Translation in Arabic language and literature
Hesam Hajmomen
Abstract
Focusing on the translation of classical poetry into classical poetry between Arabic and Persian languages, this study investigates the issue of what kind of relationship is the "semantic balance" between the source and target poems in this type of translation and how it is realized. The study method ...
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Focusing on the translation of classical poetry into classical poetry between Arabic and Persian languages, this study investigates the issue of what kind of relationship is the "semantic balance" between the source and target poems in this type of translation and how it is realized. The study method is descriptive analysis. In the analytical part, first, the semantic structure of the poem is analyzed based on the theory of Order (Nazm) by Abdul Qahir Jurjani, and it is determined that the semantic structure of the poem is a product of the way the poem signifies its purpose, which is expressed in a special order of speech. Then, in the descriptive part, by referring to samples of the translation of classical poetry into classical poetry between Arabic and Persian, the semantic relationship between the samples is described, and it is specified that the semantic balance between the source and target poems is a similarity of expression that flows at the level of the way of indicating the purpose, and the semantic balance at this level is realized through simulating the function of linguistic elements in the way of presenting meaning. Therefore, the target poem is a semantic construct in the target language, whose linguistic elements are used in its production in such a way that they have a similar function to the linguistic elements of the source poem in the way of signifying the purpose.Keywords: Semantic Balance, Poetry Translation, Classical Arabic And Persian Poetry, Theory of Order, Abdul Qahir Jurjani.IntroductionOne of the types of literary translations between Arabic and Persian is the translation of classical poetry into classical poetry. From the linguistic point of view, two types of balance are expected in this type of translation: balance in poetic form and semantic balance. In terms of balance in the poetic form, the similarities of the classical poetry form in Arabic and Persian have created the possibility that the product of this type of translation has a rhythmic and rhymed structure like the original poem. But in terms of semantic balance, the following questions are examined in this study:In the translation of classical poetry into classical poetry between Arabic and Persian languages, what kind of relationship is the semantic balance?How is semantic balance achieved in this type of translation?The hypotheses of the study are:Semantic balance in this type of translation is an intertextual relationship based on which the target poem has maximum correspondence with the source poem in terms of the beauty of expression.When the target poem reflects the expressive techniques of the source poem, semantic balance is achieved in the translation.The theoretical framework in this study is based on the theory of Order (Nazm) by Abdul Qahir Jurjani with reference to his two books Daleel Al-Ijaz And Asrar Al-Balaghah.Literature ReviewIn the literature review of the present study, the following studies should be mentioned:In his article Challenges of Translating Poetry from Arabic to Persian (2012), Alebouyeh concluded that the translator must find out the content of the source poem and express it in a fluent and literary form in the target language. Therefore, he decided that a successful poetic translation is a re-creation of the original poem.In the article A Linguistic Framework for Analysis of Translating Arabic Poem to Persian: Based on Formalism (2016), Nezamian and Hajmomen concluded after analyzing the form of the poem based on the four components of "structural art, theme, rhythm, and system" that the translation product should have a similar relationship with the original poem according to the four mentioned components.Hajmomen also showed in his article "The Dialectic of Rhythm and Expression in the Translation of Classical Arabic Poetry into Classical Persian Poetry" (1400) that the observance of musical requirements in this type of translation often distances the expressive structure of Persian poetry from the expressive structure of Arabic poetry. Ansari and his colleagues have also shown in the article An Exploration of the Stylistic Balance of Abdurrahman Jami's Translation of Ibn Faraz's Ta’yah (1401) that in Jami's translation of Ta’yah, the observance of external beauty and musical requirements has caused the transfer of meaning to be ignored.MethodologyThis study was done with the analytical-descriptive method. Based on this, first, the semantic structure of the poem is analyzed based on the theory of Order, and then by studying samples of translation, the semantic balance between the source and target poems is objectively described.ConclusionIn the translation of classical poetry into classical poetry between Arabic and Persian, the semantic balance is an expressive similarity at the level of "the way of signifying the purpose of the poem". The way the poem signifies the purpose reflects the creative process that is designed in the poet's mind to express a theme.When this mental process finds an objective expression in the poem with the use of linguistic elements, a special meaning construction is formed, which is the product of the poet's creativity in arranging the speech to present the meaning. Therefore, the poem in the source language is a special way of signifying the purpose in a semantic structure, and what puts the target poem in balance with the source poem in terms of meaning, is the simulation of the way of presenting meaning in the poem, or the way the poem signifies the purpose.Semantic balance in this type of translation is realized through "simulation of the function of linguistic elements in the presentation of meaning". Because in the original poem, the value of linguistic elements depends on their function in the way of signifying the poem. Therefore, the semantic balance in the translation of the poem is dependent on simulating the function of the linguistic elements in the way of presenting the meaning. This simulation creates a poem with aesthetic value in the target language if the interpretations and sentences of the target poem are formed based on the interpretive and grammatical possibilities in the target language so that finally, produces a semantic structure that is considered a poetic work with aesthetic value based on linguistic features and literary traditions in the target language.
Translation in Arabic language and literature
Hesam Hajmomen
Abstract
Focusing on the translation of classical Arabic poetry into Persian classical poetry, this article examines the interactions that take place between the expressive construction and the rhythmic construction of poetry in this type of translation in order for the translation product to convey both the ...
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Focusing on the translation of classical Arabic poetry into Persian classical poetry, this article examines the interactions that take place between the expressive construction and the rhythmic construction of poetry in this type of translation in order for the translation product to convey both the content of Arabic poetry and simulate its classical poetic form. The questions are as follows: In this type of translation, what are the effects of the interaction between expressive construction and rhythmic construction on the relationship between Persian poetry and Arabic poetry? After studying some examples of translations by analytical-descriptive method, it is concluded that in this type of translation, rhythmic construction occurs in Persian poetry independent of Arabic poetry; due to the observance of rhythmic requirements, the expressive construction of Persian poetry often distances itself from the expressive construction of Arabic poetry. Also, sometimes Persian poetry differs from Arabic poetry in the way of arranging speech in the form of verses; the relationship between Persian poetry and Arabic poetry in terms of expressive construction is realized if the expressive changes in the translation were understandable and in line with the transfer of the themes of Arabic poetry, and rhyming often causes expressive changes in the translated product. Finally, there are three dominant tendencies in this type of translation: formal re-creation, dynamic re-creation, and free re-creation.
