط "حػظ حفخ رخ ٠ ش" Look at the following example to see how the Arabic translator has moved away from : ح ظ ح ا ح ؼخي ح ظخ ؼ فش و ١ ف ح ظم ض ظ ؿ ػ ر ثؼ ١ ذا ػ ح ض حألط original: the When he smells the scent of the rose, he wants to see it, When he sees the face of the rose, he wants to pluck it. م ناه ف ألوانها وب ها ها إن ش م ر ح الور د ف أغصانها فكن ت ب ن األصابع رباه ما أحالها! وبدو ت ف ث وب الجما ل عندما رى وجه الوردة ر د أن قطفها.A عندما شم رابحة الوردة ر د أن راها وإن رأها استحلى قطافها.B إن شمها استحلى رإ تها ولما رأها أرادها.C عب رها استهواه فطلب رإ اها.D م ناه ف ألوانها وب هاها إن شم ر ح الورد ف أؼصانها فكن ت ب ن األصابع رباه ما أحالها! وبدو ت ف ث وب الجما ل الخ ارات : تنس ق 77 SeamOOn

79 ى ر ظ ؿ ش ح شؼ ٠ شTranslation 3-The Skopos of Poetic One way of expressing the fact that translated poetry aims, in general, to be itself poetry, is to say that the aim or skopos (Nord 1997:27) of its translation is to carry over the source text function into the target text; it is thus an instrumental translation. ح ي ؽ ٠ مش طؼز ػ كم ١ مش أ يحف ط ؿ ش ح شؼ رظفش ػخ ش أ ٠ ى ف ف ح شؼ أ م ي أ ح يف أ ى ر (1997:27 (Nord ظ ؿ ظ خ ح م ١ خ رؤوؼ ظ ١ فش ح ض ح ظي ف ح ض ح ظ يف ى ح طى ح ظ ؿ ش ى أ خ.< بمعنى نقل الجو الشعري بمثل النص االصل It must also aspire to be documentary, to give some idea of what the original is actually like, and especially to allow its reader to see those very difficult which make it poetry. ٠ ذ أ طط ق ا أ طى ػ ػ ١ ش إلػطخء "فى س ػ خ ط ٠ ي ف ح ض حألط رخ ؼزؾ هخطش خف ح مخ ة ٠ ح ظؼ رش ح شي ٠ ي ح ظ ط ؼ خ ح شؼ. The common tendency to publish translated poetry bilingually points to this documentary aspect. Especially for the bilingual reader, the relationship of the translated poems with the source text is highlight by a similar layout in both languages. حالطخ ح شخثغ ش ح شؼ ح ظ ؿ غظ ١ ح ح خ ذ ح ػ ػ. هخطش رخ زش مخ ة ػ خث ح غش ح ؼاللش ر ١ ح مظخثي ح ظ ؿ ش غ ح ض ح ظي طى ػخ ١ ش رظظ ١ شخر ىال ح غظ ١. Other writers such as Gutt (1991/2000:167), for example, argue that poetic texts demand direct translation; they must preserve the stylistic qualities of the original. The focus of poetic style as a way of combining documentation of the poetics of the source text with is shared by a number of theorist of poetic translation. وزبة آخش ض ع د )2111:167/1991( ػ عج ١ ا ضبي ؿخىي رؤ ح ظ ص ح شؼ ٠ ش طظط ذ ح ظ ؿ ش ح زخش س ٠ ذ أ طلخفع ػ ح ظفخص حأل ر ١ ش ض حألط. ط و ١ حال د ح شؼ وط ٠ مش غ ر ١ ط ط ١ ذ لظخثي ح ض ح ظي غ ح شخ وش رؼيى ح زخكؼ ١ ظ ؿ ش ح شؼ. The translation of poetry must take into account the special nature and language of poetry and the type of reading it demands. ط ؿ ش ح شؼ ٠ ذ أ طخه الثلش ح طز ١ ؼش ح وخطش ح غش ح شؼ ٠ ش ع ح م حءس ح ط رش. تنس ق 78 SeamOOn

80 For example, let s look at the following poem by Ezra Pound and see how Dr AlNuaimi (forthcoming) tried to achieve equivalence in Arabic, communicative purpose of the poem in a style that reflects the style of the original poem. ػ ز ١ ح ؼخي ىػ خ ظ ا ح مظ ١ يس ح ظخ ١ ش " Pound " Ezra ح ظ و ١ ف كخ ي ح يوظ ح ؼ ١ )forthcoming( ظلم ١ ك ح ظىخفئ ف ح غش ح ؼ ر ١ ش حالطظخ ١ ش ح غ ع ح مظ ١ يس رؤ د ٠ ؼى ؾ ح مظ ١ يس حألط. A Girl The tree has entered my hands, The sap has ascended my arms, The tree has grown in my breast - Downward, The branches grow out of me, like arms. Tree you are, Moss you are, You are violets with wind above them. Ezra Pound فتاة دخلت الشجرة د ي وسرى نسؽ ها ف ذراع. نم ت الشجرة ف صدري نزوال إلى األسفل وتفرعت األؼصا ن من جسدي مثل األذر ع. شجرة أن ت طحلب أن ت أنت أزهار بنفسج تلفح ها الر ح. ترجمة د. محمد نور النع م 3.Translation and the Nature of Poetry Poetic translation is considered as writing which captures the spirit or the energy of the original poem. One way of making this abstract notion more concrete is to equate it with style, because style can be seen as the result of the poetic choices. طؼظز ح ظ ؿ ش ح شؼ ٠ ش ح ىظخرش ح ظ ط ي ح ف أ ح طخلش ح مظ ١ يس حألط ١ ش. ح ط ٠ مش ح ك ١ يس ؼ ح ح ف ح ى ش ( طىظذ ر ف ح ؾ ) أوؼ ١ ظ ح ٠ ى أ ٠ ظ و ظ ١ ش ا حالهظ ١ خ حص ح شؼ ٠ ش. غ حال د أل حال د تنس ق 79 SeamOOn

81 This focus on style as central to poetic translation is found especially in the writings of (i) translators who are themselves poets and can be assumed to have an inherent بمعنى ان المترجم كون شاعرا لترجمة اب ات شعر ة knowledge of how this works and (ii) critics who take the view that a theoretical understanding of poetry is essential not only to the reading of translated poetry but also to the act of translation. ح ح ظ و ١ ػ ح د و ؾ ظ ؿ ش ح شؼ ٠ ش هخط طخ ط ؿي ف ح ىظخرخص ح ظ ؿ ١ ح ٠ أ ف ح شؼ حء ٠ ى حفظ حع أ ح ال ش ؼ فش و ١ ف حالػ خي )ػخ ١ خ( ح مخى ح ٠ ٠ ؤه ح أ أ ف ظ ٠ ش ح شؼ ػ ١ فمؾ م حءس ح شؼ ح ظ ؿ ى أ ٠ ؼخ ؼ ح ظ ؿ ش There have been many debates about the characteristics of poetic style and whether they distinguish poetry from prose or indeed literally from non-literally texts. Some of the elements that have been put forward as distinctive of poetic style are: خن ح ىؼ ١ ح خلشخص ك ي هظخثض حال د ح شؼ خ ا ح وخ ١ ٠ ح شؼ ح ؼ أ ح ح وخ رخ فؼ ح ظ ص ح غ ١ ك ف ١ خ. ك ف ١ خ ف ١ خ ٠ رؼغ ح ؼ خط ح ظ لي خ ح ١ س ؾ ح شؼ : It s physical shape including use of lines and spaces on a page ل ١ ط خ ح شى ر خ ف ه ح ظويح ح وط ؽ ح خفخص ػ ح ظفلش It s use of inventive language and in particular, patterns of sound and structure أ خ ط ظوي غش زظى س أ خؽ ح ظ ص ر خء ؼ ١. > طىظذ رشى حريحػ It s openness to different interpretations حال فظخف ػ طف ١ حص ط حؿ وظ فش. It s demand to be read non-pragmatically. طظط ذ أ طم أ غ ١ ػ >> ششؽ ٠ شثط ب ثأ س الؼ ١ خ ؽم ١ م ١ خ تنس ق 80 SeamOOn

82 ( The layout in lines can be seen as a signal to read the text in a particular way: as a text in which style is the main repository of meaning (Boase-Beier 2006a: 112). Typically, writers will speak of recreating particular aspects such as metaphors and ambiguity (Boase-Beier 2004); all these are stylistic resources which, though present in non-poetic language, are used in greater concentration in poems and add up to Eagleton s sense of inventiveness. ح ظوط ١ ؾ ف حالر ١ خص ( ح ٠ ى رط ٠ مش ل ش ش ) ٠ ى أ ٠ ش ١ م حءس ح ض رط ٠ مش ؼ ١ ش : وخ ض ف حال د ح ٠ ى ح ظ ىع ح ث ١ ؼ )112 :2006a.)Boase-Beier ػخىس ف ٠ ظليع ح ىظخد إلػخىس ا شخء ؿ ح ذ ؼ ١ ش ؼ حال ظؼخ حص ح غ ع )2004 Boase-Beier و ح ح ى حأل ر ١ ش ح ظ ػ ح غ أ ح غش غ ١ ح شؼ ٠ ش ط ظوي رظ و ١ أوز ف ح مظخثي طؼ ١ ف خ ٠ ظ ا حإلك خ ا ٠ غ ظ Eagleton ف 'حإلريحع.' Ambiguity, in particular, is a stylistic device which allows for different interpretations and thus its preservation in translation enables the poem to retain its ability to fit different contexts (Verdonk 2002: 6f). ح غ ع ػ ؿ ح وظ ص حىح أ ر ١ ش ح ظ ط ق ظف ١ حص ط ؿ خص وظ فش ى ح ط ى ح لخفظش ػ ١ خ ف ط ؿ ش ح مظ ١ يس حالكظفخظ رمي ط خ ػ حكظ حء وظ ف ح ١ خلخص )2002 ٠ ى ه: 6.(f Discussions on the nature of poetry suggest that there might be poetic characteristics that are universal; yet poetic traditions vary from one culture to another and, as Connolly (1998:174) points out, this is also an important consideration in translating poetry. ح خلشخص ػ ؽز ١ ؼش ح شؼ طش ١ ا أ لي طى خن هظخثض شؼ ٠ ش ػخ ١ ش رؼي ح ظمخ ١ ي ح شؼ ٠ ش طوظ ف ػمخفش ا أه و خ ٠ ش ١ )1998:174( Connolly ح أ ٠ ؼخ أكي حالػظزخ حص ح خ ش ف ط ؿ ش ح شؼ. Example When we look at the following line written by Al-Mutanabi, for example, and translated by Wormhoudt (1978,P503), we can still say that no matter how skilful the translator may be, he/she still falls victim to the historical, social or cultural associations and connotations attached to poetry. In Wormhoudt s translation of Al- Mutanabi, below ambiguity and mistakes arising from the gaps in the translator s cultural knowledge of animals such as owls occur. تنس ق 81 SeamOOn

83 ػ ي خ ظ ا ح ط ح ظخ وظز خ ح ظ ز ػ ز ١ ح ؼخي ط ؿ لز (P503 )1978 Wormhoudt s ظط ١ غ ح م ي ال ٠ حي أ ح ظ ؿ خ وخ خ ح ال ٠ حي ٠ مغ ػل ١ ش ح ظ ؼخص ح ظخ ٠ و ١ ش أ حالؿظ خػ ١ ش أ ح ؼمخف ١ ش ح ؼخ ح ظؼ مش رخ شؼ. ف ط ؿ ش ف ىص ح ظ ز حالهطخء ط شؤ ػغ حص ؼ فش ح ظ ؿ ١ ح ؼمف ١ ل ١ ح خص ؼ كيع ح ز ش owls كؤن األسو د الالب ف ه م around them vultures and owls ؼ ر اب حو ل ه رخم وبو م As if the Nubian blacks were crows In addition to the grammatical mistak made in pluralizing the singular word األسود the black into blacks, Wormhoudt s historical and cultural knowledge of the owl is quite poor. His translation distorts the meaning and does not convey the same conveyed message in the Arabic version, because the main object of AlMutanabi s satire هجاء here is Kafur AlIkhsheedi the black ruler of Egypt who was compared to a crow surrounded by vultures and owls. Furthermore, when the owl is used in Arabic, it is generally used to refer to bad omen and bad luck, whereas in English culture it is not necessary used to refer to bad omen, but rather as a symbol of wisdom and sometimes love. رخإلػخفش ا حهطخء ح ل ٠ ش ؿؼ ح غ ف ح ف ى و ش 'حأل ى ا ' ح ى ' ؼ فش Wormhoudt s ح ظخ ٠ و ١ ش ح ؼمخف ١ ش ز ' ' owl ػؼ ١ ف ؿيح. ٠ ش ح ؼ ظ ؿ ش ال ٠ م ف ح خ ش ح ط ش ف ح ظ ؿ ش ح ؼ ر ١ ش أل ح يف ح ث ١ ح و ٠ ش ' خء ح ظ ز ' خ وخف ح ١ وش ١ ي Kafur AlIkhsheedi كخو ظ ح ى ح ٠ لخ ح غ حد رخ ز ش ح. ػال س ػ ه ػ ي خ ٠ ظ ح ظويح 'ح ز ' رخ غش ح ؼ ر ١ ش فب ٠ ظوي ػخىس فخي ح ت ء ح لع ر ١ خ ف ح ؼمخفش حإل ٠ ١ ش ١ ح ؼ ح ظويح خ إلشخ س ا شئ ر ر طف خ ح لى ش ح لذ ف رؼغ حألك ١ خ. 3. How to Translate Poetry : theory and process و ١ ف ١ ش "ط ؿ ش ح شؼ ": ظ ٠ ش ػ ١ ش Concerning the processes involved in poetry translation, a common question asked is whether the process of interpretation and creation are separate or not. ف ١ خ ٠ ظؼ ك رخ ؼ ١ خص ح ظ ٠ شظ ػ ١ خ ف ط ؿ ش ح شؼ ئحي شظ ن خ ا ح وخ ض ػ ١ ش ط ؿ ش ا شخء فظ ش أ ال. Some writers appear to suggests that they are: Sayers Peden (1989) speaks of dismantling the original poem and building the translation. Scott (2000) says maintaining that reading and translation are inextricably linked. تنس ق 82 SeamOOn

84 Creativity is also an element in reading as much as in writing. So translation could be a kind of close reading and writing of the ST. Translation is of course a less creative act than writing one s poetry. رؼغ ح ىظخد حري حلظ حكخص : " Peden " Sayers )1989( ٠ ظليع ػ 'طفى ١ ه' ح مظ ١ يس حألط 'ر خء' ح ظ ؿ ش. ٠ م ي )2111( Scott ح لفخظ ػ ح م حءس ح ظ ؿ ش ط طزؾ ح طزخؽخ ال ح فظخ. اإلثذاع أ ٠ ؼخ ػ ظ ف ح م حءس حوؼ و خ ف ح ىظخرش. ه ح ظ ؿ ش ٠ ى أ طى ػخ اغالق ح م حءس ح ىظخرش ح ض ح ظي. ا زشع خ ثب طجغ أل ػ ال ئثذاػ ١ ب وزبثخ ا شؼش ؽذح. > بمعنى الترجمة ما تكون الى واكثر ابداعا من النص االصل Thus the relationship between theory and practice is that theory describes practice in a way which offers a (partial) explanation for observed phenomena. Practicing translators look at theory as dictating practice. ى ح ح ؼاللش ر ١ ح ظ ٠ ش ح خ ش أ ح ظ ٠ ش طظف ح خ ش ف ؽ ٠ مش ح ظ طظف طف ١ ح ح ط ؿ ش)ؿ ث ١ ش( ظ ح ح ط ىس. ح ظ ح ح ظ ؿ ١ خ ١ ػ ي ظ ٠ ش و خ ش حإل الء. For the translation of poetry, two main types of theory are relevant: theory of the literary text and theories of translation. زشع خ ا شؼش بن ػب سئ ١ غ ١ ب ح خك ١ ش ح ظ ٠ ش حص ح ظ ش: ظ ٠ ش ح ض حألىر ظ ٠ خص ح ظ ؿ ش. Theory may help free the translator from constraint of source text, and could therefore be seen as a source of creativity for the translator. Example ا ظش ٠ خ لي ط خػي ك ٠ ش ح ظ ؿ ح ظم ١ ي ض ح ظي ٠ ى أ ٠ ظ ه و ظي إلريحع ح ظ ؿ. There are several different ways of translating poetry but it would be fair to say that most poetry translators aim to create translation that works as poetry in the target language as we can see the following example: خن ػيس ؽ ق وظ فش ظ ؿ ش ح شؼ ى حإل ظخف أ م ي أ ؼظ ظ ؿ ١ ح شؼ ٠ يف ا ا ٠ خى ح ظ ؿ ش ح طؼ وخ شؼ ف ح غش ح ظ يفش و خ ٠ ى أ ح ؼخي ح ظخ : تنس ق 83 SeamOOn

85 When he smells the scent of the rose, he wants to see it, When he sees the face of the rose, he wants to pluck it. عندما رى وجه الوردة ر د أن قطفها عندما شم رابحة الوردة ر د أن راها وإن رأها استحلى قطافها.A إن شمها استحلى رإ تها ولما رأها أرادها.B عب رها استهواه فطلب رإ اها م ناه ف ألوانها وب هاها.C إن شم ر ح الورد ف أؼصانها فكن ت ب ن األصابع رباه ما أحالها! وبدو ت ف ث وب الجما ل > قص دة للدكتور حل مة L8 Practical A Translate the following Poem into Arabic. Use your creative ability in your translation. ALONE WITH MY LOVE Alone, my love, with you alone; In the boat of love, we sing and dance احب الوح د ف قارب الحب ب رقص واؼن ة قد جبت بالمع ة Like the lonely man in the ocean alone When he befriended a bird of chance. * * * * Alone in a forest, we laugh and run; When the buds of May sway and say O Lovers, be happy in the sun In merry days and from people away * * * * Above, alone on the moon we live; تنس ق 84 SeamOOn

86 No hate, no envy, no vice but love. The light to the world then we give; There, a happy life shall we prove. * * * * Only with you a chance I stand In sea, in heaven and on land. * * * * A.M. Halimah 1991 L8 Practical B Translate the following into English. Use your creative ability in your translation. وأكل ك س رة ف جنب ب ت أحب إل من أكل الرؼ ؾ ولب س عباءة وتق ر ع ن أحب إل من لبس الشفوؾ الب ت الشعري هو لم سون بنت بحدل تزوجها معاو ة بن أب سف ان وأسكنها ف قصر بالشام وبعد فترة من الع ش ف القصر.اشتاقت إلى ح اة الباد ة ح ث كانت وعبرت عن اشت اقها ببعض األب ات او / hair The russet suit of camel's With spirits light, and eye serene Is dearer to my Lecture bosom 9 far Than all the trappings of a queen تنس ق 85 SeamOOn

87 Translation of Short Stories Learning Outcomes By the end of this lecture, you should be able to 1. show understanding of the concept of short story translation. 2. translate certain types of short stories 1. What is a short Story? Short stories are conventionally considered as independent core literary genres with their own typical literary features. لظض لظ ١ س طؼظز طم ١ ي ٠ خ ظم ش ' ح خ ذ حأل حع حألىر ١ ش ' غ هظخثظ خ حألىر ١ ش ح ؿ ١ ش. A short story is a narrative, either true or fictitious, in prose or verse. It is a fictitious tale, shorter and less elaborate than a novel. لظش لظ ١ س " ح ٠ ش ا خ طل ١ لش أ ه ١ خ ١ ش ح ح ٠ ش. ف ح ؼ أ ف لظ ١ يس. ا خ كىخ ٠ ش ه ١ خ ١ ش ألظ أل ػؼخ Such narratives or tales are considered as a branch of literature. ؼ ح ح ٠ خص أ ح مظض طؼظز وف ع حألىد. A short story is a narration of incidents or events, a report of the facts concerning a matter in questions. ح مظش ح مظ ١ س ػزخ س ػ ى ح ل حىع أ حألكيحع طم ٠ لمخثك ح ظؼ مش ف ؤ ش حأل ج ش. It has a plot or succession of incidents or events. It could be a lie, a fabrication, a history or a story of something happened in the past. خ كزىش أ خلشش ح ل حىع أ حألكيحع. لي ٠ ى و د حفظ حء طخ ٠ و ١ ش أ لظش ش ١ ت خ كيع ف ح خػ. Typical features of a literary short story text include the following: مم زات نموذج ة لنص القصة القص رة االدب شتمل ما ل : They have a written base-form, though they may also be spoken. لد ها شكل قاعدي مكتوب base-form, a written وتكون محك ة< حكى ان It has high social prestige. تنس ق 86 SeamOOn

88 لها مكانة اجتماع ة عال ة They fulfill an effective/aesthetic rather transactional or informational function, aiming to provoke emotions and/or entertain rather than influence or inform; تإدي فاعل ة وجمال ة an effective/aesthetic بدال من وظ فة اعالم ة او معامالت,, بدال من التاث ر او االبالغ They have no real-world value- i.e. they are judged as fictional, whether fact-based or not, أ خ ١ ض خ أ ل ١ ش ف ح ؼخ ح لم ١ م value- real-world --أ أ كى خ وو ١ خي حء وخ ح خ خ كم ١ م ح ال. They feature words, images, etc.., with ambiguous and/or indeterminable meanings; ب و بد ١ ضح ط س ئ خ. غ غ ع رؼزس رؾذ ٠ ذ ا ؼب. القصة مكتوبة باخر المحاضرة Example Read the following example and identify the main features of a short story in it. The Little Snowman Once upon a time in the far lands of Mount Everest, there lived a poor woodcutter named Fred. He lived all alone in a wooden house with no pipes and electricity. He loved making snowmen in the winter although he was not very good. One day, Fred made a little snowman. He named it Tomba. It was a dear little snowman with a hat and a scarf. It also had some cute buttons and beautiful eyes. But then, a terrible thing happened. Tomba s body fell off! The woodcutter picked up Tomba s body and chucked him up across the mountain. The next day, Fred woke up by a startling knock on his door then a cough. He leapt to his feet. Slowly, he opened the door. A tiny person stepped in. Surprisingly, it was Tomba! But Tomba s body was not to be seen. Good morning sir, he sniffed. But not to me. As you can see, some gentleman picked up my gorgeous body and threw it across the snow! Do you know who did it? Fred shuffled his feet nervously. He had a bad feeling that Tomba would think it was him. But you are the only man living on this mountain, Tomba went on. So it must be you! I m very sorry that I threw away your gorgeous body but now I am busy Fred roared. Tomba snivelled cowardly. Please can you help me find them? What do you think I am? Crazy! Fred thundered. Oh, I thought you would do it for one hundred wishes. Tomba squeaked. Well ok. Fred answered wickedly. He was planning that he helps this snowman, get his hundred wishes and Kill the snowman! They set off down the mountain. It was a long, long, long way down. Suddenly, a snowy owl flew past Fred and Tomba and began to squawk. RUMBLE, BOOM, BOOM! The mountain bellowed. Then it started to shake. It was an avalanche! The snow pushed Fred, (who was holding Tomba s head) to his feet and blew him down the mountain. Finally, the avalanche stopped. Fred looked down. There was the bottom of the mountain. Mount Everest is high! puffed Tomba who was blowing madly like a rhino. Then Fred looked more carefully. He saw a pair of buttons, then a scarf and a lump of snow. Tomba s body was found! Here s your body, Tomba. said Fred grimly. Tomba bounced happily around him as he attached them on him. Can I have my one hundred wishes now, please? snarled Fred viciously. Well, no! said Tomba, laughing like a maniac. Fred lunged at him but Tomba was too quick. He had disappeared in a puff of smoke. That magic snowman, grumbled Fred, struggling to get back up the mountain. It certainly wasn t his best day! THE END! Mustafa A Halimah (2012) تنس ق 87 SeamOOn

89 2.Translation of short stories When translating a short story, as a translator, you have to make first a crude handwritten draft that you never refer to again. ػ ي ط ؿ ش لظش لظ ١ س و ظ ؿ ا ال اػ ه غ دح ا ١ خ ىز ثخ ثخؾ ا ١ ذ ا ال رؼ د ا ١ ب شح اخش. This is a necessary stage, the stage of writing the reading in some palpable form. ك ش ػ ٠ ش ك ش ل حءس وظخرش ف شى خ حػق. Writing mechanically for page after page fixes the reading of each individual sentence; it shows up the problem points, the deficiencies in your understanding and the places where more work is needed. وظخرش آ ١ ش ظفلش رؼي طفلش اطالكخص ف ح م حءس ى ؿ ش ر ف ى خ أ خ طظ مخؽ حال خو ح ظ طلظخؽ ػ حوؼ. ح شى ش خن ح مض ف ف ه The next stage, which is as translation proper, involves writing and rewriting, crafting sentences, using dictionaries, thesauruses and encyclopaedias. By the time you have finished a translation, you may have several drafts including the initial handwritten scrawl. Significantly, though, you never have more than one draft or two exceptionally, when writing other types of text. ح ك ش حالط ١ ش وظ ؿ ش الث ش رش ا ىزبثخ ئػبدح ا ىزبثخ ط ١ بغخ ا غ اعزخذا ا م ا ١ ظ ا فشداد ا ع ػبد. ػ ي ح ظ خثه ط ؿ ش لي ٠ ى ي ٠ ه ػيس ىحص طلظ ه رشخص زيث ١ ش روؾ ح ١ ي. ا كي وز ١ غ ه ٠ ى ي ٠ ه حوؼ ى حكي ح حػ ظ ١ رشى ح ظؼ خث ػ ي وظخرش ح حع حه ض. You rewrite so many times in your head before sitting down at the computer that all you usually do is to make minor changes, certainly minor comparison to the number of drafts involved in translation. اػبدح وزبثزه ؼذح شاد ف ساعه )ث خ ١ زه (لز ح ػ ح ى ز ١ ط و خ ػ ١ ه فؼ ش ػخىطخ طغ ١ حص ر ١ طش,, رخ ظخو ١ ي ح مخ ش ح ز ١ طش ؼيى ح ىحص ح شظ وش ف ح ظ ؿ ش Translating involves consciously and deliberately working through several draft stages. طش ح ظ ؿ ش رخ ظزخ ى ح ش ح ؼ هالي طؼيى حك ح ى تنس ق 88 SeamOOn

90 Example Now how would you translate the following excerpt taken from a short story called The Little Snowman and written by an eight year old child called Mustafa A Halimah (2012): ح ٢ و ١ ف ٠ ى ه ط ؿ ش ح مظطف ح ظخ حه ػ خ حص ٠ ظطف ك ١ ش:( 2012 ) ح ؼ ح زخ غ ؽف وظز خ ل ١ ال" "ػ ؾ ط لظ ١ س لظش Once upon a time in the far lands of Mount Everest, there lived a poor woodcutter named Fred. He lived all alone in a wooden house with no pipes and electricity. He loved making snowmen in the winter although he was not very good. So would you translate the above as A, B, C, D, or something else? ف أحد األ ام على جبل افرست عاش قط اع خشب اسمه فرد. عاش لوحده ف ب ت من خشب بدون أناب ب وكهرباء..A أحب صناعة رجل الثلج ف فصل الشتاء بالرؼم لم كن ج د جدا. ف قد م الزمان ف أراض جبل افرست كان ع ش قط اع خشب اسمه فر د. عاش لوحده ف ب ت خشب ال وجد ف ه.B كهرباء. كان حب صناعة رجل الثلج ف فصل الشتاء بالرؼم انه لم كن ج دا ف صناعته. ف قد م الزمان ف األراض البع دة من جبل افرست. هناك عاش قط اع خشب فق ر اسمه فر د. عاش لوحده ف ب ت.C خشب بدون أناب ب وكهرباء. كان حب أن صنع رجال الثلج ف الشتاء و لم كن ج دا ف ذلك. حكى أن حط ابا فق را اسمه فر د عاش وح دا ف كوخ خشب بدون ماء أو كهرباء ف أرض بع دة على جبل إفرست..D أحب صنع رجال الثلج ف فصل الشتاء مع أنه لم كن ماهرا بذلك. In addition to linguistic and cultural translation of the story content and form, the translator needs to work on the translation of Style normally adopted in storytelling, whether it is archaic, dialectical or idiosyncratic to the writer, for example- to encode their attitude towards the text content, to mark out different voices. رخإلػخفش ا ح ظ ؿ ش ح غ ٠ ش ح ؼمخف ١ ش ؼ شى ح مظش ٠ لظخؽ ح ظ ؿ ا ح ؼ ػ ط ؿ ش حال د ح ؼظ ي ػخىس ف لض ح مظش حء وخ ض لي ٠ ش أ ؿي ١ ش أ هظ ط ١ ش ىخطذ ؼال - ظ ١ لف طخ لظ ح ض الشخ س ه ؽ أط حص وظ فش. تنس ق 89 SeamOOn

91 Part of the literary translator s conventions is that the translator speaks for the source writer, and hence has no independent stylistic voice. ؿ ء حالطفخل ١ خص حألىر ١ ش ظ ؿ أ ح ظ ؿ ' ٠ زؾذس ػ ' ا ىبرت ا ظذس رخ ظخ لي ال ٠ عذ اع ة ط ر غزم Some scholars, however, advocate that the translator s voice should be made distinctly present in the translated text, while others have argued that individual translators inevitably leave their own stylistic imprint on the text they produce. غ ه رؼغ ح ؼ خء ح ئى ٠ أ ح ظ ص ٠ ذ ح ٠ مي ر ػ ف ف ح ض ح ظ ؿ ف ك ١ لخي آه أ شوظ ١ ش ح ظ ؿ ١ كظ خ طظ ن رظ خط خ حأل ر ١ ش ف ح ض ح ظؾ. For example, let s now look at the following excerpt taken from AlNaimi s Arabic short story Cut & Chat and see how it has been translated by different translators each of which tried to achieve equivalence in English, communicative purpose of the excerpt in a style that signals that this is a translation of an Arabic short story written by an Arabic writer living in a certain ecological, social, cultural setting. ػ ز ١ ح ؼخي ىػ خ ح ٢ ظ ف ح مظطف ح ظخ ؤه ؼ ١ مظش لظ ١ س ػ ر ١ ش ضل' ح لخىػش ' ح ظ و ١ ف ط ؿ ض ر ظ ؿ ١ وظ ف ١ و ؼ ظلم ١ ك ح ظىخفئ ف حإل ٠ ١ ش ح غ ع ح ظ حط مظطفخص ف ح د ح ٠ ش ١ ا أ ط ؿ ش ح ؼ ر ١ ش لظش لظ ١ س وظز خ وخطذ ػ ر ٠ ؼ ١ ش ف ػغ طغ ١ حص ر ١ ج ١ ش ؼ ١ ش حؿظ خػ ١ ش ػمخف ١ ش. Example "فكر ف طقوس الحالقة الممتعة المتبعة ف بلده من سماع حكا ات الحالق والؽوص ببحر المرا ا الالمتناه, وتتال تلك الحكا ات وترد د عبارات الحترام والتقد ر المختلفة للزبابن ورشفات كإوس الشاي الرق قة المذهبة الحواؾ وقراءة المجالت القد مة المبعثرة على طاولة متما لة تتوسط المكان وعذوبة اللحظة الت ح ن ف ها دور الزبون ف الحالقة. بعد التؤمل ف كل ذلك قرر الخروج من الب ت وهو رمق ساعته بنظرة سر عة. كانت عقاربها تش ر إلى الثالثة والنصؾ ظهرا. A. Then he remembered the interesting ritual followed by barber shops in his country like listening to tales which are told by the barbers who respectfully repeated stories they had heard from other customers, as those who were present sip of some tea glasses which are decorated with gold edges. And reading some old magazines which are put on a round table in the middle of the room. What a fantastic feeling it is when the next customer's turn comes! After thinking about all these wonderful memories, he decided تنس ق 90 SeamOOn

92 to go to the barber shop as he looked quickly at his watch that indicated that the time >> ترجمة حرف ة pm. was 3:30 B. He then thought of the interesting barbering rituals in his country, like hearing the barber s stories and repeating those respect and appreciation phrases to the costumers, drinking sips of tea from those fine golden edged tea-cups, reading the outdated magazines scattered on that unstable table on the middle of the place, and what an excitement when your turn comes up!. After having all those flash backs he decided that he s leaving the house to the barber s shop while the clock was ticking at half past three. C. Suddenly, he remembered about the fascinating rituals done by barbers in their barber shops all over his country, especially like telling stories for their customers who respectfully repeated them but in their own words. The customers would sip some rich tea in glasses with golden edges, while reading posh magazines which are always on a table in the centre of the shop. It was a lovely thought about when the next customer s turn finally comes! After thinking about theses amazing thoughts, he decided that the best thing to do was to visit the barber s shop. He then set off after looking at his watch that read 3:30pm. الترجمة الصح حة > C 3.Translation of Religious Short Stories What is meant by religious short stories here is any classical literary story that has an Islamic religious theme. خ ح مظ ى رخ مظض ح مظ ١ س ح ي ١ ٠ ش خ أ ح مظش حألىر ١ ش ح ىال ١ ى ١ ش ح ظ طلظ ش ى ١ ٠ ش ا ال ١ ش. This ranges from tales told by Prophet Muhammad (p.b.b.u.h) to stories written by 21 st centuries writers with Islamic themes; like stories about the lives of the Prophet s companions (may Allah be pleased with them), stories narrated by our predecessors in our Arabic and Islamic literature and so on. ٠ ظ ح ف ح كىخ ٠ خص ح خ ح ز ل ي صلى هللا عل ة وسلم حإل ال ١ ش ؼ لظض ػ ك ١ خس ح ظلخرش ( ػ هللا ( ه... ا ح مظض ح ظ وظز خ ح ىظخد رخ م st غ 21 حػ ١ ؼ لظض ٠ ض رخ الف خ ف أىر خ ح ؼ ر حإل ال خ ح تنس ق 91 SeamOOn

93 Translators of such literary genre, the genre of religious short stories into English need to be not only creative writers but also have indivisible dual role as both writer and interpreter which help them to offer the source text with some kind of creative impetus to engage with the original text. ح ظ ؿ ١ ح ح ع حألىر ط ؿ ش ح ح ع مظض ح مظ ١ س ح ي ١ ٠ ش ا ح غش حإل ى ٠ ١ ش ال طلظخؽ فمؾ ح وظخرخص حريحػ ١ ش ى ح ٠ ؼخ غ ١ ش لبث خ زغضئخ د سص بئ وىال ب ا ىبرت ا فغش ح ظ ط خػي ػ طمي ٠ ح ض ح ظي غ رؼغ ع ح ؼ حء حإلريحػ ١ ي ؾ غ ح ض حألط. Unlike the translator of a contemporary work, often (falsely) perceived to be a mere mediator between original author and target reader, the translator of a classic text can be seen as an innovator, making their own mark on an already well-known work, remaining it for a new generation, a new audience. هالفخ ظ ؿ ح ؼ ح ؼخط وؼ ١ ح خ ) ح( ٠ ظ ا ١ ػ أ ى ١ ؾ ح ظ يف ظ ؿ ح ض ح ىال ١ ى ٠ ى أ ٠ ؼظز زظيػخ خ ٠ ؼ رظ خط خ زمخ ح ظزم ١ ش ١ ؿي ٠ ي ؿ ؿي ٠ ي. ر ١ ح ئ ف حألط ح مخ ة ح وخطش ػ أػ خي ؼ فش It is of vital importance to mention here that with regard to translating tales told by the Prophet (p.b.b.u.h) whether via his own Hadeeth Sahih, his companions or somebody else, the translator is not allowed to be innovative in terms of content because it is not allowed in our religion. Read the following: ر ح طش طل ١ ق أ خ حص أ ١ ش ظ ٠ ش ظش ١ خ أ ف ١ خ ٠ ظؼ ك رظ ؿ ش كىخ ٠ خص ح خ ح ز صلى هللا عل ة وسلم ا خ. حل أ خ أطلخر أ شوض آه ح ظ ؿ ال ٠ ق الريحع ف ظط لخص ح ض ال غ ١ ف ف ى ٠ خ حالكخى ٠ غ : ٠ ع ا ب ش ة ع ن قا ل ت: ق ال ر س و ل هللا : "م ن أ ح د ث ف أ م ر ن ا ه ذ ا م ا ل س ف ه ف ه و ر د". (ر و اه الش خ ان) تنس ق 92 SeamOOn

94 Example Now let s look at the following part of Hadeeth reported by Ibn Omar in which the Prophet (p.b.b.u.h) tells us the story of the people of the Cave and try to analyse how Dr Halimah (2012) tried to render not only the content but also the stylistic features of the Hadeeth which indicate an idiosyncratic style of the Prophet Muhammad (p.b..b.u.h): ح ٢ ىػ خ ظ ا ح ء ح ظخ ح لي ٠ غ حر ػ ح ٠ وز خ ح ز ط هللا ػ ١ ش لظش "أ ح ى ف" ف لخ ش ظل ١ و ١ ف كخ ي ح يوظ ك ١ ش )2012( ظمي ٠ ح لظ ١ فمؾ ر أ ٠ ؼخ ح ١ حص حال ر ١ ش لي ٠ غ ح ظ طش ١ ا أال د ح فم ز ل ي ط هللا ػ ١ ش : ع ن اب ن ع م ر ع ن النب ق ال : "خ ر ج ث الث ة م ش و ن ف ؤ ص اب ه م ال م ط ر ف د خ ل وا ف ؼ ا ر ف ج ب ل ف ان ح ط ت ع ل ه م ص خ ر ة ق ا ل: ف ق ال ب ع ض ه م ل ب ع ض: اد ع وا هللا ب ؤ ف ض ل ع م ل ع م ل ت م و ه. ف ق ال أ ح د ه م: الله م إ ن ك ا ن ل أ ب و ا ن ش خ ا ن ك ب ر ان ف ك ن ت أ خ ر ج ف ؤ ر ع ى ث م أ ج ء ف ؤ ح ل ب ف ؤ ج ء ب ال ح الب ف آت ب ه أ ب و ي ف ش ر ب ان ث م أ س ق الص ب ة و أ ه ل و ام ر أ ت ف اح ت ب س ت ل ل ة ف ج ب ت ف إ ذ ا ه م ا ن ا ب م ان ق ا ل : ف ك ر ه ت أ ن أوق ظ ه م ا و الص ب ة ت ض اؼ و ن ع ن د ر ج ل ف ل م ز ل ذ ل ك د أ ب و د أ ب ه م ا ح تى ط ل ع ال ف ج ر الله م إ ن ك ن ت ت ع ل م أ ن ف ع ل ت ذ ل ك اب ت ؽ ا ء و ج ه ك ف اف ر ج ع نا ف ر ج ة ن ر ى م ن ه ا السم ا ء ق ا ل: ف ف ر ج ع ن ه م. (ر و اه الش خ ان) Ibn Omar reported that the Prophet (peace and blessings of Allah be upon him) said: "Once upon a time three men went out for a walk. On the way they were caught up by heavy rain. After they had sought shelter in a cave in a mountain, a huge rock fell down and blocked the entrance. Inside the cave, they said to one another: "Let's call upon Allah with the best of our deeds." One of them then said: "Oh Allah, I had two elderly parents. I used to set out, graze the herd, come back, milk the herd, bring the milk home and offer it to my parents first, and then let my children and wife drink. However, one evening I was held up and came back home late finding my parents sound asleep. As I hated to wake them, I stayed up all night along with my children crying at my feet out of hunger- waiting for them to wake up by themselves. Oh Allah, if you know that I had done this just to please You, please make the rock move a little so that we can see the sky." As a result, the rock miraculously moved a little. (Bukhari & Muslim) تنس ق 93 SeamOOn

95 L9 Practical A Translate the following short story into Arabic. Use your creative ability in your translation. The Little Snowman Once upon a time in the far lands of Mount Everest, there lived a poor woodcutter named Fred. He lived all alone in a wooden house with no pipes and electricity. He loved making snowmen in the winter although he was not very good. حكى أن ح طابا فق را اسمه فر د عاش وح دا ف كوخ خشب بدون ماء أو كهرباء ف أرض بع دة على جبل إفرست. صنع رجال الثلج ف فصل الشتاء مع أنه لم كن ماهرا بذلك أحب One day, Fred made a little snowman. He named it Tomba. It was a dear little snowman with a hat and a scarf. It also had some cute buttons and beautiful eyes. But then, a terrible thing happened. Tomba s body fell off! The woodcutter picked up Tomba s body and chucked him up across the mountain. The next day, Fred woke up by a startling knock on his door then a cough. He leapt to his feet. Slowly, he opened the door. A tiny person stepped in. Surprisingly, it was Tomba! But Tomba s body was not to be seen. Good morning sir, he sniffed. But not to me. As you can see, some gentleman picked up my gorgeous body and threw it across the snow! Do you know who did it? Fred shuffled his feet nervously. He had a bad feeling that Tomba would think it was him. But you are the only man living on this mountain, Tomba went on. So it must be you! I m very sorry that I threw away your gorgeous body but now I am busy Fred roared. Tomba snivelled cowardly. Please can you help me find them? What do you think I am? Crazy! Fred thundered. Oh, I thought you would do it for one hundred wishes. Tomba squeaked. Well ok. Fred answered wickedly. He was planning that he helps this snowman, get his hundred wishes and Kill the snowman! They set off down the mountain. It was a long, long, long way down. Suddenly, an eagle flew past Fred and Tomba and began to squawk. RUMBLE, BOOM, BOOM! The mountain bellowed. Then it started to shake. It was an avalanche! The تنس ق 94 SeamOOn

96 snow pushed Fred, *who was holding Tomba s head+ to his feet and blew him down the mountain. Finally, the avalanche stopped. Fred looked down. There was the bottom of the mountain. Mount Everest is high! puffed Tomba who was blowing madly like a rhino. Then Fred looked more carefully. He saw a pair of buttons, then a scarf and a lump of snow. Tomba s body was found! Here s your body, Tomba. said Fred grimly. Tomba bounced happily around him as he attached them on him. Can I have my one hundred wishes now please? snarled Fred viciously. Well, no! said Tomba, laughing like a maniac. Fred lunged at him but Tomba was too quick. He had disappeared in a puff of smoke. That magic snowman, grumbled Fred, struggling to get back up the mountain. It certainly wasn t his best day! THE END! Mustafa A Halimah (2012) ابن الدكتور > L9 Practical B Translate the following into English. Use your creative ability in your translation. (ق ص ة أ ص ح ا ب ال غ ا ر الث الث ة) ع ن اب ن ع م ر ع ن النب r ق ال : "خ ر ج ث الث ة م ش و ن ف ؤ ص اب ه م ال م ط ر ف د خ ل وا ف ؼ ا ر ف ج ب ل ف ان ح ط ت ع ل ه م ص خ ر ة ق ا ل: ف ق ال ب ع ض ه م ل ب ع ض: اد ع وا هللا ب ؤ ف ض ل ع م ل ع م ل ت م و ه. ف ق ال أ ح د ه م: الله م إ ن ك ا ن ل أ ب و ا ن ش خ ا ن ك ب ر ان ف ك ن ت أ خ ر ج ف ؤ ر ع ى ث م أ ج ء ف ؤ ح ل ب ف ؤ ج ء ب ال ح الب ف آت ب ه أ ب و ي ف ش ر ب ان ث م أ س ق الص ب ة و أ ه ل و ام ر أ ت ف اح ت ب س ت ل ل ة ف ج ب ت ف إ ذ ا ه م ا ن ا ب م ان ق ا ل : ف ك ر ه ت أ ن أوق ظ ه م ا و الص ب ة ت ض اؼ و ن ع ن د ر ج ل ف ل م ز ل ذ ل ك د أ ب و د أ ب ه م ا ح تى ط ل ع ال ف ج ر الله م إ ن ك ن ت ت ع ل م أ ن ف ع ل ت ذ ل ك اب تؽ ا ء و ج ه ك ف اف ر ج ع نا ف ر ج ة ن ر ى م ن ه ا السم ا ء ق ا ل: ف ف ر ج ع ن ه م. تنس ق 95 SeamOOn

97 هللا و ق ال اآلخ ر: الله م إ ن ك ن ت ت ع ل م أ ن ك ن ت أ ح ب ام ر أ ة م ن ب ن ا ت ع م ك ؤ ش د م ا ح ب الرج ل ال نس اء ف ق ا ل ت: ال ت ن ا ل ذ ل ك م ن ه ا ح تى ت ع ط ه ا م اب ة د ن ار ف س ع ت ف ه ا ح تى ج م ع ت ه ا ف ل ما ق ع د ت ب ن ر ج ل ه ا ق ال ت: اتق هللا و ال ت ف ض ال خ ات م إ ال ب ح ق ه ف ق م ت و ت ر ك ت ه ا ف إ ن كن ت ت ع ل م أ ن ف ع ل ت ذ ل ك اب ت ؽ ا ء و ج ه ك ف ا فر ج ع نا ف ر ج ة ق ا ل: ف ف ر ج ع ن ه م الثل ث ن. و ق ال اآلخ ر: الله م إ ن ك ن ت ت ع ل م أ ن اس ت ؤ ج ر ت أ ج ر ا ب ف ر ق م ن ذ ر ة ف ؤ ع ط ت ه و أ ب ى ذ ا ك أ ن ؤ خ ذ ف ع م د ت إ ل ى ذ ل ك الف ر ق ف ز ر ع ت ه ح تى اش ت ر ت م ن ه ب ق ر ا و ر ا ع ه ا ث م ج ا ء ف ق ا ل: ا ع ب د أ ع ط ن ح ق ف ق ل ت: ان ط ل ق إ ل ى ت ل ك ال ب ق ر و ر اع ه ا ف إ نه ا ل ك ف ق ا ل: أ ت س ت ه ز ئ ب ف ق ل ت: م ا أ س ت ه ز ئ ب ك و ل ك نه ا ل ك الله م إ ن ك ن ت ت ع ل م أ ن ف ع ل ت ذ ل ك اب ت ؽ ا ء و ج ه ك ف اف ر ج ع نا ف ك ش ؾ ع ن ه م". (ر و اه الش خ ان) Lecture 10 Translation of Drama Learning Outcomes By the end of this lecture, you should be able to 1. show understanding of the concept of drama translation. 2. translate certain types of plays. 1. What is drama? Drama is the specific mode of fiction represented in performance. The term comes from a Greek word meaning "action", which is derived from "to do" or "to act" (classical Greek: draō). The enactment of drama in theatre, performed by actors on a stage before an audience, presupposes collaborative modes of production and a collective form of reception. ح ي ح خ ػغ ؼ ١ و ١ خي ؼ ف حىحء ط ؼ ١. ح ظط ق ٠ ؤط ؼ و ش ٠ خ ١ ش "ػ " action ح ظ ظ يس " م ١ خ ر " to do أ " ؼact to " ح ١ خ ١ ش ح ىال ١ ى ١ ش draō ط ؼ ١ ح ي ح خ ف ح ف ٠ م ر خ حح ؼ ١ ػ ح ف أ خ ؿ ٠ فظ ع زمخ ؿ ى أ خ ١ ذ طؼخ ١ ش إل ظخؽ شى ؿ خػ ال ظمزخي. The structure of dramatic texts, unlike other forms of literature, is directly influenced by this collaborative production and collective reception. تنس ق 96 SeamOOn

98 The modern tragedy Hamlet (1601) by Shakespeare is an example of the masterpieces of the art of drama. ح ز خء ظ ص ح ي ح ١ ش ال ٠ شز حالشىخي حاله الىد ٠ ظؤػ زخش س ر ح حإل ظخؽ ح ظؼخ حال ظمزخي ح خػ. )ح شخ ي ٠ (ح ظ ؿ ١ ي ٠ خ ح لي ٠ ؼش خ ض )1601( ر ح طش شى ز ١ ؼخي حثغ ف ح ي ح خ. The two masks associated with drama represent the traditional generic division between comedy and tragedy. They are symbols of the ancient Greek Muses, Thalia and Melpomene. Thalia was the Muse of comedy (the laughing face), while Melpomene was the Muse of tragedy (the weeping face). ل خػ ١ حلظ رخ ي ح خ ط ؼ طمخ ١ ي ػخ ش طم ر ١ ح ى ١ ي ٠ خ ح ؤ خس. و ١ ي ٠ خ,, ؿ ٠ ؼله( Thalia.Thalia and Melpomene ",, ح ؿ ح زخو لي ٠ ش Muses" Greek ر ١ خ Melpomene ؤ خس The use of "drama" in the narrow sense to designate a specific type of play dates from the 19th century. Drama in this sense refers to a play that is neither a comedy nor a tragedy it is this narrow sense that the film and television industry and film studies adopted to describe "drama" as a genre within their respective media. ح ظويح " ك ١ ش" رخ ؼ ح ؼ ١ ك طؼ ١١ ع ؼ ١ ف ٠ ؼ ى ا ح م ح ظخ غ ػش. ح ي ح خ ف ح ح ؼ ٠ ش ١ ا ك ١ ش ١ و ١ ي ٠ ش أ ؤ خ ٠ ش هذا هو بالمعنى الض ق أن صناعة الس نما والتلفز ون و دراسات الس نما اعتمدت لوصؾ "الدراما "كنوع داخل كل منها وسابل اإلعالم. Drama is often combined with music and dance: the drama in opera is generally sung throughout; musicals generally include both spoken dialogue and songs; غخ زخ خ ٠ ظ ح غ ر ١ ح ي ح خ غ ح ١ م ح لض: ػ خ طش ح ل ح ح ط لش حألغخ. ح ي ح خ ف أ ر ح ػ خ طغ ف ف و ىخ ح ١ م There are many forms of Drama. Here is a non-exhaustive list with a simple explanation of each: ٠ ؿي ح ؼي ٠ ي أشىخي ح ي ح خ. خ لخث ش غ ١ كظ ٠ ش غ ش ف ر ١ ؾ ى خ: تنس ق 97 SeamOOn

99 1. Improvisation / Let's Pretend: A scene is set, either by the teacher or the children, and then with little or no time to prepare a script the students perform before the class. حال طخي : Improvisation ٠ ظ طؼ ١١ ش ي أ خ ػ ؽ ٠ ك ح ؼ أ حألؽفخي ػ طلؼ ١ ح م ١ ح لض ال خ ح طالد ح ض ح ك لز ح ىال. > خف ١ طلؼ ١ ١ خ ٠ 2. Role Plays: Students are given a particular role in a scripted play. After rehearsal the play is performed for the class, school or parents. ؼذ حالى ح : Role Plays ٠ ظ اػطخء ح طالد ى ح هخطخ ف ح ض ح ك. رؼي ر فش ح ي ش أ ح ٢ رخء حأل خص. ح خ ظف ح 3. Mime: Children use only facial expressions and body language to pass on a message script to the rest of the class. : ٠ ظوي المقلد Mime ح ىال. حألؽفخي طؼخر ١ ح ؿ غش ح ي فمؾ ظ ٠ خ ش ػ ض ك ا رم ١ ش ح ظف ح 4. Masked Drama: The main props are masks. Children then feel less inhibited to perform and overact while participating in this form of drama. Children are given specific parts to play with a formal script. Using only their voices they must create the full picture for the rest of the class. Interpreting content and expressing it using only the voice. ح ف ح م غ : Masked Drama ح يػخث ح ث ١ ١ ش أل ؼش. ػ أ حألؽفخي ٠ شؼ رخػخلش حل ال خ طؼي ح ي ح ط د ػ ي خ طشخ ن ف ح ح ع ح ي ح خ. ٠ ؼط حألؽفخي أؿ حء ؼ ١ ش ك ١ ش غ ض ك ح خ.ح ظويح فمؾ أط ط ٠ ذ ا شخء ح ظ س ح ىخ ش زم ١ ش ح ىال. ط ؿ ش ح لظ ح ظؼز ١ ػ ه رخ ظويح ط ص فمؾ. 5. Puppet Plays: Children use puppets to say and do things that they may feel too inhibited to say or do themselves. ك ١ خص ح ؼ حث ح ح ي : Puppet Plays ح ظويح حألؽفخي ى ظم ي طفؼ حألش ١ خء ح ظ لي طشؼ ح ٠ ؼخ م ي أ فؼ ف ش. أػخلض تنس ق 98 SeamOOn

100 2.Translation of Drama The main problem that theatre translation scholars, and practitioners, are confronted with is the definition, and subsequent position, of the dramatic text, in other words, whether the play is primarily a literary genre or textual sign of the larger theatrical system (see, for example, Bassnett 1998b, 2000). ا شى خ ا شئ ١ غ ١ خ ا ز ر اع ػ بء رشع خ ا غشػ ا بسع ١ اع ب غ ح ظؼ ٠ ف ح ػغ ح ظخ ض ح ي ح رؼزخ س أه حء ح ف ف ح مخ حأل ي ع أىر أ ١ خق ظ 'ػال ش' ح ظخ ح ك حألوز )ح ظ ػ ز ١ ح ؼخي رخ ض 2000( Things are further complicated by the dual tradition of translating plays for the page and the stage (see Bassnett and Lefevre 1990). This dual tradition is linked to opposing definitions of drama preoccupied with theoretical problems surrounding what a playtext actually are- literary text and/or blueprint for performance and how its alleged performance level is textually contained. حش ١ خء حػخفض طؼم ١ يح ر زذ ح ظم ١ ي ح ى ؽ ظ ؿ ش ح ك ١ خص ظفلش ح ك ش )ح ظ رخ ض ف ١ ف ػخ 1990(. ح ح ظم ١ ي ح ى ؽ ح طزؾ ػى طؼخ ٠ ف ح شغخي ح ي ح خ رخ شخو ح ظ ٠ ش ح ل ١ طش رخ ظ ص ح ك ١ ش رخ ؼزؾ - ح ض حألىر /أ وططخ ألىحء و ١ ف ١ ش حط خػ خ ظ ١ خ ظ حىحث خ ح ػ. These diverse approaches to the translation of plays also seem to reflect a historical reality and the social need for the dramatic text to be studied and recorded on the page, in a book form, while, at the same time, fulfilling its performance virtuality on stage. ح ط ق ح ظ ػش ظ ؿ ش ك ١ خص ٠ زي أ ٠ ؼخ أ طؼى حلؼش طخ ٠ و ١ ش حؿظ خػ ١ ش رلخؿش ي ح ش ض ط ف ح ظفلش ف شى وظخد ر ١ خ ف ح لض ف ح فخء رؤىحث خ 'virtuality' ػ هشزش ح ف. But let us consider this now widely accepted dual tradition, and the ensuing relationship between (translated) playtext and performance, in the light of what Johnston sees as the stage/performance dimension of the play, a dimension which makes it acting text and a source of creative process. ى ىػ خ فى ح ٢ ح ظمز ح ح غ ح ح ظم ١ ي ح ى ؽ ٠ ح ؼاللش ر ١ ط ؿ ش ظ ص ك ١ ش حالىحء ف ػ ء خ ٠ ؿ ظ ووشزش ح ف ل ١ خ حالىحء ف ل ١ خ خ ٠ ؼ ٠ ؼ ح ض ظي ح غ ع حإلريحػ. تنس ق 99 SeamOOn

101 He observes that writing for performance signifies that the translator is, in this sense, a writer and at every stage of the production process must function as a writer, and that working within this theatrical context, one can only talk of a re-creation of the already creative stage language of the source text. ٠ الكع أ 'وظخرش حألىحء ٠ يي ػ أ ح ظ ؿ ف ح ح ؼ ف وخطذ ف و ك ش حك ا ظخؽ ػ ١ ش ٠ ذ أ طؼ وىخطذ أ ح ؼ ػ ح ح ١ خق ح ك حكي ٠ ى أ ظليع فمؾ ' re-creation اعادة خلق ' فؼ حإلريحػ ' ك ش ح غش ' ض ح ظي. 3. Translating Shakespeare as central text Quantitatively, Shakespeare is considered to be among the most widely translated writers and the most frequently performed playwrights in world literature. In qualitative terms, Shakespeare has helped shape cultural identities, ideologies and linguistics and literary repertoires across the world and the challenge of translating him has attracted leading writers, politician and many others captain of cultures. ح ىظخد ح ظ ؿ ١ ح ك ١١ ح ٠ حألوؼ ش ١ ػخ ف حألىد ح ؼخ. ح خك ١ ش ح ى ١ ش ٠ ؼظز ؾ ؼظ ف ظط لخص ػ ١ لي خػي شى ز ١ شى ح ٠ خص ح ؼمخف ١ ش حأل ٠ ي ٠ ؿ ١ خص ح غ ٠ خص ح حؿغ حألىر ١ ش ػز ح ؼخ لي طلي ط ؿ ش ح ىظخد ل ١ خى ١ خ ح ؼي ٠ ي ح ٢ ه ٠ ل حى ح ؼمخفخص. The range of technical problems that the translator of Shakespeare may be faced with is quite formidable, including as they do the many textual cruxes, Shakespeare s obscure cultural and intertextual allusions, his archaisms and daring neologisms, his contrastive use of words of Anglo-Saxon and Romance origin, his use of homely images, of mixed metaphors and of iterative imagery, the repartition of thematic key words, the personification, Shakespeare s puns, ambiguities and malapropism, his lay withy-and th- forms of address, his elliptical grammar and general compactness of expression and the musicality of his verse, the presence of performance-oriented theatrical signs inscribed in the text, the embedding of dialects and foreign language, and so on. ػش ح شخو ح ظم ١ ش ح ظ لي ط حؿ ح ظ ؿ شى ز ١ خث ش ؿيح ػمخفش شى ز ١ ح غ ١ حػلش ف ح ظ ١ لخص ح ظ ١ ش, ػزخ حط ح ظؼز ٠ ١ ؿ ٠ جش,, ح ظويح ش ح ظزخ ٠ ى خص ح ٠ ١ ش ر ٠ طخ ١ ش ١ ش حالط,, ح ظويح ش ظ ر ١ ط,, ح ظؼخ حص وظ طش ح ظظ ٠ ح ظى ح,, حػخىس طم ١ تنس ق 100 SeamOOn

102 ح فخط ١ ق ح ٠ ش ى خص ح ظشز ١ خص,, غ ع ط ٠ ش شى ز ١ ح خءس ح ظويح حال فخظ,, ػؼ ح م شى ح ؼ ح,, ح ٠ خ ح ل حالوظ خ ح ؼخ ظؼز ١ ١ م حر ١ خص ح مظ ١ يس,, ؿ ى حىحء ؿ ك ١ ش. ظ ص ػ ١ خ ف ح ض, ٠ ظؼ ش غش حؿ ز ١ ش... خ ح ه. Let s immerse ourselves in the following scene of a play written by Shakespeare in the 16 th Century called Merchant of Venice, Act3, Scene3 and try appreciate some if not all the drama features mentioned above and try to translate it into Arabic as a homework for you (see Practical A below): ىػ خ غ ف ح ش ي ح ظخ ك ١ ش وظز خ شى ز ١ ف ح م ح خى ػش "طخؿ ح ز يل ١ ش" لخ ي ح مي رؼغ ا ح ٠ ى ؿ ١ غ ١ حص ح ي ح خ ح و س أػال لخ ش ط ؿ ظ ا ح غش ح ؼ ر ١ ش و حؿذ ه Act 3, Scene 3 SCENE III. Venice. A Street. Page 404 Enter SHYLOCK, SALARINO, ANTONIO, and Gaoler SHYLOCK Gaoler, look to him: tell not me of mercy; This is the fool that lent out money gratis:- Gaoler, look to him. ANTONIO Hear me yet, good Shylock. المراب : السجان ونتطلع إلى وسلم: قول ل س ل من رحمة وهذا هو األحمق الذي أقرض من دون مقابل المال:.A.- السجان والنظر إل ه. انطون و تسمعن حتى اآلن والمراب ج د شا لوك: أ ها السجان انظر إل ه ال تسؤلن الرحمة. هذا هو األحمق الذي اقترض المال بدون فوابد. أ ها السجان.B انظر إل ه نطون و: اسمعن ا شا لوك الط ب ا سجان انظر ال ه.. C شا لوك : انظر ال ه أ ها السجان وال تطلب من أن أنطون و: على رسلك ا شا لوك الط ب. أرحمه هذا الذي أقترض المال بدون مقابل. شا لوك : ا سجان انظر ال ه لن أرحمه فهذا الذي استدان المال بدون مقابل. انظر. أنطون و: لم تسمعن بعد ا.C عز زي شا لوك طبعا بكل اختبار الدكتور غ ر باالجابات والخ ارات تنس ق 101 SeamOOn

103 Example Now when translating a song, as a form of musical drama, for example, the translator needs to approach the task as a written text, for page and for stage and even for vocal translation as well. So how would you translate the following Arabic song into English? Would you translate the first part of the song below as A, B, C, D, or something else? غس ل وش ك يا قمر بالصابونة وبالحجر وينك يا قمر... غسل وشي مش ط شعرك يا قمر بالمشط الحلو انكسر وينك يا قمر... مشط شعري A. Wash your face, moon, with some soap and stone Where are you moon? I m washing my face! B. Have you washed your beautiful face my moon? Have you washed it with some soap and stone? Where are you my cheeky moon? I m washing my face! C. Wash your face, little moon! With soap and with stones. Where are you little moon? Washing my face! D. Wash your face, sweet love; With soap and stone With a hey, and a ho, Where are you sweet love? Washing my face with a hey and a ho! In addition to linguistic and cultural translation of the song content and form, the translator needs to work on the translation of style normally adopted in song writing, تنس ق 102 SeamOOn

104 whether it is archaic, dialectical or idiosyncratic to the writer, for example- to encode their attitude towards the text content, to mark out different voices. رخإلػخفش ا ح ظ ؿ ش ح غ ٠ ش ح ؼمخف ١ ش لظ حألغ ١ ش ح ؽ ٠ لظخؽ ح ظ ؿ ا ح ؼ ػ ط ؿ ش ح ؾ ح ؼظ ي ػخىس ف وظخرش حألغ ١ ش حء وخ ض لي ٠ ش أ ؿي ١ ش أ ح فم ىخطذ ػ ز ١ ح ؼخي- ظ ١ لف طخ لظ.ح ض الكظفخي رؤط حص وظ فش Furthermore, the translator has to really visualise the text and imagine how it is performed whether it is theatrical or radio musical.. ػال س ػ ه ٠ ؼط ح ظ ؿ كمخ طظ ح ض طو ١ و ١ ف أ طظ حء وخ ض ك ١ ش أ ا حػ ١ ش ١ م ١ ش L10 Practical A Translate the following into Arabic. Use your creative ability in your translation. Act 3, Scene 3 SCENE III. Venice. A Street. Page 404 Enter SHYLOCK, SALARINO, ANTONIO, and Gaoler SHYLOCK Gaoler, look to him: tell not me of mercy; This is the fool that lent out money gratis:- Gaoler, look to him. ANTONIO Hear me yet, good Shylock. تنس ق 103 SeamOOn

105 SHYLOCK I'll have my bond; speak not against my bond: I have sworn an oath that I will have my bond. Thou call'dst me dog before thou hadst a cause; But, since I am a dog, beware my fangs: The duke shall grant me justice. I do wonder, Thou naughty gaoler, that thou art so fond To come abroad with him at his request. ANTONIO I pray thee, hear me speak. SHYLOCK I'll have my bond; I will not hear thee speak: I'll have my bond; and therefore speak no more. I'll not be made a soft and dull-eyed fool, To shake the head, relent, and sigh, and yield To Christian intercessors. Follow not; I'll have no speaking: I will have my bond. Exit L10 Practical B Translate the following song into English. Use your creative ability in your translation. أؼن ة بالعام ة : ؼس ل وشك ا قمر بالصابونة وبالحجر و نك ا قمر... ؼسل وش مش ط شعرك ا قمر بالمشط الحلو انكسر و نك ا قمر... مشط شعري تنس ق 104 SeamOOn

106 Lecture 11 PRACTICAL I Learning Outcomes By the end of this lecture, you should be able to 1. to translate a variety of simple literary texts The main purpose of this lecture is to look at a variety of excerpts taken from different genres such as poetry, oration and short story, translate them and discuss the process of creativity in their translations. 1. Examples of Translating Religious Poetry? We have already discussed the translation of sacred texts in L5 and L6. We, however, would like to look at the following example from linguistic, cultural and stylistic perspectives when appropriate. When trying to translate Arabic religious poetry into English, you need to convey not only the meaning of the poem, but also the spirit, be religious, psychological, cultural and social. If you could transfer the poetic form implied in the rhyming and rhythm of the poem, you would be really a good translator. مالحظات / ترجمة الشعر تكون بشعر. كتب الشعر االنجل زي بؤب ات تفصل بفاصلة واخرها نقطة فضل ماتكون ترجمة حرف ة و مكن ان نبدع وننحرؾ عن النص االصل لكن ننقل لهم المعنى االصل لالب ات So how would you translate the following poem into English? إ ن ك ن ت حقا إنسانا هللا خال ق دن انا من ؼ ر ر ب أ و ش ك ام تأل القل ب إ مانا *********************** وح ات ك إب ن البش ر كلقا ء البح ر بالنه ر جري تدفق للبح ر سوي سوي فو ق الحج ر *********************** لن تؤخ ذ ماال ومتاعا ف القب ر ك لك قد ضاع إن طا ب العم لفال خوؾ ما خس ر عبد إن ط اع تنس ق 105 SeamOOn

107 So how would you translate the first two lines into English? Is it A, B, C, or something else? إ ن ك ن ت حقا إنسانا هللا خال ق دن انا من ؼ ر ر ب أ و ش ك ام تأل القل ب إ مانا A. God is the Creator of the World if you were really a man. Without a doubt this would fill the heart with faith. B. Allah is the Creator of the World, If you were a man, Without any suspicion Your heart should have faith in God. C. Allah is the Creator of the World, Man must say, without a shadow of doubt, I believe in God. D. Etc.. Now, how would you translate the second two lines into English? Is it A, B, C, or something else? كلقاء البحر بالنه ر وح ات ك إب ن البشر سوي سوي فوق الحجر جري تدفق للبحر *********************** A. Your life son of Adam is like the sea meeting the river. Running towards the sea to settle and settle above the seabed. B. Your life man is like meeting the river with sea Running towards the sea to join it with settlement. C. Man s life is passing away, Fast like a stream in its way, To the sea to stay. D. Etc.. تنس ق 106 SeamOOn

108 Another example, how would you translate the following poem into English? Is it A, B, C, or something else? لن تؤخ ذ ماال ومتاعا ف القبر ك لك قد ضاع ما خس ر عبد إن ط اع إن طاب العمل فال خوؾ A. You will not take with you money or goods to the grave If your work is good don t be afraid He who obeys never gets lost. B. You will take neither money no goods to the grave being lost Don t be afraid if you have done good deeds As he who obeys God will never go astray. C. Man, it s time you stopped seeking money, Just think of thy destiny, Nothing you ll take with you To the grave but few D. Etc 2. Examples of Translating a Short Story We have already discussed the translation of short story in L9. We, however, would like to look at the following example from linguistic, cultural and stylistic perspectives when appropriate. As a reminder, when translating a short story, as a translator, you have to make first a crude handwritten draft that you never refer to again. This is a necessary stage, the stage of writing the reading in some palpable form. The next stage, which is as translation proper, involves writing and rewriting, crafting sentences, using dictionaries, thesauruses and encyclopaedias. By the time you have finished a translation, you may have several drafts including the initial handwritten scrawl. Significantly, though, you never have more than one draft or two exceptionally, when writing other types of text. تنس ق 107 SeamOOn

109 In addition to linguistic and cultural translation of the story content and form, the translator needs to work on the translation of Style normally adopted in storytelling, whether it is archaic, dialectical or idiosyncratic to the writer, for example- to encode their attitude towards the text content, to mark out different voices. Example For example, let s now look at the following excerpt taken from AlNaimi s Arabic short story Cut & Chat and see how it has been translated by different translators each of which tried to achieve equivalence in English, communicative purpose of the excerpt in a style that signals that this is a translation of an Arabic short story written by an Arabic writer living in a certain ecological, social, cultural setting. فكر كث را ف أن الحالق كان ؽط ف ذلك الوقت ف نوم عم ق ؼ ر أن فكرة الذهاب كانت تلح عل ه وتؽر ه إؼراء بوظة لطفل عطش ف عز الص ؾ. A. He did not expect that the barber might be sleeping deeply at this time! But the idea of going was tempting him, as a child gives up to the temptation of tasty ice cream on a hot summer day. B. He did not think that the barber might be falling asleep, but the idea of going was persistent and tempting him like a child being tempted by an ice cream in the middle of a hot summer. C. The possibility that the barber might be sound asleep at this time of the day did not cross his mind, not once because the thought of going to the barber s was as tempting as a cold ice-cream for a child who is thirsty in the middle of a summer hot day. D. He did not think much of the possibility that the barber might be sound asleep at this time of the day. Nevertheless the thought of going to the barber was as persistent and tempting as that of the temptation of an ice cream for a thirsty child in the middle of a hot summer day. E. He did not think a lot about the possibility that most barbers would be sleeping at this time of the day. Nevertheless, he thought more and more of going to the barbers so that the temptation grew stronger just like a young child has a big temptation for an ice cream on a hot summer day. تنس ق 108 SeamOOn

110 L11 Practical A Translate the following Poem into Arabic. Use your creative ability in your translation. MUHAMMAD THE PROPHET (p.b.b.u.h) A red rose has grown up in a desert, Among fields of spine scent thorn apples, To grant a flourished life to the dead desert, To make smooth pinks out of thorn apples. * * * * * As a plank of wood to a lonely man, Groping among waves of a stormy ocean, Crying out, help! Help! Drowning is man! Help! Help! Man is in Corruption! * * * * * A shining star in the wide-clouded sky Has appeared to make a day out of a night. As a merry bird from branch to another fly To grand gaiety to children not fright. Muhammad Whom Allah taught up, The Infallible in whom we must trust, The Orphan who Allah brought up, The Truthful whose speech will last. * * * * * All his life in hardship was spent, تنس ق 109 SeamOOn

111 To give us relief through believe in Allah, To give a chance for sinners to repent, To say, there is no god but Allah. * * * * * A.M. Halimah June 79 L11 Practical B Translate the following excerpt into English. Use your creative ability in translation. لم فكر كث را ف أن الحالق كان ؽط ف ذلك الوقت ف نوم عم ق ؼ ر أن فكرة الذهاب كانت تلح عل ه وتؽر ه إؼراء بوظة لطفل عطش ف عز الص ؾ. تساءل: "هل مكن للحالق أن كون قد كسر وت رة نظامه كؤن كون تشاجر مع زوجته فترك ب ته وقصد دكانه قبل ساعة ونصؾ من موعده المعهود". هم بالوقوؾ وهو مشوش التفك ر. بدأ بجر قدم ه ألنه كان مؤخوذا بؤلوان السجادة الت زادت ف خوفه, إذ بدا له األحمر نارا متماوجة واألصفر ثعبانا تلوى واألسود موتا تربص به. تحرك مسرعا رؼم تردده ألنه كان عرؾ أنه س جد باب الدكان الموصد ف وجهه, وس رمق بابه بنظرة خاببة, وس رى خ بته تلك مخضبة على زجاج ذلك الباب, وس شعر بعذاب الراؼب بشراء بضاعة مرتبة خلؾ زجاج دكان دون أن ملك المال الالزم لشرابها عاد التساإل عود رؼبة مكبوتة: "لماذا قدم المرء على الدخول بمعارك عرؾ سلفا أنها خاسرة, كالذهاب إلى دكان الحالق ف هذه الساعة من الظه رة ". انتعل حذاءه, فتح باب شقته وانسل خارجا. بدأ هبط الساللم محص ا عدد درجاتها. عندما وصل إلى الدرجة الحاد ة والثالث ن, الحظ أنها قد تشققت وانكسرت قل ال و نأ أصابع الحد د ف داخلها نتؤت خارجا وتخ ل أن وزنه ازداد ثقال إلى حد جعلها تتهاوى فتسقط مع بق ة الدرجات عل ه. أسرع قل ال ثم تمهل بالنزول. نظر ف قاع ذاته فرأى عصفورا مرعوبا. ؼمر الضوء الساطع والهواء الحار الشارع فزاد انكماشه. تنس ق 110 SeamOOn

112 Lecture 12 PRACTICAL II Learning Outcomes By the end of this lecture, you should be able to 1. to translate a variety of simple orations The main purpose of this lecture is to look at a variety of excerpts taken from different types of orations, translate them and discuss the process of creativity in their translation. 1. Examples of Translating Religious orations? We have already discussed the translation of orations in L7. We, however, would like to look at the following example from linguistic, cultural and stylistic perspectives when appropriate. Translating orations ranges in terms of difficulty from translating simple farewell speeches of University outgoing students to the most difficult oratorical speeches of the Prophet Muhammad (p.b.b.u.h). Our main concern here is the translation of religious orations. Religious orations (non-prophetic type): as mentioned earlier, religious speech, short or long, tend to appeal to both hearts and minds, using a high stylistic approach to a wide audience of diverse classes of people in a variety of situation and settings. Let s look at the following short rhetorical speech by our great Khalifa Abu Bakr ALSidiq (may Allah be pleased with him) addressed to all people when Prophet Muhammad (p.b.b.u.h) passed away in 11H in Madinah. How would you translate an oratory like that of Abu Bakr AlSidiq into English and achieve equivalence in English, communicative purpose of his speech, in a style that signals that this is a translation of Abu Bakr AlSidiq who said in that space of time and context of the first years of Islamic widespread expansion: تنس ق 111 SeamOOn

113 Now how would you translate the following into English? Is it A, B, C, or D? فقام أبو بكر ف الناس خط با بعد أن حمد هللا وأثنى عل ه: أما بعد : " فإن من كان عبد محمدا فإن محمدا قد مات ومن كان عبد هللا فإن هللا ح ال موت." A. If you are used to worship Muhammad, Muhammad is dead, and those who worship God, God is alive and does not die." B. If you were worshiping Muhammad, Muhammad has passed away, and those who were worshiping God, God is still alive and does not die." C. Hear me out! If you were used to worship Muhammad, Muhammad is dead, and those who worship God, God is alive and does not die." D. Hear me out, people, if you used to worship Muhammad, Muhammad is dead, but if you are worshiping Allah, Allah is alive and does not die." Let s look at the following short rhetorical speech by our great Khalifa Abu Bakr ALSidiq (may Allah be pleased with him) addressed to Abu Obaida bin AlJarrah on his way to lead an army and see how we can translate it into English. Is it A, B, C, or something else? لما عزم الص د ق على بعث أب عب دة بن الجراح بج شة دعاه فودعه ثم قال له: "اسمع سماع من ر د أن فهم ما ق ل له ثم عمل بما أمر به إنك تخرج ف أشراؾ الناس وب وتات العرب وصلحاء المسلم ن وفرسان الجاهل ة كانوا قاتلون إذ ذاك على الحم ة وهم ال وم قاتلون على الحسبةن والن ة الحسنة أحسن صحبة من صبك ول كن الناس عندك ف الحق سواء واستعن باهلل وكفى باللله مع نا وتوكل على هللا وكفى باهلل وك ال أ خرج من ؼد إن شاء هللا." A. "Listen to hear who wants to understand what he was told, then working as ordered, you graduated in the supervision of the people, and houses the Arabs, and good Muslims, and the Knights of ignorance. B. Listen like someone who is interest in understanding what is said to him, then does what he is ordered to do. You are leaving with the nobles of the people, and the masters of Arabs, the righteous of the Muslims and warriors of Pre-Islamic era. تنس ق 112 SeamOOn

114 C. Listen up like someone keen to understand what is being said to him, and then does what he is being ordered to do. You are leaving with the noblest of the people, and the best amongst the Arabs, the most righteous of the Muslims and the best warriors of the pre-islamic era, who used to fight out of zeal but now they fight for God s sake. Let s look at another example of a short rhetorical speech by our great Khalifa Abu Bakr ALSidiq (may Allah be pleased with him) addressed to all people when he was given Pledge of allegiance as the leader of the Muslim Ummah and see how we can translate it into English. Is it A, B, C, D or something else? لما با ع الناس أبا بكر الص د ق قام فخطب بالناس فقال: "أما بعد أ ها الناس فإن قد و ل ت عل كم ولست بخ ركم فإن أحسنت فؤع نون و إن أسؤت فقومون الصدق أمانة والكذب خ انة والضع ؾ ف كم قوي عندي حتى أرجع عل ه حقه إن شاء هللا والقوي ف كم ضع ؾ عندي حتى آخذ الحق منه إن شاء هللا ال دع قوم الجهاد ف سب ل هللا إال ضربهم هللا بالذل وال تش ع الفاحشة ف قوم إال عم هم هللا بالبالء أط عون ما أطعت هللا ورسوله فإذا عص ت هللا ورسوله فال طاعة ل عل كم قوموا إلى صالتكم رحمكم هللا" A. Having said that, O people, I have been appointed as your leader and I'm not your best, If I do well help me, and if I do bad straighten me out. B. O people, I have been selected as your custodian but I am not the best among you. So when I do well, support me; and when I do wrong, correct me. C. O people, I have been entrusted with the rule of you and I am not the best among you. So If I do well, support me and if not straighten me out. D. O people, I have been elected as your leader and I am not the best of you. Support me if I do well, and correct me if I do wrong. 2. Examples of Translating General orations We have already discussed the translation of general orations in L7. We, however, would like to look at the following example from linguistic, cultural and stylistic perspectives when appropriate. For example, let s now look at an excerpt taken from Dirty Hands by John P. Delaney S.J. and see how we can achieve equivalence in English, communicative purpose of the speech, in a style that signals that this is a translation of a person proud of manual jobs: تنس ق 113 SeamOOn

115 Example : Now, how would you translate the following lines into Arabic? Is it A, B, C, or something else? Dirty Hands by John P. Delaney S.J. I'm proud of my dirty hands. Yes, they are dirty. And they are rough and knobby and calloused. And I'm proud of the dirt and the knobs and the callouses. I didn't get them that way by playing bridge or drinking afternoon tea out of dainty cups. أنا فخور دي قذرة. نعم فه قذرة. وهم الخام وعقدي ومتصلبة. وأنا فخور من االوساخ والمقابض والمثافن. أنا لم تحصل عل ها بهذه الطر قةعن طر ق اللعب جسر أو شرب الشاي بعد الظهر من كإوس لذ ذ أو لعب السامري ج دا المعلن ج د ف الكرات الخ ر ة. أنا فخور ب دي الوسخة. نعم إنها وسخة. وه خشنة وعل ها آثار العمل. وأنا فخور باالوساخ والزوا ا. فؤنا لم أحصل عل ها بهذه الطر قةعن طر ق اللعب لعبة ااألبراج أو شرب الشاي بعد الظهر من كإوس أن قة. دي الوسختان الخشنتان هما مدعاة للفخر عندي فخور بهذه األوساخ وبعقد كف الخشنة وبسماكتهما ألنهما من جراء عمل الجاد لكسب لقمة ع ش ول ستا نت جة ح اة مرفهة ومن اللعب باالوراق وشرب الشاي بكإوس فاخرة..A.B.C Now, how would you translate the following lines into Arabic? Is it A, B, C, or something else? I got them that way by working with them, and I'm proud of the work and the dirt. Why shouldn't I feel proud of the work they do - these dirty hands of mine? حصلت عل ها بهذه الطر قة من خالل العمل بها وأنا فخور بالعمل وباألوساخ و. فلماذا ال أشعر بالفخر من العمل الذي قومون به - وهذه األ دي القذرة من األلؽام.A حصلت عل ها بهذا الشكل من خالل العمل بها فؤنا فخور بهذا العمل وبالوسخ ولماذا ال أشعر بالفخر بالعمل به دي الوسخة هذه. الذي تقوم.B إنهما هكذا ألنن عملت جاهدا بهما إن فخور بالعمل الذي قامتا به هات ن ال د ن وباألوساخ العالقة عل هما.C تنس ق 114 SeamOOn

116 L12 Practical A Translate the following excerpt into Arabic. Use your creative ability in your translation. Dirty Hands I'm proud of my dirty hands. Yes, they are dirty. And they are rough and knobby and calloused. And I'm proud of the dirt and the knobs and the callouses. I didn't get them that way by playing bridge or drinking afternoon tea out of dainty cups. I got them that way by working with them, and I'm proud of the work and the dirt. Why shouldn't I feel proud of the work they do - these dirty hands of mine? My hands are the hands of plumbers, of truck drivers and street cleaners; of carpenters; engineers, machinists and workers in steel. They are not pretty hands; they are dirty and knobby and calloused. But they are strong hands, hands that make so much that the world must have or die. L12 Practical B Translate the following excerpt into English. Use your creative ability in translation. لما با ع الناس أبا بكر الص د ق قام فخطب بالناس فقال: "أما بعد أ ها الناس فإن قد و ل ت عل كم ولست بخ ركم فإن أحسنت فؤع نون و إن أسؤت فقومون الصدق أمانة والكذب خ انة والضع ؾ ف كم قوي عندي حتى أرجع عل ه حقه إن شاء هللا والقوي ف كم ضع ؾ عندي حتى آخذ الحق منه إن شاء هللا ال دع قوم الجهاد ف سب ل هللا إال ضربهم هللا بالذل وال تش ع الفاحشة ف قوم إال عم هم هللا بالبالء أط عون ما أطعت هللا ورسوله فإذا عص ت هللا ورسوله فال طاعة ل عل كم قوموا إلى صالتكم رحمكم هللا" O people, I have been elected as your leader and I am not the best of you. Support me if I do well, and correct me if I do wrong تنس ق 115 SeamOOn

117 Lecture 13 PRACTICAL III Learning Outcomes By the end of this lecture, you should be able to 1. to translate a variety of simple literary texts The main purpose of this lecture is to look at a variety of excerpts taken from different types of literary texts, translate them and discuss the process of creativity in their translation. 1. Examples of Translating Contemporary Poetry We have already discussed the translation of poetry in L8. We, however, would like to look at the following example from linguistic, cultural and stylistic perspectives when appropriate. For example, let s look at the following contemporary poem by Alistair Hedley (2001) and see how we can translate it and achieve equivalence in Arabic, communicative purpose of the poem whether in a prosaic style or in poetry. Remember this poem is written for children! Now how would you translate the following into Arabic? Is it A, B, C, D, E or something else? When pain and sickness made my cry, Who gazed upon my heavy eye, And wept, for fear that I should die? االجابة )E( My Mother تنس ق 116 SeamOOn

118 Now how would you translate the following into English? Is it A, B, C, D or something else? ل س الع ب أن كو ن الفتى فق را *** ولكن الع ب أن ع ش الفتى ذل ال A. It is not shameful to be poor but it is shameful to live in humiliation B. To be poor it is not a shame but it is to live in humiliation C. It is not a shame to be poor but it is to live in degradation D. It is not a shame to be poor but it is to live in disgrace 2. Examples of Translating General Orations We have already discussed the translation of general orations in L7. We, however, would like to look at the following example from linguistic, cultural and stylistic perspectives when appropriate. For example, let s now look at the following excerpt from an oration and see how we can achieve equivalence in English, communicative purpose of the speech, in a style that signals that this is a translation of a person who addressing people to fight against corruption in a very emotive manner. Now, how would you translate the following oratory into Arabic? Is it A, B, C, or something else? Bribery is a religious crime, and a national betrayal. Help us fight against bribery.. Aالرشوة ه د ن الجر مة ووطن الخ انة فساعدنا على محاربة الرشوة.. Bالرشوة إثم تعاقب عل ه وخ انة للوطن لنحاربها معا.. Cأ ها الناس الرشوة جر مة د ن ة وخ انة وطن ة. كن عونا ف محاربة الرشوة.< وبعض الطالب اختارو A Now, how would you translate the following lines into Arabic? Is it A, B, C, or something else? تنس ق 117 SeamOOn

119 أ ها الناس الفساد كالوباء إذا سكتنا عنه انتشر وإذا حاربناه انحصر فلكن معا ف مكافحة الفساد. A. O people, if we remained silent about epidemic of corruption it would spread, and if we fought against it we would limit it, let s be together in the fight against corruption. B. O people, corruption is like an epidemic which would spread if we were quiet about it. But if we fought it, it would shrink, so be a partner in the fight against corruption. C. O people, corruption is like an epidemic which spreads if we are silent about it, but it shrinks if we fight it. So let s unite in our fight against it > االجابة 3. Examples of Translating Excerpts of Short Stories. When translating a short story, as a translator, you have to make first a crude handwritten draft that you never refer to again. This is a necessary stage, the stage of writing the reading in some palpable form. The next stage, which is as translation proper, involves writing and rewriting, crafting sentences, using dictionaries, thesauruses and encyclopaedias. By the time you have finished a translation, you may have several drafts including the initial handwritten scrawl. Significantly, though, you never have more than one draft or two exceptionally, when writing other types of text. Translating involves consciously and deliberately working through several draft stages. Example For example, let s now look at the following excerpt taken from AlNaimi s Arabic short story Cut, Cut, Cut and see how it has been translated by different translators each of which tried to achieve equivalence in English, communicative purpose of the excerpt in a style that signals that this is a translation of an Arabic short story written by an Arabic writer living in a certain ecological, social, cultural setting. تنس ق 118 SeamOOn

120 »عندما وصل باب دكان الحالق وجده مفتوحا على غ ر عادته, فسرت ف ك انه موجة من االستؽراب لكن سرعان ما خ مت عل ه الخ بة إذ أنه لم جد عند دخوله العتبة سوى صب لم تجاوز الثان ة أو الثالثة عشرة من عمره.«A. When he arrived at the barber shop, he found the door open as usual. He was surprised and very glad, but quickly a cloud of disappointment filled him, because he did not expect to find a young boy, who was about twelve or thirteen years old working alone. B. When he reached the door of the barber shop, he found the door open unusually. This brought into him a wave of astonishment but suddenly he was disappointed because <خطا بكتابة االرقام. النه shop. he saw a boy of 12 or 13 years old inside as he entered the بالقصص فضل كتابة الرقم عط كنوع من التشو ق C. When he reached the door of the barber shop, he unusually found the door open. Initially he was happily surprised but his happiness quickly disappeared and a wave of disappointment went through his veins because he only found a boy of around twelve > االجابةshop. or thirteen years old as he stepped in the L13 Practical A Translate the following poem into Arabic. Use your creative ability in your translation. > JEALOUSY قص دة للدكتور ترجمتها تعتمد عل كم You envious one, be from me away; Your heart is as hard as rock; But the lover looks like a rainy day Full of mercy and loved by the folk. * * * * O come my lover, and be my sun; In the day and the moon in the night; Away from you envious one, I ll run To my lover and out of your sight. * * * * O envious one, go and dig a grave, For you to lie in and dream Of the goodness from life you save ترجمة حرف ة < ابتعد أ ها الحسود فقلبك صلب كالصخر أما الحب ب فهو كال وم الممطر ملا بالرحمة و حبه الناس * * * * تعال ا حب ب وكن ل شمسا ف النهار وف الل ل ل قمرا عنك أ ها الحسود سؤجري عن ناظر ك بع دا إلى حب ب * * * * ا أ ها الحسود اذهب واحفر قبرا ألجل أن تستلق به وتحلم بجمال الح اة الت مكن أن تنقذ عندما جعلتها كنهر من الط ن * * * * تنس ق 119 SeamOOn

121 When you ve made it a muddy stream! * * * * O be away from me to hell, And blaze your fire there or quell! * * * * A.M.Halimah إل ك عن واذهب للجح م وانفث ن رانك هناك أو اخسؤ L13 Practical B Translate the following excerpt into English. Use your creative ability in your translation. بادره الصب مباشرة بصوت ناعم: "سوؾ ؤت معلم حاال... سوؾ لن تؤخر. تفضل... الشاي جاهز معلم جاء بمجالت كث رة... تفضل ا عم...سوؾ لن تؤخر "... ص عب عل ه أن كسؾ الصب فتمتم:" أمتؤكد ا بن من أنه لن تؤخر " "أجل ا عم..." تذكر كم كانت عمل ة القص ف بالد اإلنجل ز خال ة من المتعة وكم كانت مكلفة ماد ا ومعنو ا. إذ كان شعر بعد كل عمل ة قص لشعره أنه كان خروفا استرال ا مكتفا جز صوفه بصمت مطبق وم كان ك ة ف شعر براحة متناه ة بعد االنتهاء من عمل ة القص, تنفس الصعداء ألن عببا ثق ال أز ح عن كاهله, ف بتعد وهو س ر كعصفور ط ر حرا طل قا Lecture 14 A Brief Review of Creative Translation 13 Lectures Purpose of This Session The main purpose of this session is to briefly review previous 13 lectures so that you would be able to have a general but detailed presentation of the whole Course of 472 Creative of Translation on a few PowerPoint Slides. Course Schedule تنس ق 120 SeamOOn