1. Introduction:
Although it has been more than one hundred and sixty years from the first translation of Khayyam’s Rubaiyat by Edward Fitzgerald, this eloquent literary text has remained as the best in comparison to other translations. Along with all the prominent features of Fitzgerald’s translation, if we consider the text from the viewpoint of modern literary translation such as “loyalty to the text” and by considering the precepts of discourse analysis, so many questions are raised.
There have been so many researches around the structure and the meaning of Khayyam’s Rubaiyat and Fitzgerald’s translation. After Edward Fitzgerald’s (1809-1883) brilliant recreation of Rubaiyat in nineteenth century and actually when Khayyam was introduced
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The task of the translator is to compose an analogous text in another language, and the translator is therefore not firstly a writer and then a reader, but firstly a reader who becomes a writer. As Paz states, “the original poem comes to exist inside another poem: less a copy than transmutation”(bassnett & Lefevere, 1998, p. 66)
According to Heylen (1993),very text convey a particular ideology and view point of the original writer through which the author expresses his or her opinion of the world” (5).
Poetry translation is a challenging task due to the significance of form, content, poetic and musical devices in order to convey the voice of poetry.
Since the form of poetry cannot be fully imitated and followed in the process of translation, some changes may occur in the voice of the original poem during the process of transferring the profusion of emotions and the meaning, demonstrated by the original poet.
In such a process, the poem goes under some either obligatory or optional changes, or as it is followed in this research, under some ideological changes in the “voice” underlying poetry. In the present study, these ideological voices are highlighted in the original text as well in the translated text of Rubaiyat and then they were compared in order to trace the extent of Fitzgerald’s loyalty in maintaining the main voice of
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In this study, Rubaiyat of Omar Khayyam by Khorramshahi (1994), rendered into English verse by Edward Fitzgerald (the First and Fifth edition) with original Persian text edited by Foroughi has been chosen. Khorramshahi (1994) includes a collection of 178 Persian quatrains that Foroughi and Ghani have selected among a myriad of quatrains attributed to Khayyam, along with 75 English translated quatrains in the first edition and 101 in the fifth edition. For the purposes of the present study, the English verses of the first edition would be analyzed and compared with the corresponding Persian Rubaiyat. A literal translation of each quatrain by Arberry and Saidi has been used in the research in order to help to clarify the manifestation of differences between the (ST) and the (TT).
2.2 Research questions:
Regarding what Fitzgerald as the translator of Rubaiyat says, “better a live sparrow than a stuffed Eagle” (Yohannan, 1977, p. 103)one finds it vital to investigate what Fitzgerald actually did as a translator and whether we can call him a translator who intended to make Khayyam known to the world or a poet who exploited our poet’s artistic skills as a launch pad to his own success and popularity.
This study attempted to answer the following
His text offers philosophical and cultural meaning that is completely original. Certain beliefs are threaded through out the content of the
This poem captures the immigrant experience between the two worlds, leaving the homeland and towards the new world. The poet has deliberately structured the poem in five sections each with a number of stanzas to divide the different stages of the physical voyage. Section one describes the refugees, two briefly deals with their reason for the exodus, three emphasises their former oppression, fourth section is about the healing effect of the voyage and the concluding section deals with the awakening of hope. This restructuring allows the poet to focus on the emotional and physical impact of the journey.
10. "Book of Poetry : Minor Odes of the Kingdom : Decade Of Bei Shan : Bei Shan 2 - Chinese Text Project." Chinese Text Project. N.p., n.d. Web.
The speakers and audience in poem are crucial elements of the poem and is also the case in these poems. In the poem Untitled, it can be argued that the poem is being written by Peter based on what his father might say to him...
The paper discusses the sound of the poem and how those certain words, said aloud, help to emphasize the meaning. Looking at the form of a poem in this way gave me a new way of looking at the text and finding the meaning. Personally, I have not had much familiarity looking at the sound of a text, but now see how the sound can be valuable when looking for the meaning of a text. I like to look at the imagery that is utilized in a text because I believe it works well in giving the reader a look into the text and bringing the text to life. What I have discovered reading about the formalist approach is to look at the overall form and how the text itself affects the meaning. Looking at the imagery and symbols helps me personally find the meaning in a text, so learning that the form of the text also can contribute to the meaning was
Throughout the past two hundred years, many linguists have attempted to translate Dante Alighieri's Divine Comedy into English. While all have been successful in conveying the general meaning of various passages, diction and wordiness have varied wildly; no two translations are identical. This can be attributed to two factors: normal translational variation and the intent of the linguist. Taking both of these into account, John Ciardi's 1954 translation is far superior to the others.
Srinivasa Iyengar, you don’t. Iyengar says, “poetry, by nature, is untranslatable. [A] competent translator can, however, play the good broker between the poet and the reader... and give the intimations of the poet’s sovereign utterance.” But even this seems to suggest that at best, the translator is only a middleman, able to convey the subtleties of the poet’s original work, but not without noted differences. Famous poet Bysse Shelley calls translation of poetry “vain”, saying “it were as wise to cast a violet into a crucible that you might discover the formal principal of its color and odor, as seek to transfuse from one language to another the creations of a poet. The plant must spring again from its seed, or it will bear no
Translation is a linguistic science, but it occurs within a theological and moral framework. The issue is a sensitive one, as theology involves an obligation to the text and morality involves an obligation to the
Islamic poets created great works, such as the Rabi'ah al-Adawiyya, one of the greatest pieces of Islamic literature...
On the other side, “Love Poem” is very different from the previous poem. This seven stanza poem is based on a man describing the imperfections of his lover. In this, the speaker uses stylistic devices, such as alliteration and personification to impact more on reader, for example as the speaker shows “your lipstick ginning on our coat,”(17) ...
It will further deal with the development of tension throughout the poem. By making a distinction between tension through formal aspects, such as rhyme scheme, and tension through content it will try to show the interconnection between both of them. Additionally, the paper will deal with the possible effect of tension on the reader and how the poem might be perceived by him/her.
Finally we can say that the discussion in the class and the differences in the interpretations showed us clearly the differences between the perceptions of the readers on the same work. In the lights of the reader-oriented theories one can claim that there is no single truth or meaning derived from the text, the responses will change as the readers change.
Poets shared their experience of the lives in poetic verses. For this reason, history is full of the stories with passionate and deep love. The same idea was also the central point of one of the most famous poet of the history named Galib. He was a famous poet of the seventeenth century, and has several touching poetries in Urdu and Persian language on his credit. In his poetry, deep love seemed to be the main idea, but the true essence was the deep sorrow and a sad impression which made his poetry stands out among others. In his magnificent and truthful poetry, Ghalib unfolded the distinctive relation between the love and sorrow. He demonstrated this unique relation by sharing his personal stories, for example the love with the God, love and passion with the lover and with the love with his nephew. In these relations hopelessness, grief and depression was a common attitude which made his poetry exceptional.
The work of the translator stars with the reading of the ST: he has to study the lexicon, the grammatical structure, the communicative intention of the writer, and of course the cultural context in which is developed the ST, in order to identify the best translation strategy able to express the original intention.
When we interpret a text, we bring our own hopes, fears, joys and beliefs to the forefront, despite our claims of intellectual objectivity, and what is at stake is not just an evaluation of the work itself, but often an evaluation of our political, social, psychological and emotional identities. What we see or read into a text can become a kind of experiment, a literary depiction of the way we see, or would like to see, and interpret ourselves and our world. Often, in the course of interpreting, we feel compelled to name and label both writer and text in order to talk about them in ways that make sense to us, and in order to pinpoint them in relation to ourselves. When we label anything, we attempt to control or own it; we assign values or a set of rules to that person or object. What is lost in that process...