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F,Àóg~:ZŠÒ]~igóg~ZzgHóg~ÅZq-ŠgìVgzZe$This article encompasses the goals, targets and importance of translations and

translation studies. It also discusses the semantic relationship between creative

writers and translators. The article also negotiates successfully with the issues

regarding translations and substantiates this narrative that translation is not

merely the system of providing synonyms of target language, but also the

aesthetic synchronization of two different civilizations and cultures. Beside

translations, as a historical tradition, a number of important translations and

translators from Pakistan has also been the pivotal debate in this article. The

contemporary discourse of translations may not be completed without discussing

the contribution of regional literature(s) and translations which has added value

in current shape of literature(s) representing different social and cultural

identities, particularly renowned Pashto poet Rahman Baba's poetry and its

aesthetic and artistic translation in Urdu language by Prof. Taha Khan has been

the center of this discourse. The phase of translation studies whose important

contributors were Sajjad Haider Yaldrum , Pro. Talha khan, Mahar Ul Haq Avli,

Prof. Muhammad Afaq, and Ahmed Siddiqui, has been discussed thoroughly

and how these intellectuals have contributed towards this novel genre that has

broadened the literary horizon. So in a way this article is an analysis of the art of

translation, translation studies in general, its limitations, and an overview of

translations in Urdu from classical and contemporary regional literary texts.

Šz’k,~i!*âV~F,3»¿¤{dqÔ�~se$Zzg—ãZÌ»qïŒY@*ìXZKâÎÆZ±gÐF,ÀZq-â~.~i!*yÆ’k,~QÊzu~F,ÀzZài!*yÆ’k,~Q~ps™äÅ»zlìX˜VJ-â~.~i!*yÐF,ÀJw™äzZài!*yÃZ‚2Zzg¢�ÅF,−»mìÂt!*]zZãì�F,ÀZL–~.ÆŒÛd$F,ƒYìpZkÅZL–~.Æ‚Bðzù_“êZiªkìX@*gõÆCÙŠzg~',RÅ£òi!*âV~ZŠ'VÅ!dqä8ð

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17

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My love has come home today

He strikes the gong time again and again

And shortens my night of dance and song

68

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2. Comparative literature as a literary strategy (1993)

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ILÃg3ì

One afternoon I found Petey lying on his bed with an expression of such distress

on his face that Iimmediately diagnosed appendicitis. “Don’t move,” I said,

“Don’t take a laxative. I’ll get a doctor.”

“Raccoon,” he mumbled thickly.

“Raccoon?” I said, pausing in my flight.

“I want a raccoon coat,” he wailed.

I perceived that his trouble was not physical, but mental. “Why do you want a

raccoon coat?”

“I should have known it,” he cried, pounding his temples. “I should have known

they’d come back when the Charleston came back. Like a fool I spent all my

money for textbooks, and now I can’t get a raccoon coat.”

“Can you mean,” I said incredulously, “that people are actually wearing raccoon

coats again?”

“All the Big Men on Campus are wearing them. Where’ve you been?”

“In the library,” I said, naming a place not frequented by Big Men on Campus.

He leaped from the bed and paced the room. “I’ve got to have a raccoon coat,”

he said passionately.

“I’ve got to!”

“Petey, why? Look at it rationally. Raccoon coats are unsanitary. They shed.

09

They smell bad. They weigh too much. They’re unsightly. They—”

“You don’t understand,” he interrupted impatiently. “It’s the thing to do. Don’t

you want to be in the swim?”

“No,” I said truthfully.

“Well, I do,” he declared. “I’d give anything for a raccoon coat. Anything!”

My brain, that precision instrument, slipped into high gear. “Anything?” I

asked, looking at hinarrowly.

“Anything,” he affirmed in ringing tones.(2)

Max Shu lman B : 14 -03-1919 ™9·{yäZ%O'×Zbógm]Ð)4èI

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19

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