1 Translation studies project INTERNATIONAL ISLAMIC UNIVERSITY M.A ENGLISH LITERATURE & LANGUISTICS 4th SEMESTER-SECTION A COMPARATIVE LITERATURE Subject: TRANSLATION PROJECT SUBMITTED TO: MADAM NIGHAT SUBMITTED BY: HUMA ASLAM HUMA HAFEEZ SUMAIRA BIBI KINZA GHAFOOR
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‘TRANSLATION ANALYSIS OF A FAREWELL TO ARMS WRITTEN BY ERNEST HEMINGWAY, TRANSLATED BY ASHFAQ AHMAD AS WIDAA-E-JUNG’
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1Translation studies project
INTERNATIONAL ISLAMIC UNIVERSITY
M.A ENGLISH LITERATURE & LANGUISTICS
4th SEMESTER-SECTION A
COMPARATIVE LITERATURE
Subject: TRANSLATION PROJECT
SUBMITTED TO: MADAM NIGHAT
SUBMITTED BY:
HUMA ASLAM
HUMA HAFEEZ
SUMAIRA BIBI
KINZA GHAFOOR
2Translation studies project
‘TRANSLATION ANALYSIS OF A FAREWELL TO ARMS WRITTEN
BY ERNEST HEMINGWAY, TRANSLATED BY ASHFAQ AHMAD AS
WIDAA-E-JUNG’
INTRODUCTION:
Translation is “the process of turning an original or "source" text into a text in another
language1.” It is communication between humans; however, unlike most human linguistic
communication, it is tied to communication between two parties that do not understand one
another without the mediation of a middleman – a translator.
“Translation has a central core of linguistic activity, it belongs most properly to semiotics,
the science that studies sign systems or structures, sign processes and sign functions”2.
Beyond the notion stressed by the narrowly linguistic approach, that translation involves the
transfer of `meaning' contained in one set of language signs through competent use of the
dictionary and grammar, the process involves a whole set of extra-linguistic criteria also.
According to Nida and Taber in The Theory and Practice of Translation, “Translating consists
in reproducing in the receptor language the closest natural equivalent of the source-
language message, first in terms of meaning and secondly in terms of style”.
Our project is about translation analysis of A Farewell to Arms (English text) by Ernest
Hemingway translated as Widaa-e-Jang (Urdu text) by Ashfaq Ahmad. Although the manner
and the style of English language differs to some extent as compared to Urdu language, even if
the translator tries his best to retain authenticity. In our present project, we are going to analyze
that how the manner and the style are different in the two languages. "To translate, one must
have a style of his own, for otherwise the translation will have no rhythm or nuance, which come
from the process of artistically thinking through and moulding the sentences; they cannot be
1Jeremy Munday2 Hawks, Structuralism and Semiotics, London, 1977
Text = verbal component of a communication process (text-with-a-function)
communicative translation
a) normal case
b) special subtype
a) integral communicative performance
b) all kinds of changes of function
Table 2 Katharina Reiss’s model of translation typology
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ANALYSIS OF THE TARGET TEXT:
EUGENE NIDA AND THE SCIENCE OF TRANSLATING:
Eugene Nida rejects the “free” versus “literal” debate in favor of the concept of formal and
dynamic equivalence – a concept that shifts the emphasis to the target audience. His introduction
of the formal and dynamic equivalence was crucial in introducing a receptor-based (or reader-
based) orientation to translation theory.
Eugene A. Nida (1964) distinguishes between formal and dynamic equivalence in translation. He
says “formal equivalence” refers to a faithful reproduction of source-text form elements
whereas a “dynamic equivalence” refers to equivalence of extra linguistic communicative effect
(Nida 1964 in Nord 1997: 5). Moreover, in “A Framework for the Analysis and Evaluation of
Theories of Translation” (1976) Nida emphasizes the purpose of translation, the roles of both the
translator and the receivers or recipients of translation, and also the cultural implications of the
translation process.
Nida’s model of equivalence is applicable to the translation of A Farewell to Arms as Widaa-e-
Jung. Examples from the text are as follows:
1. Formal equivalence is described as; it focuses attention on the message itself, in both
form and content. It is actually word to word translation of the text.
ST (Source Text) TT (Target Text)
The trunks of the trees too were dusty and
the leaves fell early that year.(pg 7)
اس اور تھے چکے ہو آالود گرد بھی تنے کے درختوںتھی۔ ہوگئ شروع جلد بہت جھڑ پت (pg 5) سال
The plain was rich with crops, there were
many orchards of fruit trees and beyond
the plain the mountains were brown and
bare.(7)
پھلدار ۔ اور تھی کھڑی فصلیں بجا جا میں میدان
تھے موجود یہاں باغ کئ کے درختوں
آاتے نظر ننگے اور خاکستر پہاڑ پرے سے میدان
15Translation studies project
تھے
(Pg 5)
The next year there were many victories.
(pg 8)
ہوئیں فتوحات بڑی سال (pg 6) دوسرے
The day had been hot.
(pg 21) ۔ تھی رہی گرمی بھر (pg 26) دن
The carpet on the stairs was worn.
(pg 115) تھا گھساپٹا نہایت قالین ہوا بچھا بر pg)سیڑھیوں
167)
I stepped out into the rain and the carriage
started.
(pg116)
دی چل بگھی اور ہوگیا کھڑا میں بارش کر اتر ۔ میں
(pg 168)
The roads were muddy.
(pg 118) ۔ تھا کیچڑ پر (pg 173) سڑکوں
I went to the door and looked out.
(pg 128) ۔ لگا دیکھنے باہر اور گیا چلا تک دروازے میں(pg 189)
The girl looked at me fiercely.
(pg 141) طرف میری سے کرختگی نہایت نے لڑکی اس۔ دیکھا
(pg 209)
Later we were on a road that lead to a
river. (pg 150)
بعد طرف کی دریا جو ہولئے پر سڑک ایسی ایک ہم میں
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(pg 224)
We were supposed to wear steel helmets
even in Gorizia.(pg 25) بھی میں گوزریا کہ تھی جاسکتی کی توقع سے ہمکریں رہا پہنے خود فولادی ۔ہم
(pg 32)
From the above instances, it can be seen that sentences from source text (ST) is translated word
to word in the target text (TT) i.e. Urdu.
2. Dynamic equivalence is defined as the relationship between receptor and message which
is substantially the same as that which existed between the original receptors and the
message. It is actually sense to sense translation of the text.
ST (Source Text) TT (Target Text)۔
Sculpture had always seemed a dull business.
(pg 25)
لگتا کام والا دینے اکتا بڑا سے ہمیشہ تراشی بت مجھے۔تھا
(pg 31)
It’s not my leg. I got a rupture.
(pg no. 29)
شکایت کی ورم نہیں،صرف نقص کوئ تو میں ٹانگ(pg 38)ہے
The driver came out of the door with papers
for the wounded in the car.
(page no. 29)
پیش کاغزات وہ مجھے اور نکلا باہر سے میں کار ڈرائیورتھے متعلق سے زخمیوں موجود میں کار جو کیے
(pg 38)
I drove coming back and went fast with the
empty
car to find the man from Pittsburgh.(30)
کیونکہ دی کر تیز رفتار کی کار نے میں پر واپسیتھا رہا ستا خیال کا سپاہی کے جوہرٹسبرگ مجھے
(pg 40)
The column stalled again in the night and did
not start. I got down and went back to see
میں سکا۔ چل نہ پھر اور گیا رک ٹریفک پھر کو راتکرنے دریافت خیریت کی بونیلو اور ایمو اور اترا نیچے
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Aymo and Bonello. Bonello had two sergeants
of engineers on the seat of his car with him.
They stiffened when I came up. (140)
سارجنٹ دو اور انجینئر پر سیٹ کی بونیلو دیا۔ چل
سے کنچھے کنچھے وہ ہی دیکھتے تھے۔مجھے بیٹھےبیٹھے ہو پرے
(pg 209)
They were ruddy and healthy looking (152). تھے۔ ہورہے گلابی چہرے کے فوجیوں صحتمند ان(pg 226)
They did not talk but we could not have heard
them because of the noise from the river.(pg
152)
بھی باتیں وہ اگر لیکن تھا۔ خاموش بالکل رسالہ سارا یہشور کا دریا کیونکہ پہنچتی نہ تک ہم آاواز انکی تو کرتے
ڈوبتا لے کو آاوازوں انکی(pg226 )
It was beginning to be light enough,
so I could see the bushes along the shore-line.
(163)
اگی کنارے کے دریا اور تھی رہی پھیل روشنی کی دنتھی لگی آانے نظر جھاڑیاں ۔ہوئ
(pg 244)
While we play billiards, we drank champagne.
(181)
پۓ پیک کئ کے شیمپئن ہوۓ کھیلتے بلیرڈ نے ہمتھے(pg 270 )
I went to the door very softly, not to disturb
Catherine, and opened it. (188)
کو کیتھرین میں پہنچا تک درواذے پاوں دبے میںکھولا پٹ سے آاہستہ نے میں تھا۔پھر چاہتا نہیں جگانا
(pg 281)
From these instances, it can be seen that sentences from source text (ST) is translated sense to
sense in the target text (TT) i.e. Urdu. The meaning of the source text is closer to the meaning of
target text.
2. ROMAN JAKOBSON: THE NATURE OF LINGUISTIC MEANING AND
EQUIVALENCE:
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Roman Jakobson in On Linguistic Aspects of Translation, described three kinds of translation;
intralingual, interlingual and inter-semiotic. Jacobson examined the key issues of interlingual
translation (i.e. translation between two different written languages) notably linguistic meaning
and equivalence.
Jakobson has built his model on the relation set out by Saussure between the signifier (the
spoken and written signal) and the signified (the concept).together, the signifier and the signified
form the linguistic meaning; that is arbitrary. He then moves on to consider the thorny problem
of equivalence in meaning between words in different languages. Jacobson says that: ‘There is
ordinarily no full equivalence between code-units.’
Jakobson’s model of linguistic meaning and equivalence is applicable to the translation of A
Farewell to Arms as Widaa-e-Jung. For example, the English word patriot is translated in Urdu
as Razaa kaar. Though there is no full equivalence between code-units in English and Urdu but
still the meaning is conveyed. For the message to be ‘equivalent’ in source text (ST) and target
text (TT), the code-units will be different since they belong to two different sign systems
(languages) which partition reality differently.
As in Jakobson’s description, interlingual translation involves ‘substituting messages in one
language not for separate code-units but for entire messages in some other language’. Thus it is
not any inability of one language to render a message that has been written in another verbal
language. (Jakobson 1959/2004; 139)
For Jakobson, cross-linguistic differences centre on obligatory grammatical and lexical forms;
‘languages differ essentially in what they must convey and not in what they may convey’ .
(Jakobson 1959/2004; 139)
The differences in interlingual translation (English-Urdu, vice versa) occur at:
1. The Level of Gender:
There are certain nouns which are feminine in English language but are masculine or
neutral in Urdu. Likewise, sometimes it is the other way around. For example,
ST (Source Text) TT (Target Text)
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A bat flew
Page no. 75
ہوئ اڑتی چمگادڑPage no.111
the moon shone through
Page no. 261
لگا چمکنے چاندPage no. 290
the lake widened
Page no. 261
تھی گئی ہو چوڑی کر پھیل جھیلPage no. 290
the wind blew
Page no. 276
چلتی ہوا تیزPage no. 305
they should declare war on her (Austria)
Page no. 79
گا کرے جنگ خلاف کے ؟آاسٹریاPage no. 84
From the above examples it can be observed that ‘moon’ is neutral in English while it is
masculine in Urdu. Likewise, ‘Austria’ is feminine in English while masculine in Urdu.
2. The Level of Aspect:
The level of aspect involves the change of part of speech.
ST (Source Text) TT (Target Text)
I couldn’t conscientiously open a knee
Page no. 97
بات اس مجھے ہی ضمیر میراگا دے نہ اجازت کیPage no. 106
Don’t talk
Page no. 97
کرو۔ ختم باتیںPage no. 106
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As in the above-given examples, ‘Conscientiously’ is adverb in English while it is noun
in the Target text i.e. Urdu.
3. The Level of Semantic Fields:
The main focus of the level of semantic fields is equivalence in meaning between the two
languages.
ST (Source Text) TT (Target Text)
Races
Page no. 94
دوڑ گھڑPage no. 134
Bandaged
Page no. 94
بندھا میں پٹیوںPage no. 134
Bowed
Page no. 115
سلام کر جھکا سرPage no. 167
sunset
Page no. 57
روشنی کی شفق Page no. 48
tanneries
Page no. 188
کارخانے۔ والے رنگنے چمڑاPage no. 208
Undressing
Page no. 38
کرنا تبدیل کپڑےPage no. 36
horse-drawn carts
Page no. 188
گاڑیاں۔ گھوڑاPage no. 208
British batteries
Page no. 42
خانے توپ انگریزPage no. 41
wedge like gap
Page no. 261
شگافPage no. 290
steer
Page no. 261
پھیرنا رخ کا کشتیPage no. 290
21Translation studies project
under your arm
Page no. 261
بغلPage no. 290
Close
Page no. 260
قریب قریب Page no. 289
noble
Page no. 260
الشان عظیمPage no. 289
marble
Page no. 260
مرمر ِگگ سنPage no. 289
ambulance
Page no. 260
شفاخانے سفریPage no. 289
As in the first example, there is one word ‘sunset’ in the source text while in the Urdu language
in order to achieve equivalence in meaning, it has been translated into more than one words in
Urdu.
VINAY AND DARBELNET’S MODEL:
Vinay and Darbelnet carried out a comparative stylistic analysis of French and English. They
noted the differences and identified the translation strategies and ‘procedure’ in the texts of both
the languages i.e. source text and target text. The two general strategies identified by them are:
1. Direct translation
2. Oblique translation
Both the strategies comprising seven procedures can be found in the translation of the text A
Farewell to Arms into Widaa-e-Jung.
Direct Translation:
22Translation studies project
Direct translation is a literal or word for word translation. It covers the following three
procedures:
1. Borrowing:
In borrowing, the word in the source language (SL) is directly transferred into target
language (TL). It is done to bridge the semantic gap between two languages. For example,
ST (Source Text) TT (Target Text)
station
page no. 116
سٹیشن Page no. 168
Radiator
Page no. 140
ایٹر ریڈیPage no. 208
first
Page no. 108
فسٹPage no. 104
machine
Page no. 108
مشین Page no. 104
x-ray
Page no. 108
ایکسرےPage no. 104
surgeon
Page no. 108
سرجنPage no. 104
Shawl
Page no. 191
شالPage no. 214
Gear
Page no. 191
گیئرPage no. 214
socialist
Page no. 191
سوشلسٹPage no. 214
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regiment
Page no. 191
رجمنٹPage no. 214
Seats
Page no. 35
سیٹوںPage no. 45
unit
Page no. 35
یونٹPage no. 45
mess
Page no. 35
میس Page no. 45
Espagette
Page no. 35
اسپاگئیPage no. 45
Bench
Page no. 35
بنچPage no. 45
truck
Page no. 35
ٹرکPage no. 45
stock-yard
Page no. 35
یارڈ سٹاک Page no. 45
Cabin
Page no. 35
کیبنPage no. 45
hoyle
Page no. 35
ہویلPage no. 45
porch
Page no. 35
پورچPage no. 45
Order
Page no. 35
آارڈرPage no. 45
In all of the above examples words in source language are directly transferred in target text.
2. Calque:
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Calque is ‘a special kind of borrowing’ in which the source language expression is
transferred in a literal translation. For example,
ST (Source Text) TT (Target Text)
Fuse cap
Page no. 80
کیپ فیوزPage no. 118
Medals
Page no. 118
میڈلز Page no. 174
clearing station
page no. 135
سٹیشن کلئیرنگPage no. 201
Field hospitals
Page no. 135
ہسپتالوں فیلڈPage no. 201
metal to metal brakes
Page no. 35
بریکوں مکینیکلPage no. 45
golden gate
Page no. 35
گیٹ گولڈنPage no. 45
wheel
Page no. 35
وہیلPage no. 45
Sergeant
Page no. 35
سارجنٹ Page no. 45
differential
Page no. 35
ڈفرنشیلPage no. 45
ambulance
Page no. 35
ایمبولنسPage no. 45
25Translation studies project
In the above examples, Urdu substitutes of the words like ambulance, golden gate etc could be
used by the author, but he borrowed these words as it is from the source text, and transferred the
source language expression in a literal translation.
3. Literal Translation:
It means word for word translation. For example,
ST (Source Text) TT (Target Text)
Rotten
Page no. 182
خراب Page no. 271
Delightful language
Page no. 185
زبان پرلطفPage no. 276
Noble young man
Page no. 74
نوجوان طبیعت نیکPage no.109
Good man
Page no. 189
النفس شریفPage no. 210
Good night
Page no. 190
بخیر شبPage no. 210
In cases where literal translation is not possible, the strategy of oblique translation is used.
2. Oblique Translation:
Oblique translation refers to the free translation of the source text into the target text. The
following four procedures fall in the oblique translation.
1) Transposition:
It is a change of one part of speech for another without changing the sense. For example,
26Translation studies project
ST (Source Text) TT (Target Text)
You talked out loud
Page no. 143
تھے رہے بول اونچے اونچے آاپPage no. 213
He slept heavily
Page no. 211
ہے۔ کرتی ہوا گہری بہت نیند اسکیPage no. 234
‘I was very extravagant darling’, she said,
‘but it’s a fine.’
Page no. 148
بڑا گاوں لیکن خرچی فضول تو کی لگی، کہنے وہہے۔ خوبصورت
Page no. 161
In the first example, the word ‘loud’ is a verb in the source language which shows some action.
While in its translation it has been changed to noun that is ‘bol’. Similarly in the second
example, the word ‘slept’ is a verb in the source language which shows some action. While in its
translation it has been changed to noun that is ‘neend’
2) Modulation:
It changes the semantics and point of view of source language. It exists in sentences where
the translator changes the sentences in such a way e.g. affirmative to negative, active to
passive, etc. but meaning remains the same as shown through the given examples. For
example,
ST (Source Text) TT (Target Text)
If I had brains I wouldn’t be here.
Page no. 151
کیا ہوتا یہاں میں تو ہوتی عقل میں مجھ ؟اگر
Page no. 225
Why haven’t you brains, anarchist?
Page no. 151
بھلا۔ آائ نہ کیوں عق تجھے دشمن حکومت اےPage no. 225
27Translation studies project
the Austrians were sons of bitches
Page no. 95
لگا دینے گالیاں کو لوگوں آاسٹرینPage no. 104
I shook hands with the third doctor
Page no. 98.
ملایا ہاتھ باری باری ساتھ کے ان نے میں Page . پھر
no. 107
you wouldn’t be in bed
Page no. 108
کہا۔ کو رہنے نے کس کو آاپ بھلا میں بستر لیکنPage no. 99
we’re all friends here
Page no. 160
ہے ہیں۔ ن تو غیر کوئی یہاںPage no. 177
I didn’t say anything
Page no. 211
رہا۔ خاموش میںPage no. 233
no one was talking
Page no. 215
تھی خاموشی طرف ہرPage no. 238
3) Equivalence:
Equivalence is used to refer to the cases where different languages describe the same
situation by different stylistic or structural means.
ST (Source Text) TT (Target Text)
It was all right.
Page no.185
مجھے اور گۓ جھٹ بادل کے وسوسوں تمامرہا۔ نہ اندیشہ کا قسم کسی
Page no. 273
It is a very unattractive wisdom
Page no. 187
ہے۔ شے بھونڈی نہایت تو دانشمندی ایسیPage no. 279
I said I had killed plenty خاکسار کہ کیا اقبال ساتھ کے انکساری جھٹ نے میں
28Translation studies project
Page no. 95 ہیں مارے آاسٹرین کئی نےPage no. 104
And much lifting I was upstairs and in bed
again
Page no. 95
چہرہ پرور سکون پر بستر اپنے نے میں کرکے خدا خدا اوردیکھاPage no. 104
an army travels on its stomach
Page no. 195
سہارے کے پیٹ اپنے ہمیشہ فوجہے چلتی Page no. 216
In the above examples, the translator has used idioms and proverbial expressions while
translating simple sentences but still the meaning is fully conveyed.
4) Adaptation:
It involves the changing of cultural reference when a situation in the source language culture
doesn’t exist in the target language culture. For example,
ST (Source Text) TT (Target Text)
Go to hell
Page no. 52
پہہ تم ہو لعنتPage no. 73
I hope to Christ not.
Page no. 149
کرے نہ خداPage no. 222
it was like being put to bed after early
supper
Page no. 72
ابھی ہےاور گئی ڈال میں بستر کر کھلا کھانا مجھے اماںگی سنائیں کہانیاں مجھے کر نکل پریاں میں اندھیرے
Page no. 75
for Christ’s sweet sake take me to some
room
Page no. 83
چلو لے میں کمرے کسی مجھے لیے کے Page خدا
no. 91
Christ, I say it’s rotten ہوں کہتا سچ قسم کی پروردگار پاک اس
29Translation studies project
I say it’s rotten. Jesus
Page no. 40 Page no. 39
Jesus Christ, ain’t this all a goddamn war?
Page no. 41
ہے جنگ لعنتی حد بے یہ قسم کی پاک .Page no خدا
40
they’ll shell the hell out of us
Page no. 52
گے کریں بمباری ایسی پر ہم وہگا جائے آا یاد دودھ کا چھٹی کہPage no. 50
The given examples show that the writer has used or changed the words according to his beliefs
and cultural context.
KATHARINA REISS’S TEXT TYPOLPGY:
The target text (TT) i.e. Widaa-e-Jung is both an expressive and informative text.
The informative text is one which provides us information about the facts. In this case, the
target text provides us information about the details and horrors of the World War.
1. Language and Dimension:
Being an informative text, the Target Text represents the full accounts of objects and figure.
Examples from the source and target texts are given below:
ST (Source Text) TT (Target Text)
At the front they were advancing on the Carso,
they had taken Kuk across from Plava and
were taking the Bain-sizza plateau.
Page no. 85
تھیں رہی بڑھ جانب کی کاسو فوجیں ہماری پر محاذ دنوں اناور تھا۔ جاچکا کیا قبضہ پر کوک کر بڑھ سے جانب کی پلاوہ
جاری کوششیں کی لینے کو بانیزاPage no. 97
Many Germans in Italian uniform mixing with پہنے وردیاں اطالوی فوجی جرمن سارے جانب بہت کی شمال
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the retreat in the North. That as one of those
things you always heard in the war
Page no. 209.
جنگ افواہیں ایسی تھے رہے آا چلے کر مل ساتھ کے فوجیوںتھیں ہیں ہوتی حصہ لازمی کا
Page no. 232
Not in war times. I don’t think they let the
Italians cross the frontier.
Page no. 267
اطالویوں۔ یہ ہے خیال میرا ہوتا۔ نہیں ایسا میں زمانے کے جنگگے ہوں دیتے آانے نہ پار سرحد Page no. 296 کو
I am sorry, we haven’t any rolls in war time
Page no. 268.
ملا نہیں روز ہاں ہمارے میں زمانے کے جنگ کیجیے معافکرتے Page no. 297۔
The above examples show that the text type is ‘plain communication of facts’ i.e. it is
informative and referential.
2. Text Focus:
The Target Text (TT) is content-focused and descriptive as well. For example:
ST (Source Text) TT (Target Text)
We walked down the stairs instead of taking
the elevator. The carpet on the stairs was
worn. I had paid for the dinner.
Page no. 115
راہ کی سیڑھیوں نے ہم بجاۓ کی چڑھنے پر لفٹگھساپٹا نہایت قالین ہوا بچھا بر سیڑھیوں کی۔ اختیار
نے میں جسے تھا بیٹھا بیرا نزدیک کے دروازے تھا۔دئے ۔پیسے
Page no. 167
We got into Milan early in the morning and
they unloaded us in the freight yard. An
ambulance took me to the American hospital
Page no. 62
گہے۔ پہنچ میلان ہم الصبح علیگیا دیا اتار میں احاطے کے گودام مال ہمیں
ہوا روانہ میں ایبولینس ایک میں کو ہسپتال امریکن سے یہاںPage no. 89
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Catherine Barkley was greatly liked by the
nurses because she would do night duty
indefinitely.
Page no. 107
ہوگئ مقبول لۓ اس میں نرسوں بارکلے کیتھرینتھی رہی جا کیے ڈیوٹی کی رات بےتکان مسلسل وہ کیونکہ
Page no. 118
At the start of the winter came the permanent
rain and with the rain came the cholera. But it
was checked and in the end only seven
thousand died of it in the army.
Page no. 7
کے بارش اور گیا بندھ تانتا کا بارشوں ہی میں سردیوں شروع
اور گیا لیا پا قابو ہی جلد پر اس اس لیکن پھوٹا ہیضہ میں دنوںفقط کے چڑھے 7فوج بھینٹ کی اس جوان ہزار (page no.
6)
The text is expressive text and transmits the aesthetic and artistic form of Source text. The
translation uses the ‘identifying’ method; still the translator is adopting the stand point of ST
author. For example,
ST (Source Text) TT (Target Text)
I watched her brushing her hair, holding her
head so the weight of her hair all came on one
side. It was dark outside and the light over the
head of the bed shone on her hair and on her
neck.
Page no. 184
ایک سر اسنے لگا۔ دیکھنے سنوارتے بال اسے میںبوجھ سارا کا بالوں اسکے اور تھا رکھا جھکا کو طرف
اور تھا ہوا پھیلا اندھیرا باہر تھا۔ طرف کی جھکاؤ اسیکندھوں گردن، کی اس روشنی والی جلنے اوپر کے بستر
تھی۔ رہی جگمگا پر بالوں اورPage no. 275
When I awake after the operation I had not
been away. You do not go away They only
choke you. It is not like dying, it is just a
کہ ہوا احساس مجھے تو کھلی آانکھ میری بعد کے آاپریشن جب
کے آاپریشن دراصل تھا۔ موجود یہیں اور تھا گیا نہ کہیں میںنہیں چلا کہیں انسان ہوتے، نہیں غائب حواس میں دوران دورانجانا گھٹ یوں کا دم ہے جاتا پڑ سا پھندا میں گلے بس ۔ جاتا
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chemical choking, so you do not feel, and
afterwards you might as well have been drunk
except that when you throw up nothing comes
but bile and you do not feel better afterwards
Page no. 106
روک سانس پر طور کیمیائی بس ہوتا نہیں مشابہ بھی کے موتمیں بعد اور ہے۔ جاتا مر احساس کا موت اور ہے جاتا لیا سا
نہیں خمار وہ لیکن تھا نشہ کا شراب کو آاپ جیسے ہے لگتااندر اور ہے رہتا الٹا معدہ وقت سارا اور ہوتا۔ کے صفرا سوائے اندر
ہے۔ رہتی منغض حد بے طبیعت اور نکلتا نہیں بھی کچھ
(page no 117)
I am afraid of rain because sometimes I see me
dead in it
Page no. 125
میں کبھی کبھی ہے۔ آاتا خوف بڑا سے بارش اس مجھےہوں پڑی مری میں اس میں اور ہے ہورہی بارش کہ ہوں دیکھتی
Page no. 133
The shutters were up but it was still going on
inside. Page no. 38
زندگی اندر لیکن تھے ہوۓ کھنچے پردے اور تھے بند دریچےموجود افتاںوخیزاں گہماگہمی تھیPage no. 36 کی
It seems she had one hemorrhage after
another. They couldn’t stop it. I went into the
room and stayed with Catherine until she died.
She was unconscious all the time, and it did
not take her very long to die
Page no. 317
کے دورے ایک بلکہ نہیں تھما لہو کا کیتھرین کہ تھا لگتا یوںاندر میں سکے۔ نہ روک بہاو کا لہو وہ تھا۔ پڑتا دورہ دوسرا بعد
وہ رہا۔ ہی پاس کے اس میں تک مرنے کے کیتھرین اور گیا چلا
قبول کو موت اور رہی بیہوش وقت سارالگی نہ بھی دیر ایسی کچھ اسے میں کرنے Page no. 352
Blow, blow ye Western wind.
Page no. 191
آا چلی آا۔۔۔۔۔چلتی چلی ۔۔۔۔چلتی پچھواPage no. 212
From the given examples, it can also be said that the text is a ‘creative composition’ that is
aesthetic and expressive.
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ASHFAQ AHMAD AS A TRANSLATOR:
Importance of translator is defined as; ‘...the translator is a bilingual mediating agent between
monolingual communication participants in two different language communities4’.
Role of a translator varies from culture to culture, country to country, and from text to text.
Translator acts as a mediator or reconciliatory and bridges the gap between source text (ST) and
aesthetics of the source text in the target text.
In the translation of the novel A Farewell to Arms as Widaa-e-Jang Ashfaq Ahmad has played a
role of both mediator and creator.
As a translator, Ashfaq Ahmad is first and foremost a mediator between the two parties for
whom mutual communication might otherwise be problematic. He not only possessed a bilingual
ability but also had bicultural vision. He has tried to overcome the incompatibilities which stand
in the way of transfer of meaning. There are certain signs which have the value in one cultural
community but are devoid of significance in another. Ashfaq Ahmad being a creative translator
has identified and resolved the disparity between two cultures.
Furthermore, the translation of the title of the novel (A farewell to Arms as Widaa-e-Jang) also
reflects his creative ability as a translator. The translation of the title of our source text is a
literary one. Because Ashfaq Ahmad has not translated it word for word but he has conveyed the
sense which renders the connotative power present in the original English words of the title.
Widaa- e -Jang reflects Ashfaq Ahmad’s reading and defines him as a non ordinary reader. He
has also involved his own beliefs and values in the process of translation and has also skipped
certain sentences and paragraphs in his translation. In most part of the novel he has translated
many simple sentences in the form of proverbs.
Widaa-e-Jang reflects Ashfaq Ahmad’s reading and defines him as a non-ordinary reader. In
short, looking at the general and specific analysis of the novel, the translator’s role as a creator
and mediator can be justified. He has attempted to present the original text’s theme and main
idea with great fidelity and care.
4 David Katan’s Translating Cultures (2004: 16).
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FINDINGS AND CONCLUSION:
An analysis of the target text(TT) and the source text(ST) i.e. Farewell to the arms by Earnest
Hemingway and Wida-e-Jung by Ashfaq Ahmed, exhibits the Equivalent effect, No formal
correspondence, Proverbial expressions, Natural and easy expressions, Sense for sense
translation, Changed according to personal beliefs, Skipping of paragraphs and sentences,
Aesthetics is preserved/maintained
All the four models given above are fully applicable to the translation of A Farewell to Arms. In
a crux it can be said that, Widaa-e-Jung is a fine translation of A Farewell to Arms by Ashfaq
Ahmed. It carries traces of different approaches and theoretical frameworks of translation given
by theorists.
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REFERENCES:
Introducing Translation Studies by Jeremy Munday, 2nd Edition