notes on maulana jalal ud din rumi
TRANSCRIPT
-
7/29/2019 notes on maulana jalal ud din rumi
1/22
Translation StudiesMoulana Jalal-ud- Rumis Poems
-
7/29/2019 notes on maulana jalal ud din rumi
2/22
Translation Studies as Politics
Translation Studies has emerged as a thriving interdisciplinary and international area of
scholarship. According to J.C.Catford, Translation is the replacement of the source
language with equivalent target languagematerials. It is a branch of comparative
linguistics as it deals with relation of languages. J.C.Catford, introduced two categories
(1)Total translation (2) restricted translations(1)Replacement by non-equivalenttarget language (phonology & graphology)
(2) Replacement by equivalent target language material.
In the process of translation there are two types of untranslations
1. Linguistic untranslation
2. Cultural untranslation
Linguistic untranslation is due to lack of formal correspondence (oligosemy) or restricted
meanings andCultural untranslation is due to lack of situational features. Due to linguistic
and cultural untranslation, translation is greatlyaffected.
In this case, it remains to the subjectivity of the translators and the way he wants to bring
politics of translation where the sense of target text is totally lost (translation becomes a
myth).
Indeterminacy of language is due to the perpetual change of words and meanings.
Axel Bhular states that every translation is a kind of interpretation and interpretation
becomes tough when the translator wants to convey the communicative intentions and the
same original effects that the author wants to produce in the audience by making the
utterance.
-
7/29/2019 notes on maulana jalal ud din rumi
3/22
According to Susan Bassnett translation betrays, seduces,diminishes,
reduces,and looses parts of the original. Translation is derivative, mechanical,
andsecondary. The notion of translation as a betrayal of original is particularlyprevalent.
LoriChamberlain, one of a growing numberof feminist translationscholars, draws
attention to the sexualization of this terminology, pointing out that it appears perhaps
mostfamiliarly asfaith fu l or beautif ul as the women. Fidelity is defined in translation as
an implicit contract betweentranslation (as woman) and original (as husband/father or
author).The unfaithful wife/translation is publically tried for crimes the husband/original
is by law incapable of committing. This contract, in short, makes it impossible for the
original to be guilty of infidelity. Such an attitude betrays real anxiety about the
problemof paternity andtranslation.
Another model is the model of master/slave relationship. The translator as a
slave, the servant of the source text, isa powerful metaphor that endures well into the
nineteenth century. Implicit in this metaphor is the idea of dominance of the source text
author over the subservient targettext.Fidelity to an original/husband as a metaphor for
translation and the loyalty of the slave to the master both reflect profound changes in
reading and writing in the post-Renaissance world.
In 1920,Brazilian Modernism proposed a reevaluation of the ultimate European
taboo: cannibalism. The images of translation ascannibalism, asvampirism, whereby the
translator sucks out the blood of the source text to strengthen the target text, as
transfusion of blood that endows the receiver with new life.
-
7/29/2019 notes on maulana jalal ud din rumi
4/22
The art of translation is a subsidiary art and derivative. On this account it has never been
granted the dignity of original work, and has suffered too much in the general judgment
of letters. This natural underestimation of its value has had the bad practical effect of
lowering the standard demanded, and in some periods has almost destroyed the art
altogether. The corresponding misunderstanding of its character has added to its
degradation neither its importance nor its difficulty has been grasped.(Hilaire Belloc
1931)
In addition, Translation of poetry is the most difficult mode of translation. This is because
it abounds in figures of speech such as similes, metaphors, irony, paradox etc. and
unprecedented phonological, syntactical and semantic patterns such as rhyming
alliteration, versification, morphological parallelism, syntactic parallelism, and above all
syntagmatic and paradigmatic relations between words. Ornamental words based on
lyricism are almost impossible to translate. The translator of poetry should remember that
he is to translate a piece of poetry not to re-write or produce an interpretation of it.
Keeping in view the theory of translationand the priority of original on copy text, we
choseMaulana Jalal-ud-Deen Rumispoem I died as mineral as mistranslated by two
translators in two different ways.
MaulanaRumi is not only an icon of Islamic civilization but of global culture and
a great symbol of great spirituality. The universal message of Rumi is ahopeful
alternative to the ignorance and lack of spirituality in modern times. Rumis writings of
thirteenth century advocate an understanding that there is something beyondreligion and
scholarly learning that can open our eyes to the reality beyond this existence. To
understand Rumi,we must climb a spiritual ladder of love.Furthermore, Rumienvisioned
-
7/29/2019 notes on maulana jalal ud din rumi
5/22
a universal faith embodying all religions, because he understood that the cause of every
religious conflict is ignorance. Rumi implies that religiosity consists in something other
than outward religions. Real belief is apparent only on the side of a personwhich is not
visible. He was a mystic of extraordinary devotion and self-dedication. A lover of God,
seeking by every means a union with the Divine and secondly a teacher striving by his
words and his example to lead others towards the same goal. He was peaceful and
tolerant towards men of all creeds and urged his disciples to behave likewise.
Application of Translation Theory on Rumis IDied asaMineral
Here is Rumi's original poem in Persian
-
7/29/2019 notes on maulana jalal ud din rumi
6/22
This poem is been taken from Masnawi whereMystic feelings and ideas are narrated in
story form. The same poem has been translated by two different translators A.J.Arberry
and William Chattak in two different ways.
Here is atranslation done by A.J.Arberry
"I Died as a Mineral"
I died as a mineral and became a plant,
I died as plant and rose to animal,
I died as animal and I was Man.
Why should I fear? When was I less by dying?
Yet once more I shall die as Man, to soar
With angels blest; but even from angelhood
I must pass on: all except God doth perish.
When I have sacrificed my angel-soul,
I shall become what no mind e'er conceived.
Oh, let me not exist! for Non-existence
Proclaims in organ tones, 'To Him we shall return.
Introduction of A.J.Arberry
-
7/29/2019 notes on maulana jalal ud din rumi
7/22
Arthur John Arberry is a 20th century British "Orientalist", who translated this
above mentioned poem into English. He is Fluent in Arabic and Persian and is considered
as one of the most imminent scholars in the field of Islamic studies. His contributions to
the field of Islamic studies are of enormous proportions, as he not only translated the
Holy Quran, but also the major works of Rumi. Professor Arberry's following
mistranslation of Rumi's poem has served as the basis of meaningless attacks on Rumi,
accusing him as a "Sufi Darwin" and "Believer of Theory of Evolution", by the Muslim
fundamentalists, whereas the close reading of the poem shows that the Rumi's entire
philosophical argument in the following poem is based on Plato and Aristotle's "The
Inanimate, the Animate, and the Supernatural logic. It has nothing to do with the
"Evolution theory.
Another translation is being done by William Chattak
Poem
-
7/29/2019 notes on maulana jalal ud din rumi
8/22
Background of translator
Comparison of two translations(verse by verse explanations)
We can see that Rumi has used the Persian words jamaadi and nami
jamaadi in English = Inanimate
naami in English= animate
Text A. J.Arberry William Chattak
( +)))
I died as a mineral and became a plant
I died as plantand rose to animal.
M ineral / plant
-
7/29/2019 notes on maulana jalal ud din rumi
9/22
How did both translators come up with "Mineral" and "Plant", if Rumi was referring to
Aristotelian logic of "Inanimate and Animate?
This is what we called Linguistic untranslatability, where translator cannot find exact
equivalent for the word to be translated.
We can see that both translators have devoured the source text, transmuted it, which is an
act of vampirization. The translators have sucked out the blood of the source text to
strengthen the target text, as transfusion of blood that endows the receiver with new life.
They have added certain new words to the poem, they have deleted some others, and
according to their own culture, context and taste of the readers they have introduced their
own interpretations and injected a new blood to it. So its a rejection of power hierarchy
which privileged the source text and transferred the translators to a secondary role. In the
translations here above, we can see a new product. Translators have remade the passages
and impart a new life to the poem.
/
I died as animal and I was
Man.
Why should I fear? When was
I less by dying?
Died/less dying
-
7/29/2019 notes on maulana jalal ud din rumi
10/22
Prof.Arberry completely ignored Rumi's cleverly playing with the Persian words
-Mordam[I died] and Mardoom- [Mankind], as Mardoom[Mankind]- in second
line- is entirely missing from Arberry's translation.Whereas WilliamKhatak
-/
Yet once more I shall die as
Man, to soar
With angels blest; but even from
angelhood
I must pass on: all except God
doth perish.
angels blest/angels wings and
feather
in English = Angel wings and feather
Angels blest in Persian
On the one hand, Prof.Arberry decided to use "Angels blest", when Rumi was hoping to
draw "feathers and wing" like the Angels?And William Chattak
-
7/29/2019 notes on maulana jalal ud din rumi
11/22
Whe I have sacrificed my
angel-soul,
I shall become what no mind
e'er conceived
Sacrifice
Prof. Arberry used theword Sacrifice" in Rumi's above Persian verse, whereas
Sacrifice in Persian = - There is no such word used in the original above verse.
/
Oh, let me not exist! for
Non-existence
Proclaims in organ tones,
'To Him we shall return.'
let me not exist/organ tones
Despite profound respect and admiration for Prof. Arberry's vast scholarly knowledge
and genius, there is an ambiguityabout Oh, let me not exist!".
-
7/29/2019 notes on maulana jalal ud din rumi
12/22
The Persian word [ so, then], as a concluding remark in the last verse, [ so, then] is
entirely missing form Arberry'stranslation. Similarly the Persian word
alsohavetwo meanings
a- The Organ- a musical instrument.b- The Organon-Aristotle's Logical WorksRumi talks about concept of animate, inanimateand supernatural logic of Plato and
Aristotle whereas both translators distort the real sense of meaning and their
interpretation seems to suck out the blood of original.
Analysis of Rumis another poem
_
-
7/29/2019 notes on maulana jalal ud din rumi
13/22
-
7/29/2019 notes on maulana jalal ud din rumi
14/22
-
7/29/2019 notes on maulana jalal ud din rumi
15/22
This poem is taken from Masnavi (Vol.03) and the following version of translation is
done by Coleman Barks. Recently, Coleman Barks's version of Rumi in English,
especially The Essential Rumiwhich is the subject of this review, has become popular
and a best-seller-book in the US. Barks did not know Rumi until 1976 when the
American poet, Robert Bly handed him a copy of A. J. Arberry's translations saying
"These poems need to be released from their cages".
Barks who does not know Persian, first rewrites some of the old translations in English.
Then, by using an unpublished John Moyne's translation on one hand, and with the
blessing of a Sri Lankan sufi saint living in the US, Bowa Muhaiyaddeen on the other
hand, Barks publishes a new English version of rumi in free verse. No doubt that
Coleman Barks's version of Rumi has released these poems from the confines of
Departments of Near Eastern Studies but unfortunately, as we will see, he has tied them
in the cage of his personal taste
"What Jesus Runs Away From"
The son of Mary, Jesus,
hurries up a slope
as though a wild animal
were chasing him.
http://www.amazon.com/exec/obidos/ASIN/0140449531/theiranianA/http://www.amazon.com/exec/obidos/ASIN/0140449531/theiranianA/http://www.amazon.com/exec/obidos/ASIN/0140449531/theiranianA/ -
7/29/2019 notes on maulana jalal ud din rumi
16/22
Someone following him asks,
'Where are you going?
No one is after you.'
Jesus keeps on,
saying nothing,
across two more fields.
'Are you the one who says
words over a dead person,
so that he wakes up?
"I am."
'Did you not make the clay birds fly?'
"Yes."
'Who then could possibly cause you to run like this?'
Jesus slows his pace.
"I say the Great Name over the deaf and the blind,
they are healed. Over a stony mountainside,
and it tears its mantle down to the navel.
Over non-existence, it comes into existence.
But when I speak lovingly for hours, for days,
with those who take human warmth
and mock it, when I say the Name to them, nothing
happens. They remain rock, or turn to sand,
where no plants can grow. Other diseases are ways
-
7/29/2019 notes on maulana jalal ud din rumi
17/22
for mercy to enter, but this non-responding
breeds violence and coldness toward God.
I am fleeing from that."
As little by little air steals water, so praise
Is dried up and evaporates with foolish people
who refuse to change. Like cold stone you sit on,
a cynic steals body heat. He doesn't feel the sun.
Jesus wasn't running from actual people.
He was teaching in a new way.
The second version is by Camille and KabirHelminski, published inRumi: Jewels of
Remembrance, Threshold Books, 1996
Flee from the foolish; even Jesus fled from them.
Much blood has been shed by companionship with fools!
Air absorbs water little by little;
even so, the fool drains you of spirit.
He steals your heat and leaves you cold,
like one who puts a stone beneath you.
The flight of Jesus wasn't caused by fear,
for he is safe from the mischief of fools;
his purpose was to teach by example.
Camille and KabirHelminski have translated these lines. The length of the poem is very
obvious; the original ghazal of Rumi which consists of 60 lines is reduced to 9 lines in
this version of translation. Rumis poems are known for its detailed style and ornamental
-
7/29/2019 notes on maulana jalal ud din rumi
18/22
language (which is a mark of Persian poetry). Camille and KabirHelminski in their
translation have failed to keep the same detail and pace of the original ghazal in Persian.
It is a thematic translation: unlike the original piece poem begins with Flee from the
foolish; even Jesus fled from them explicitly puts the theme available to the reader.
Rumis poems are marked for its narration of fables (hikayaat Persian literary style) in
this poem Rumi has put the theme in the last lines after giving an elaborate account of the
scene.
In addition, both the translators have tried to translate the metaphors used in the original
piece.Original poem Translation by Camille and
KabirHelminski
Translation by
Coleman Barks
Air absorbs water little by little;
Even so, the fool drains you of
spirit
As little by little air
steals water, so praiseIs dried up and
evaporates with foolish
Original poem Translation by Camille
and KabirHelminski
Translation by Coleman Barks
Flee from the foolish; even
Jesus fled from them
Other diseases are ways
for mercy to enter, but this non-
responding breeds violence and
coldness toward God. I am fleeing
from that.
-
7/29/2019 notes on maulana jalal ud din rumi
19/22
people
It is important to note that deen is translated into spirit, and the metaphor is
translated. Due to this literal translation the original fervor of the poem is lost
somewhere.
Original poem Translation by Camille
and KabirHelminski
Translation by Coleman
Barks
like one who puts a stone
beneath you.
Like cold stone you sit on,
a cynic steals body heat.
These 9 translated lines have the thematic essence of Rumis original poem; it is better
than Barks translation since the reader gets the theme and understands the essence of the
poem but on the linguistic level the Persian poetic essence is lost. Because of lack of
complete equivalence (in the sense of synonymy or sameness) ,Jakobson declares that all
poetic art is therefore technically untranslatable; Only creative transposition is possible.
In addition, the translators have not given it any title.
On evaluating the translation by Coleman Barks, it becomes apprent that certain lines are
mistranslated. For Example, in the title of the poem,
Original Persian English Literal Translation Coleman Barkss Translation
running away to the mountain
from the fools
What the Jesus Ran Away From?
-
7/29/2019 notes on maulana jalal ud din rumi
20/22
= ellop FloFIt can be inferred that in the original version there was no question. Rather the essence or
the main crux is depicted. But in Barkss version, it is totally the opposite. The essence is
lost in posing a question which refers to the manipulation of the text.
Later on, in the poem, Rumi refers to the Lion as a symbol of terror and cruelty. The
connotative meaning implies that foolish people are just as terrorizing as a lion is.
= noiL dLa iiaBut in Barks translation, lion is translated as wild animal and reference to blood is
totally omitted. This is referred to as Addition and Deletion in Translation.
Original Persian English Literal Translation Coleman Barkss Translation
Who are you running away
from O noble one:
If there is neither a lion,
Nor an enemy, nor fear and
danger after you?
Lines are deleted
Original Persian English Literal Translation Coleman Barkss Translation
As if a lion would shed his
blood.
as though a wild animal were
chasing him
-
7/29/2019 notes on maulana jalal ud din rumi
21/22
In Barks version, it is apparent that the translator is going through a process of known as
Transcreation where by there is a personal taste included either for the purpose of
clarity or for some specific ideology, but it reflects the distortion of the original text. The
target language and the source language do not convey exact meanings that can lead a
reader into an ambiguity.
Conclusion
When we observe the real Persian text of poem and the translations, it becomes clear that
translation is a not a pure/just activity. As to Bassnett,It betrays and loses parts of the
original. Real essence is lost in translation. Linguistic untranslability appears to be a big
hurdle in the process of translation, which occurs when there is no lexical and syntactical
substitute in the target text for source language text.
In the above discussion, we also come across many words in Persian poem whose
equivalents are not found in English. Due to which translators have interpreted them in a
new way which has betrayed the original meaning of the word and aesthetic and spiritual
sense of the poem has been lost. It becomes a process of transliteration.
-
7/29/2019 notes on maulana jalal ud din rumi
22/22
References
Bassnett, S. Comparative Literature: A Critical Introduction. BlackwellPublishers Ltd: Unites States of America, (1993).
Bassnett, S.Mcguire Translation Studies. Rountedge:New York.1980 Tymoczko, Maria. "Translation and Political Engagement: Activitism, social
change and the Role of Translation in Geopolitical Shifts." 2000. 23-47.
Venuti, Lawrence.The Translation Studies Reader. 2ndEd. New York and London:Routledge. 2004