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University of Nizwa
College of Arts and Sciences
Department of Foreign Languages
A Translation of an Excerpt from the Fairy Tale “The King of the Golden
River” with a Focus on Semantic and Textual Aspects
A Project Submitted in Partial Fulfilment of the Requirements for the Bachelor Degree in
English and Translation
By: Masoud Siaf Mohammed AL Khanjari
Supervisor: Ms. Fatima Salman
2014/2015
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Table of Contents
Dedication. 2
Acknowledgements. 3
Abstract 4
CHAPTER 1
Introduction 5
CHAPTER 2
Literature Review 6
Global and Local strategies 6
Semantics 9
Cohesion 12
CHAPTER 3
Introduction 14
Readership 14
Purpose of translation 15
Text type 15
Global strategy 15
Translation 18
CHAPTER 4
Annotation 27
Conclusion 33
References 34
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Dedication
I would like to dedicate this work:
To my entire family, most importantly my parents.
To my supervisor Fatima Salman.
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Acknowledgment
I would like to take this opportunity to express my heartfelt thanks to my
advisor Ms. Fatima Salman for her support and encouragement, during my
studies in general and during this project in particular, and for her generosity
with her time during the many enlightening and highly enjoyable advising
sessions. I would like to express my sincere gratitude to Dr. Ali Almanna for all
the time he has dedicated to this project, his constant supervision, his helpful
academic advice, and his kindness and patience.
I would also like to thank the entire faculty in the Department of Foreign
Languages of the University of Nizwa. With their help, I was able to know the
world of English language more widely.
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Abstract
This study aims to investigate the issues of semantics and cohesion that
aims in translating John Ruskin's fairy tale. It is significant to all translators who
are interested in conveying a correct translation and avoiding misunderstanding
other languages. The researcher is going to translate an excerpt from the fairy
tale "The King of the Golden River" from English into Arabic and try to
overcome the translation problems. He will also focus on semantics and
cohesion issues and comment on them. There are some methods or procedures,
which have been found to overcome the problems that translators may
encounter. So, the researcher advices all translation students or professional
translators to make sure they understand these methods before starting their act
of translating.
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Chapter One
Introduction
Translation typically has been used to transfer written or spoken SL texts to equivalent
written or spoken TL texts. Ghazala states: “As a subject, translation is generally used to refer
to all the processes and methods used to convey the meaning of the source language into the
target language” (1995:1). This means that translation is transferring the meaning of a text
from one language into another. We need translation because it has a very important role in
human communication. For that, people are interested in this science especially when the
texts talk about other cultures, religions and history. We as Arabs need to know more about
Western civilizations to understand them and to increase our cultural awareness, and enrich
our knowledge that could be achieved by reading books related to them.
The aim of the study is to translate an excerpt from the fairy tale "The King of the
Golden River" from English into Arabic and to highlight the problems that the translator
faces in translating the fairy tale "The King of the Golden River" and comment on some
translation- relevant options. It also aims at finding suitable solutions for problems of
semantics and cohesion.
In considering the objectives of this study, the researcher is going to translate an excerpt
from the fairy tale "The King of the Golden River" from English into Arabic and try to
overcome the translation problems. The researcher will classify the semantic and textual
issues encountered in the translation process of this particular tale along with the examples
and then discuss them. He will also focus on semantic and cohesion issues and comment on
them.
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Chapter two
Literature Review
Global and Local strategies:
Many scholars agree that the notion of translation strategies has been discussed by
translators and in translation studies for ages. The term strategy is used by scholars to refer
either to a general mode of text transfer or the transfer operation performed on particular
structure, item or idea found in the source text. There are two types of strategies: global and
local. According to Kemppanen, et al (2012:50), "global refers here to an overall strategy that
is used by the translator on the level of the whole text, and 'local' to a strategy which is used
for solving an individual translation problem in a text". Vinay and Darbelnet proposed two
general translation methods in the first instance: (1) direct translation; and (2) oblique
translation. These were then broken down into more specific methods: direct translation
consists of three procedures: borrowing, calque and literal translation, while oblique
translation includes four: transposition, modulation, equivalence and adaptation (1995).
Overall, then, they suggest seven procedures of translation, namely, borrowing,
calque, literal translation, transposition, modulation, equivalence and adaptation
(Almanna, 2014(.
1 - Borrowing: "is the direct transfer of the source language (SL) words to the target language
(TL)" (Ducati, 2009:49). An example of borrowing is the borrowings of mathematical,
scientific and other terms from Arabic into English (e.g. الجبر [al-jabr] to algebra).
2 - Claque: "is a special type of borrowing whereby a language borrows an expression form
of another, but then translates literally each of its elements" (Hatim and Munday, 2004:149).
The result is either:
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A- Lexical claque: "which respects the syntactic structure of the TL while introducing a new
mode of expression such as pluralizing, for instance the borrowed word موبايل in Arabic after
being transliterated from English" (Almanna,2014:75(.
B- Structural claque: "which introduces a new construction such as using the passive voice
'by-structure', i.e قبل . من in Arabic" (Almanna, 2014:75).
3- Literal translation: "is the direct transfer of a SL text into a grammatically and
idiomatically appropriate TL text in which the translators' task is limited to observing the
adherence to the linguistic servitudes of the TL" (Hatim and Munday, 2004:149). In other
words, literal translation is a strategy of translating word-for-word, whereby every word of
the source text (ST) is substituted with a word in the target text (TT).
4- Transposition: "is a structural change whereby a part of speech is translated by another
part of speech, without changing the sense of SL element" (Dukate,2009:49). From a stylistic
point of view, the base and the transposed expression do not necessarily have the same value.
Translators must, therefore, choose to carry out a transposition if the translation thus obtained
fits the utterance better, or allows a particular nuance of style to be retained. Indeed, the
transposed form is generally more literal in character (Almanna, 2014(.
5- Modulation: Vinay and Darbelnet define modulation as "a variation of the form of the
messages obtained by changing point of view" (1995:36). At the most basic level, modulation
might involve changing a sentence from a positive to negative, for example, "Easy to use" vs.
"Not difficult", and replacing abstract concepts with concrete concepts, for instance, "Reboot
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→ Restart, start again", and replacing a concept "part for whole" or "whole for part", for
example, transmission (whole) with gears (part). According to Vinay and Darbelent, (1995),
modulation as transposition could be 'optional' or 'obligatory'. The negative English
expression [It is not difficult to show….] must be translated as a positive Arabic expression
تبينّ أن السهل من , (Almanna, 2014). The translator who has facility in both target and source
languages will simply know these phrases to be equivalent, despite the differences in their
grammatical structures.
6- Equivalence: "refers to the possibility of rendering an idiom, proverb, cliché, nominal or
adjectival phrase, etc. by using completely different stylistic and structural methods as long
as it is used in the same situation in the interfacing languages", (Almanna,2014:77). In other
words, the same situation is described in the target text, but by different (stylistic) means
from that of the source text. In transmitting certain expressions and idioms the act of
translation cannot be literal, but demands that the translator find the equivalent formulation in
the target language. The translation of idioms serves as a good example here, the Arabic
idiomatic expression على أحرّ من الجمر which may well be translated into English as ‘to be on
pins and needles’ (Almanna, 2014).
7- Adaptation: it is used when the type of situation to which the SL message refers is
unknown in the TL culture, (Hatim and Munday, 2004). In such cases, Vinay and Darbelnet
suggest “the translators have to create a new situation that can be considered as being
equivalent” (1995:39). Adaptation can, therefore, be described as a special kind of
equivalence, a situational equivalence. A good example of adaptation is when the translator,
for instance, ''changes the proper name used as a vehicle in a simile like ‘he is as rich as
Croesus’ into another proper name such as ‘Qaroun’ in Arabic, as in ‘يملك مال قارون lit. He has
Qaroun’s wealth'' (Almanna, 2014:77).
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According to Vinay and Darbelent, the above procedures can be applied at three levels of the
text, namely, the lexicon, syntax and message. Vinay and Darbelent distinguish between
obligatory and optional changes within two categories: servitude and option. They consider
obligatory changes as arising due to linguistic differences and optional changes due to
subjective factors (Dukate, 2009).
Semantics:
According to Yule (2006:100), “semantics is the study of meaning of words, phrases
and sentences”. Semantic investigation operates at two levels: word level and phraseological
level .The first explores the relationships words have with each other within a language
system, their sense, which can be defined in terms of synonymy, antonymy, polysemy,
homonymy and hyponymy (McGee, lecture notes, fall 2014).
At the word level, componential analysis breaks down the meaning of a word into
components. For example the components of the word man would be: +human + adult +
male. Using these components, semanticists build grids which define the words of a
particular field according to the presence or absence of a particular component. At the
phraseological level, semanticists are mainly concerned with the truth value of linguistic
expressions (McGee, lecture notes, fall 2014).
Sense relations:
1- "The term ANTONYMY is used for ‘oppositeness of meaning’; words that are opposite
are ANTONYMY" Palmer (1981:94). In gradable antonyms, there can be degrees of
opposition (wide/narrow, old/young/, tall/short). In this case, the definition changes according
to the referent and there is usually a marked (young) and un-marked term (old ex. She is 16
years old) . In complementary antonyms the opposition between the terms is absolute
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(alive/dead). Relational antonyms are not either/or but there is a logical relationship between
them (above/below, husband/wife) (McGee, lecture notes, fall 2014).
2- According to Gokcesu, (2008:26) "the term 'polysemy' is used in linguistics to refer to
those words that have multiple meanings related to each other". When we encounter two or
more words with the same form and related meanings, we have what is technically known as
polysemy. Examples are the word head, used to refer to the object on the top of your body,
on top of a glass of beer, person at the top of a company or department, a head of lettuce and
many other things. Other examples of polysemy are foot (of person, of bed, of mountain) or
run (person does, water does, colors do).
If the word has multiple meanings (i.g. it's polysemous), then there will be a single entry,
with a numbered list of the different meanings of that word. If two words are treated as
homonyms, they will typically have two separate entries. In most dictionaries, bank, mail,
mole and sole are clearly treated as homonyms whereas face, foot, get, head and run treated
as examples of polysemy (McGee, lecture notes, fall 2014).
3- "We use the term homonyms when one form (written or spoken) has two or more
unrelated meanings" (Yule, 2006:107), as in these examples:
Bank (of river) - bank (financial institution)
Bat (flying creature) - bat (used in sports)
Mole (on skin) - mole (small animal)
Pupil (at school) - pupil (in the eye)
Race (contest of speech) - race (ethnic group)
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The temptation is to think that the two types of bank must be related in meaning. They
are not. According to Yule (2006:107), "homonyms are words that have separate histories
and meanings, but have accidentally come to have exactly the same form".
4- "When the meaning of one form is included in the meaning of another, the relationship is
described as hyponymy" (Yule, 2006:105). Examples are the pairs: animal/dog, dog/poodle,
vegetable/carrot, flower/rose and tree/banyan. The concept 'inclusion' involved in this
relationship is the idea that if an object is a rose when it is necessarily a flower, so the
meaning of flower is included in the meaning rose. Or, rose is a hyponym of flower (McGee,
lecture notes, fall 2014). When we consider hyponymous connections, we are essentially
looking at the meaning of words in some type of hierarchical relationship. We can represent
the relationship between a set of words such as animal, ant, asp, banyan, carrot, cockroach,
creature, dog, flower, horse, insect, living thing, pine, plant, poodle, rose, snake, tree and
vegetable as hierarchical relationship. Looking at the relationship, we can say that "horse is a
hyponym of animal" or "cockroach is a hyponym of insect". In these two examples, animal
and insect are called the superordinate (=higher level) terms. We can also say that two or
more words that share the same superordinate term are co-hyponym. So, dog and horse are
co-hyponym and the superordinate term is animal (Yule, 2006).
5- Synonymy:
There are two types of synonymy: total and sense or (near-synonyms).Total synonymy
is two words with the same range of meanings and are substitutable in all relevant contexts
without changing the meaning of the sentence. It does not exist. Sense or (near-synonyms) is
two words that are synonymous with respect to one or more of their meanings. An example
that shows near-synonymy is the two Arabic lexical items, "adhan" and "nida" meaning "call
for prayer". They are near-synonyms as they share the sense of calling and announcing. They
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can refer to the call made by the "mu'adhin" to indicate or announce the time of prayer.
However, in English, there is only one lexical item commonly used to convey the sense of
both of them (McGee, lecture notes, fall 2014).
Cohesion:
Baker, (1992:180) holds that "cohesion is the network of lexical, grammatical, and
other relations which provide links between various parts of a text". These relations organize
and create a text, for instance by requiring the reader to understand words and expressions in
the surrounding sentences and paragraphs. Cohesion is a surface relation; it connects together
the actual words and expressions. In Halliday and Hasan (1976), the inventory of cohesion
resources is organized as:
- Reference
- Ellipsis
- Substitution
-Conjunction
- Lexical cohesion
Gutwiski, (1976:57) develops "a closely related framework, including these resources
and (in addition, grammatical parallelism)". Reference refers to resources for referring to a
particular or circumstantial element whose identity is recoverable. In English, the relevant
resources include demonstratives, the definite articles, pronouns, comparatives, and the
phoric adverbs here, there, how, then. Ellipsis refers to resources for omitting a clause, or
some part of a clause or group, in contexts where it can be assumed (Baker, 1992). In English
conversation, rejoinders are often made dependent through omissions of this kind: Did they
win? - Yes, they did. Some languages, including English, have in addition a set of place
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holder, which can be used to signal the omission- e.g. So and Not for clauses, do for verbal
group, and one for nominal groups. This resource of place holders is referred to as
Substitution. Reference, ellipsis, and substitution involve small closed classes of items or
gaps, and have accordingly been referred to as grammatical cohesion (Gutwinski, 1976(.
Also, included as grammatical cohesion is the typically much larger inventory of
connectors which link clauses in discourse, referred to as Conjunction. For Halliday and
Hasan (1976), this resource comprises linkers which connect sentences to each other, but
excludes paratactive and hypotactic (coordinating and subordinating) linkers within
sentences, which are considered structural by Halliday and Hasan.
The complement of grammatical cohesion involves open system items, and so is
referred to as lexical cohesion. Here, the repetition of lexica items, synonymy or near-
synonymy (including hyponymy), and collocation are included. Collocation is a term for
expectancy relations between lexical items (e.g. the mutual predictability of strong and tea,
but not powerful and tea). The relationship between a cohesive item and the item it
presupposes in a text is referred to as a cohesive tie. Halliday and Hasan (1976) provide a
detailed coding scheme for analyzing cohesive ties, which takes into account the distance
between a cohesive item and the item presupposed (Schiffrin, et al 2001). "In general, the
interpretation of patterns of cohesive ties depended in each study on the register", as
predicted by Halliday and Hasan (1976:23).
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Chapter Three
Overview:
In this chapter, a text (2008 words) will be translated from English into Arabic. I will
annotate semantic and textual aspects while translating the text at hand.
Introduction:
The Source Text (ST) is a part of a fairy tale written by John Ruskin. John Ruskin was
born in England in 1819. He was a critic of art, architecture and society. He was a Victorian
sage and a gifted painter. His goal with his writings was to cause widespread cultural and
social change. This combination of the religious intensity of the Evangelical Revival and the
artistic excitement of English Romantic painting laid the foundations of Ruskin's later views
(www.victorianweb.org).
The fairy tale "The King of Golden River" selected here was published in London in
1851, with illustrations by the celebrated Richard Doyle, and at once became very popular.
Three editions were printed the first year, and soon it had found its way into German, Italian,
and Welsh. The text is taken from the beginning of the story. It tells of Hans and Schwarz,
two selfish, evil brothers whose greed costs them Endemic Treasure Valley and then their
lives, and of the third brother, Gluck, whose generosity and self-sacrifice restore the valley's
fertility. For more details see (www.gutenberg.org).
Word count: 2008 words
Readership:
There are a lot of issues that professional translators or translation students may
encounter when they are translating from English into Arabic and vice versa. The target
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readers of this study may be translators, students of translation and others who are interested
in literature. The primary audience imagined for this reader is academic: instructors and
students in advanced undergraduate or graduate courses in translation theory.
Purpose of translation:
There are two purposes of this translation. Firstly, a short-term objective, which is to
study semantics because it plays a very important role in translation and also, to study
cohesion and its role in translation. Secondly, a long-term objective, which is to get this
translated text published.
Text type:
The type of text is literary. As a rule, literary texts are transmitted in writing, although
sometimes orally transmitted (such as fairy tales) are included in literature as well. Literary
texts display many linguistic peculiarities, as well as social and cultural aspects of our lives
and, thus, we can assert that literary translation is one of the main ways of communication
across cultures. Translating literary texts, however, is not an easy task, since it certainly poses
many problems for the translator (Guerra, 2012). Translating literary works is, perhaps,
always difficult than translating other types of texts because literary works have specific
values called aesthetic and expressive values. According to Morina (2013:163) "literary texts
are solidly rooted in the source language (SL) and culture, yet due to linguistic or cultural
differences". Indeed, one of the most difficult problems in translating literary texts is found in
the differences between cultures.
Global strategy:
According to Kemppanen, Janis and Belikova (2012:50), "global [strategy] refers here to
an overall strategy that is used by the translator on the level of the whole text". In other
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words, the overall strategy you apply to a text as a whole- the crucial choice you have to
make at this point is how close to the source text you want your target text to be. According
to some scholars, beginner translators and amateurs focus on lexical units and seek
information in external translation aid, while experts concentrate on the text itself, its
semantic, pragmatic and inter-textual aspects, trying to extract as much information as
possible (Plonska, 2014).
According to Plonska (2014:71) "The comprehension strategies of amateurs have a local
orientation, while those of experts are global". The same can be said in regard to production
strategies. The experts tend to make some global decisions about the emerging text of the
translation (e.g. about its overall style) (Ibid, 2014). I have adopted Newmark's (1988)
communicative translation, focusing on the TL reader. Newmark remarks in his approaches
to translation, "semantic translation attempts to render as closely as the semantic and
syntactic structures of the second language allow, the exact contextual meaning of the
original" (Shakernia, 2013:3) while communicative translation "attempts to render the exact
contextual meaning of the original in such a wav that both content and language are readily
acceptable and comprehensible to the readership" (Newmark, 1988:47). Consider the text
below an example of communicative translation and for more details about this example see
chapter four: (ST)
“The hay had hardly been got in when the haystacks were floated bodily down to the sea by
an inundation; the vines were cut to pieces with the hail; the corn was all killed by a black
blight.”
(TT)
فل أت رت حبات البرد أشجار العنب، وبحر، ودم كان الحصول على القش نادرا جدا فقد جرفت السيول أكوام التبن الى ال"
"الذرة بالكامل في معظم مناطق البلاد إلا فقط في وادي الكنوز، فقد كان كالعادة كل شيء فيه آمن. محصول
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However, it is not thoughtful to say that a text requires a completely semantic
translation or communicative translation. In a literary text, there may by a sentence, a
paragraph or a section that requires communicative translation. For instance, when a
figurative usage cannot be transferred or if transferred the form will be quite misleading or
incomprehensible to the reader, and then it must be translated communicatively. On the other
hand, there may be part of non-literary writing that requires a semantic translation. It is
impossible to apply only one method to a text (Shakernica, 2013:4).
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Translation:
Source Text (ST) Target Text (TT)
THE KING OF THE GOLDEN RIVER
CHAPTER I
HOW THE AGRICULTURAL SYSTEM OF
THE BLACK BROTHERS WAS
INTERFERED WITH BY SOUTHWEST
WIND, ESQUIRE
In a secluded and mountainous part of Stiria
there was in old time a valley of the most
surprising and luxuriant fertility. It was
surrounded on all sides by steep and rocky
mountains rising into peaks which were always
covered with snow and from which a number of
torrents descended in constant cataracts. One of
these fell westward over the face of a crag so
high that when the sun had set to everything
else, and all below was darkness, his beams still
shone full upon this waterfall, so that it looked
like a shower of gold. It was therefore called by
the people of the neighborhood the Golden
River.
ملك النهر الذهبي
الفصل الأول
كيف صعّبت الريح الجنوبية الغربية،"اسكوير"
النظام الزراعي للأخوة "بلاك"؟
هناك من "ستيريا"، كان وجبلي منعزل جزء في
. وادٍ يثير الدهشة لكثرة خصوبته الزمان في قديم
جانب جبال شاهقة كل من به وكانت تحيط
وصخرية عالية القمم ودائما ما تغطيها الثلوج،
من .وتنبع منها شلالات كثيرة ودائمة الجريان
تصب أحد هذه صخرة، وجه علىو علو شاهق
الشمس تكون وعندما الشلالات بإتجاه الغرب،
تجد نور مياهه يسطع غربت وساد الظلام، قد
يطلق كان ذاوله. الذهب من وابل من فوق كأنه
.الذهبي اسم النهر سكان المنطقة عليه
It was strange that none of these streams fell
into the valley itself. They all descended on the
other side of the mountains and wound away
through broad plains and by populous cities.
But the clouds were drawn so constantly to the
snowy hills, and rested so softly in the circular
hollow, that in time of drought and heat, when
all the country round was burned up, there was
still rain in the little valley; and its crops were
so heavy, and its hay so high, and its apples so
red, and its grapes so blue, and its wine so rich,
لا التيارات هذه من أيا أن الغريب من كان
على وإنما تنحدر كلها. نفسه الوادي في تصبّ
سهول الجبال وتلتوي بين من الآخر الجانب
الغيوم تنجذب لكن. بالسكان ومدن مكتظة واسعة
التي اكتست بالثلوج، التلال نحو باستمرار
زمن وفي وبلطف تتجمع في فراغ دائري،
والحرارة، تعاني كل البلاد من حوله من القحط
الصغير، الوادي في المطر يهطل يزال لا
لدرجة أن وفيرة جدا، محاصيل الوادي وكانت
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and its honey so sweet, that it was a marvel to
everyone who beheld it and was commonly
called the Treasure Valley.
والتفاح شديد الحمرة، جدا،القش فيها طويل
والعسل شديد اللذة، والنبيذ شديد الزرقة، والعنب
،رآه من لكل أعجوبة كان فقد شديد الحلاوة،
.فغالبا ما كان يسمى بوادي الكنوز
The whole of this little valley belonged to three
brothers, called Schwartz, Hans, and Gluck.
Schwartz and Hans, the two elder brothers, were
very ugly men, with overhanging eyebrows and
small, dull eyes which were always half shut, so
that you couldn't see into THEM and always
fancied they saw very far into YOU. They lived
by farming the Treasure Valley, and very good
farmers they were. They killed everything that
did not pay for its eating. They shot the
blackbirds because they pecked the fruit, and
killed the hedgehogs lest they should suck the
cows; they poisoned the crickets for eating the
crumbs in the kitchen, and smothered the
cicadas which used to sing all summer in the
lime trees.
أشقاء هم لثلاثة ملكا الصغير كله الوادي كان
'شوارتز' كان.و"غلوك" "هانز" "شوارتز" و
وكانا شديدي القبح، و'هانز' أكبر الثلاثة
ودائما ما صغيرة باهته بحاجبين متدليين وأعين
أن تحدق بهم يمكن لا بحيث تكون نصف مغلقة،
ولأنهم كانوا . ويخيل لك أنهم يرون ما بنفسك
مزارعين بارعين؛ فقد كانت الزراعة المصدر
يعد لم ما كل يقتلونكانوا لقد. الأساسي لرزقهم
الشحارير؛ على النار حيث أطلقوا. عليهم بالنفع
خشية؛ أن القنافذ وقتلوا الفاكهة، تنقر لأنها
لأكلها الصراصير وسمموا الأبقار، ترضع
يغني كان الذي وخنقوا الزيز المطبخ، من الفتات
.الليمون أشجار في صيف كل
They worked their servants without any wages
till they would not work anymore, and then
quarreled with them and turned them out of
doors without paying them. It would have been
very odd if with such a farm and such a system
of farming they hadn't got very rich; and very
rich they DID get. They generally contrived to
keep their corn by them till it was very dear, and
then sell it for twice its value; they had heaps of
gold lying about on their floors, yet it was never
known that they had given so much as a penny
تركوا أجر حتى دونمن خدمهم فقد وظفوا
معهم إلى أن يتشاجرون كانوا ثم العمل،
ففي .لهم أجورهم دون أن ي دْفعََ من يطردوهم
سيبدو ،زراعينظام وهكذا مزرعة، هكذامثل
بالفعل ولكنهم ــــلم يكونوا أغنياء لو غريباً الأمر
كانوا يحتكرون محصول الذرة فقد. أغنياءً كانوا
بضعف يبيعونه ثم ومن تكون ناضجة جداً حتى
على ملقاة الذهب من أكوام ولديهم قيمته،
العطاء، لكن لم ي عرف عنهم الكرم و الأرضيات،
20
or a crust in charity; they never went to Mass,
grumbled perpetually at paying tithes, and were,
in a word, of so cruel and grinding a temper as
to receive from all those with whom they had
any dealings the nickname of the "Black
Brothers."
الدوام على يتذمرون الكنيسة، قط إلى يذهبوا ولم
هم، العشور، دفع في ولشدة سوء خلقهم و ل ئم
بالإخوة "كان كل من يتعامل معهم يصفهم
".بلاك
The youngest brother, Gluck, was as completely
opposed, in both appearance and character, to
his seniors as could possibly be imagined or
desired. He was not above twelve years old,
fair, blue-eyed, and kind in temper to every
living thing. He did not, of course, agree
particularly well with his brothers, or, rather,
they did not agree with HIM. He was usually
appointed to the honorable office of turnspit,
when there was anything to roast, which was
not often, for, to do the brothers justice, they
were hardly less sparing upon themselves than
upon other people. At other times he used to
clean the shoes, floors, and sometimes the
plates, occasionally getting what was left on
them, by way of encouragement, and a
wholesome quantity of dry blows by way of
education.
'غلوك'، عكس ما كان عليه ر،الأصغ كان الأخ
من المظهر أخويه الكبيرين بكل معنى الكلمة
الاثني لم يتجاوز. روالطباع كما يمكن أن يتصوّ
أزرق ،اسيمً كان وو العمر، من سنة عشرة
فبطبيعة .طيبّ التعامل مع الجميع العينين،
لا بالأحرى، أو إخوته، مع لم ينسجم الحال،
في يفه بتعيينهما يتم تشر عادة وكان. معه يتفقون
أي الشخص الذي يقوم منصب "تورنسبت"
ءوعندما يكون هنالك أي شي بمراقبة الشواء,
غالبا ل ي شوى, ولكي نكون عادلين مع الأخوة، فقد
كانوا نادرا ما ينفقون على أنفسهم فما بالك أن
ينفقوا على الناس الآخرين. وفي بعض الأوقات
كان غلوك يقوم بتنظيف الأحذية والأرضيات
واحيانا الأطباق، ومن حين للآخر، كان يحصل
على ما تبقى عليها عن طريق التشجيع وعن
ق كمية من الضربات الجافة بحجة التأديب طري
أو التربية.
Things went on in this manner for a long time.
At last came a very wet summer, and everything
went wrong in the country round. The hay had
hardly been got in when the haystacks were
floated bodily down to the sea by an inundation;
the vines were cut to pieces with the hail; the
ثم . طويلة لفترة نحوال هذا على الأمور سارت
مما أفسد كل شيء صيف شديد الرطوبة، جاء
القش حتى على لهم الحصول لم يتسنَ . في البلاد
ودمرت البحر، الى التبن أكوام جرفت السيول
محصول تْل فوا البرد أشجار العنب، حبات
21
corn was all killed by a black blight. Only in the
Treasure Valley, as usual, all was safe. As it had
rain when there was rain nowhere else, so it had
sun when there was sun nowhere else.
Everybody came to buy corn at the farm and
went away pouring maledictions on the Black
Brothers. They asked what they liked and got it,
except from the poor people, who could only
beg, and several of whom were starved at their
very door without the slightest regard or notice.
فيالذرة بالكامل في معظم مناطق البلاد إلا
. آمن شيء فيه كل كان كالعادة فقد الكنوز، وادي
بينما لا يهطل في وادي الكنوز فكان المطر
كانت وكذلك آخر، مكان أي في المطر ينزل
هناك كما لم تكن في وادي الكنوز الشمس أشعة
الجميع وجاء. آخر مكان أي في الشمس أشعة
مع سيلٌ من اورحلو المزرعة من الذرة لشراء
على فقد حصلوا . الإخوة 'بلاك' على الشتائم
بالتسول، اكتفوا الذين الفقراء، إلا مبتغاهم
دون عند بابهم من منهم تضور جوعا فالعديد
.أو اهتمام اعتبار أدنى
It was drawing towards winter, and very cold
weather, when one day the two elder brothers
had gone out, with their usual warning to little
Gluck, who was left to mind the roast, that he
was to let nobody in and give nothing out.
Gluck sat down quite close to the fire, for it was
raining very hard and the kitchen walls were by
no means dry or comfortable-looking. He turned
and turned, and the roast got nice and brown.
"What a pity," thought Gluck, "my brothers
never ask anybody to dinner. I'm sure, when
they've got such a nice piece of mutton as this,
and nobody else has got so much as a piece of
dry bread, it would do their hearts good to have
somebody to eat it with them."
جدا، بارد والطقس الشتاء قد أقبل، كان فصل
مع خرج الأخوين الكبيرين، وفي أحد الأيام
ترك والذي الصغير، لـ 'غلوك' المعتاد تحذيرال
أو لأحد بالدخول السماح لعدم لحراسة الشواء،
النار، من قريبا غلوك جلس. شيء أي اعطاء
تمطر بشدة وكانت جدران السماء فقد كانت
في حالة أو الأحوال جافة من حال بأي المطبخ
.نضج فقد كان غلوك يحرك الشواء حتى. جيدة
يدعوا يا للأسف، لا" قرارة نفسه: قال غلوك في
وأنا العشاء. لتناول وجبة شخص إخواني أي
هذه القطعة متأكد بأنه عندما يكون لديهم مثل
الجميلة من لحم الضأن، ولا أحد آخر لديه قطعة
فإن نفوسهم ستتحسن اذا أكل شخص خبز جافة،
ما معهم".
22
Just as he spoke there came a double knock at
the house door, yet heavy and dull, as though
the knocker had been tied up—more like a puff
than a knock.
"It must be the wind," said Gluck; "nobody else
would venture to knock double knocks at our
door."
No, it wasn't the wind; there it came again very
hard, and, what was particularly astounding, the
knocker seemed to be in a hurry and not to be in
the least afraid of the consequences. Gluck went
to the window, opened it, and put his head out
to see who it was.
مع وفي تلك اللحظة التي كان فيها غلوك يتحدث
نفسه، إذ بباب المنزل يطرق طرقتين، أشبه
الطارق وكأن وبطء، بثقل طرقة, من بنفخة
مقيدّاً.
من آخر أحد لا الرياح، لابد أنها"غلوك: قال
بالقرع مرتين على بابنا". يغامر أن شأنه
ط ر قَ الباب مرة أخرى لكن تكن الرياح، لم لا،
امره، من عجلة كما لو انه على بطريقة مختلفة
إلى غلوك ذهب. وبدون خوف من العواقب
الطارق. من لمعرفة فتحها ونظر النافذة،
It was the most extraordinary-looking little
gentleman he had ever seen in his life. He had a
very large nose, slightly brass-colored; his
cheeks were very round and very red, and might
have warranted a supposition that he had been
blowing a refractory fire for the last eight-and-
forty hours; his eyes twinkled merrily through
long, silky eyelashes; his mustaches curled
twice round like a corkscrew on each side of his
mouth; and his hair, of a curious mixed pepper-
and-salt color, descended far over his shoulders.
He was about four feet six in height and wore a
conical pointed cap of nearly the same altitude,
decorated with a black feather some three feet
long. His doublet was prolonged behind into
something resembling a violent exaggeration of
what is now termed a "swallowtail," but was
much obscured by the swelling folds of an
أغرب مخلوق قد رآه الصغير السيد هذا وكان
اللون نحاسي جدا، كبير أنفه كان. حياته في
دائريتين شديدتي الحمرة، وجنتاه قليلا، وكانت
قد كان ينفخ برر غلوك فرضية الرجل، أنه ربما
الماضية، ساعة وأربعين ثمانية في النار لمدة
رموش طويلة عبر بمرح عينيه وتتلألا
شاربان كأنهما مفتاحين على وله وحريرية،
وقد غزى الشيب شعره الذي انحدر جانبي فمه،
لستة أقدام بطول أربعة وكان الرجلَ . كتفيه على
مزينة الطول، نفس قبعة مخروطية من مرتديا
أقدام. وصدريته ثلاثة سوداء بطول بريشة
الممتدة إلى الخلف والتي تشبه بما يسمى الآن
"البشق"، ولكن الغريب جدا هي الطيات
المنتفخة من العباءة السوداء الفضفاضة اللامعة
المظهر، والتي لابد أن تبدو أكثر طولا في
23
enormous black, glossy-looking cloak, which
must have been very much too long in calm
weather, as the wind, whistling round the old
house, carried it clear out from the wearer's
shoulders to about four times his own length.
الطقس الهادئ، وصفير الرياح التي تجول حول
ي البيت القديم حملتها بوضوح من على كتف
لابسها حوالي اربع مرات اكبر من طوله.
Gluck was so perfectly paralyzed by the
singular appearance of his visitor that he
remained fixed without uttering a word, until
the old gentleman, having performed another
and a more energetic concerto on the knocker,
turned round to look after his flyaway cloak. In
so doing he caught sight of Gluck's little yellow
head jammed in the window, with its mouth and
eyes very wide open indeed.
عق غلوك ولم الفريد لضيفه بالظهور تماما ص
إذ واحدة، بكلمة ينطق أن دون يحرك ساكناً
طرق الباب بطريقة أكثر أن بعد العجوز بالرجل
حينها. المرفرفة عباءته لرعاية استدار مرحا،
الصغير الأصفر رأس 'غلوك' على نظره وقع
مفتوحتان. وعينان فم مع النافذة، في المحشور
"Hollo!" said the little gentleman; "that's not the
way to answer the door. I'm wet; let me in."
To do the little gentleman justice, he WAS wet.
His feather hung down between his legs like a
beaten puppy's tail, dripping like an umbrella,
and from the ends of his mustaches the water
was running into his waistcoat pockets and out
again like a mill stream.
طريقة ليست مرحبا، هذه" الصغير: السيد قال
".بالدخول لي اسمحوا مبتل، أنا الباب على للرد
. ولنكن عادلين مع السيد الصغير فقد كان مبتلا
ساقيه تتدلى بين أسفل إلى معلقة فكانت ريشته
المظلة، مثل وتقطرّ ،جرو مضروب كذيل
إلى جيوب شاربيهويقطر الماء من نهاية
ته ومن ثم للخارج مثل تيار المطحنة. صدري
"I beg pardon, sir," said Gluck, "I'm very sorry,
but, I really can't."
"Can't what?" said the old gentleman.
"I can't let you in, sir—I can't, indeed; my
brothers would beat me to death, sir, if I thought
of such a thing. What do you want, sir?"
"Want?" said the old gentleman petulantly. "I
جدا، آسف سيدي، أنا يا عفوا " غلوك: قال
".أستطيع لا حقا أنا ولكن،
."ماذا... تستطيع العجوز: "لا الرجل قال
قال غلوك: "لا أستطيع السماح لك بالدخول يا
سيدي، حقا لا أستطيع، فسيضربني اخوتي
ضربا مبرحا اذا ما فكرت في شئ كهذا. ماذا
24
want fire and shelter, and there's your great fire
there blazing, crackling, and dancing on the
walls with nobody to feel it. Let me in, I say; I
only want to warm myself."
تحتاج يا سيديّ؟"
العجوز متذمرا: "أريد الرجل قال "أريد..."
التي الحارقة الكبيرة النار تلك والمأوى، النار
دون ان الجدران على وترقص تتلظى هناك ،
فقط أريد أقول لك، دعني أدخل، بها أحد، يشعر
ان اتدفئ".
Gluck had had his head, by this time, so long
out of the window that he began to feel it was
really unpleasantly cold, and when he turned
and saw the beautiful fire rustling and roaring
and throwing long, bright tongues up the
chimney, as if it were licking its chops at the
savory smell of the leg of mutton, his heart
melted within him that it should be burning
away for nothing. "He does look very wet," said
little Gluck; "I'll just let him in for a quarter of
an hour." Round he went to the door and opened
it; and as the little gentleman walked in, there
came a gust of wind through the house that
made the old chimneys totter.
وفي هذا الوقت, كان رأس غلوك خارج النافذة،
فقد بدأ يحس بشدة البرد, وعندما التفت ورأى
النار الجميلة تخشخش وتزمجر وترمي بألسنتها
باتجاه المدخنة, كما لو أنها تلعق شرائح اللحم
من الضأن؛لرائحة اللذيذة من ساق لحم بسب ا
لحال قلب غلوك رقّ ف دون أن يستفيد منها أحد،
الرجل.
فعلا يبدو مبللا جدا، " الصغير: غلوك قال
ذهب ثم ."ساعة ربع لمدة بالدخول له سأسمح
الصغير، دخل السيد وعندما وفتحه، الباب إلى
من جعلت المنزل الرياح داخل من عاصفة هبت
.تترنح القديمة المداخن
"That's a good boy," said the little gentleman.
"Never mind your brothers. I'll talk to them."
"Pray, sir, don't do any such thing," said Gluck.
"I can't let you stay till they come; they'd be the
death of me."
"Dear me," said the old gentleman, "I'm very
sorry to hear that. How long may I stay?"
"Only till the mutton's done, sir," replied Gluck,
"and it's very brown."
تهتم طيب لا لولد انك" الصغير: السيد قال
".اليهم سأتحدث لإخوانك
أي تفعل لا سيدي، يا غلوك: "أتوسل اليك قال
لك أسمح أن يمكن القبيل، لا هذا من شيء
".ستكون نهايتي على أيديهم يأتوا، حتى بالبقاء
جدا آسف أنا "يا عزيزي،: العجوز الرجل قال
"كم من الوقت أستطيع البقاء؟. ذلك لسماع
25
يا الضأن لحم حتى أطهو أجاب غلوك: "فقط
".حتى ينضج سيدي....
Then the old gentleman walked into the kitchen
and sat himself down on the hob, with the top of
his cap accommodated up the chimney, for it
was a great deal too high for the roof.
"You'll soon dry there, sir," said Gluck, and sat
down again to turn the mutton. But the old
gentleman did NOT dry there, but went on drip,
drip, dripping among the cinders, and the fire
fizzed and sputtered and began to look very
black and uncomfortable. Never was such a
cloak; every fold in it ran like a gutter.
المطبخ إلى العجوز متجها الرجل مشى ثم
من العلوي والجزء وجلس على موقد الطبخ،
لأن ارتفاعها كان متوافقة مع المدخنة، قبعّته
عاليا جدا اكبر من السقف.
،"سيدي يا غلوك: "سوف تجف قريبا، قال
ولكن. الضأن لحم لتدوير أخرى مرة وجلس
بل استمرّت هناك، يجف لم العجوز الرجل
الجمر، بين قطرات الماء تتساقط من عباءته
وغير جدا سوداء تبدو وبدأت وخفتت النار
فقد كانت كل عباءة عادية, تكن لم مناسبة, لأنها
المزراب. مثل ثنيةّ منها تسيل
"I beg pardon, sir," said Gluck at length, after
watching the water spreading in long,
quicksilver-like streams over the floor for a
quarter of an hour; "mayn't I take your cloak?"
"No, thank you," said the old gentleman.
"Your cap, sir?"
"I am all right, thank you," said the old
gentleman rather gruffly.
"But—sir—I'm very sorry," said Gluck
hesitatingly, "but—really, sir—you're—putting
the fire out."
"It'll take longer to do the mutton, then," replied
his visitor dryly.
Gluck was very much puzzled by the behavior
of his guest; it was such a strange mixture of
هل أستطيع سيدي، يا أخيرا: "عفوا، غلوك قال
مثل تنتشر المياه مشاهدة بعد "اخذ عباءتك؟
جداول الزئبق الممتدة فوق الأرضية لمدة ربع
ساعة.
.شكرا" "لا، :العجوز الرجل قال
"سيدي؟ يا قال غلوك: "قبعتك،
بخير، بصوت فض: "أنا العجوز الرجل قال
."لك شكرا
في جدا سيدي، آسف أنا" بتردد: غلوك قال
."الواقع أنت تطفأ النار حاليا
سيستغرق إذاً "رد عليه الرجل العجوز بجفاء:
." لكي ينضج طويلا وقتا الضأن لحم
فقد كان. ضيفه سلوك من حيرة في غلوك كان
26
coolness and humility. He turned away at the
string meditatively for another five minutes.
"That mutton looks very nice," said the old
gentleman at length. "Can't you give me a little
bit?"
"Impossible, sir," said Gluck.
"I'm very hungry," continued the old gentleman.
"I've had nothing to eat yesterday nor to-day.
They surely couldn't miss a bit from the
knuckle!"
He spoke in so very melancholy a tone that it
quite melted Gluck's heart. "They promised me
one slice to-day, sir," said he; "I can give you
that, but not a bit more."
"That's a good boy," said the old gentleman
again.
الجأش رباطة خليطاً من الغريب هذا السلوك
دقائق خمس متأملا لمدة بعيدا التفت. والتواضع
.أخرى
لذيذا، هل ببدو الضأن هذا"العجوز: الرجل قال
منه قليلا؟". تعطيني أن بإمكانك
. "سيدي يا غلوك: "مستحيل، قال
لم اكل" العجوز الرجل وتابع جدا"، جائع "أنا
بالتأكيد لن يلاحظوا نقص وهم منذ الأمس، شيئا
المفصل". وتحدث الرجل من جزء صغير
.غلوك ذاب له قلب بحزن شديد العجوز
واحدة لي بشريحة وعدوني لقد" قال غلوك:
ولكن اياها، أعطيك أن أستطيع سيدي، يا اليوم،
".ذلك من أكثر ليس
ولد أنت"أخرى: مرة العجوز الرجل فقال
."طيب
Then Gluck warmed a plate and sharpened a
knife. "I don't care if I do get beaten for it,"
thought he. Just as he had cut a large slice out of
the mutton there came a tremendous rap at the
door. The old gentleman jumped off the hob as
if it had suddenly become inconveniently warm.
Gluck fitted the slice into the mutton again, with
desperate efforts at exactitude, and ran to open
the door.
"What did you keep us waiting in the rain for?"
said Schwartz, as he walked in, throwing his
umbrella in Gluck's face.
وقال في .غلوك سكيناً ودفأّ طبقا عندئذٍ شحذ
ضربوني لأجل إن يهمني لا" قرارة نفسه:
لحم من كبيرة شريحة يقطع كان وبينما". ذلك
العجوز إذ بالرجل. الضأن، ط ر قَ الباب بعنف
أصبحت أنها لو كما الفرن بعيدا عن يقفز
محاولا بكل شريحة اللحم فأعاد غلوك. ساخنة
ومن ثم ركض دقة ويأس وضعها في مكانها
.الباب لفتح
تركتنا ننتظر تحت شوارتز: "لماذا قال
في مظلته داخلا، رمى كان وبينما ،"المطر؟
.غلوك وجه
27
Chapter Four
Annotations
Overview:
In this chapter, semantic and textual issues have been encountered in the translation process
of this particular tale along with examples and then discuss them.
ST 1:
“It was strange that none of these streams fell into the valley itself. They all descended on the
other side of the mountains and wound away through broad plains and by populous cities.”
TT:
كان من الغريب أن أيا من هذه التيارات لا تتدفق في الوادي نفسه. وإنما تنحدر كلها على الجانب الآخر من الجبال "
"بين سهول واسعة و مدن مكتظة بالسكان. لتويتو
Annotation:
A huge number of English words are polysemy, some of which have several meanings.
Translators are required to bear in mind when translating a word which seems strange, if
translated into its common meaning. This means that it has another meaning, which is
different from that known to them. Here is, the phrasal verb ‘wound away’ will be seemed
strange, if it is translated into يجرح أو جرح because it has no thing with ‘wound away’.
Besides, the translation will be unclear.
I have opted to translate the phrasal verb ‘wound away’ in this sentence into تلتوي , because it
can be more reasonable and more convincing. Some translators might think that the phrasal
verb ‘wound away’ is an example of polysemy, but it is not. The word ‘wound’ يجرح أو جرح
differs from the phrasal verb ‘wound away’ in pronunciation and also the word ‘wound’ يلتف
is past and past participle of ‘wind’. In this regard, Ullmann (1962:57) states: “One of أو يلتوي
these factors, that sometimes causes ambiguity is semantic feature “polysemy”, which means
28
that a word may have two or more meanings” (cited in Al-Azzam, 2008: 98).
ST: 2
“And its crops were so heavy, and its hay so high, and its apples so red, and its grapes so
blue, and its wine so rich, and its honey so sweet, that it was a marvel to everyone who
beheld it and was commonly called the Treasure Valley.”
TT:
الوادي وفيرة جدا، لدرجة أن القش فيها طويل جدا، والتفاح شديد الحمرة، والعنب شديد الزرقة، والنبيذ وكانت محاصيل "
"فغالبا ما كان يسمى بوادي الكنوز. ،شديد اللذة، والعسل شديد الحلاوة، فقد كان أعجوبة لكل من رآه
Annotation:
When two structures are identical to one another, they are described as parallel (Ghazala,
2004). Such parallelism can be important to meaning, implying a balance between two or
more messages. The text above is an example of parallelism. Thus, the style of parallelism is
functional, playing an important role in the meaning. In this respect, Ghazala (2004: 234)
holds:
In translation, we should insist on imitating it in Arabic to reflect the same function. When it
is not possible for translators to produce parallelism in Arabic, they can solve the problem by
ignoring it completely, with the loss of rhetoric and part of the meaning.
ST: 3
“They never went to Mass, grumbled perpetually at paying tithes, and were, in a word, of so
cruel and grinding a temper as to receive from all those with whom they had any dealings the
nickname of the "Black Brothers”.”
29
TT:
هم، كان كل من يتعامل معهم ، يتذمرون على الدوام في دفع العشور، و ل الكنيسة ولم يذهبوا قط إلى " شدة سوء خلقهم و ل ئم
".""بالإخوة بلاكيصفهم
Annotation:
Here, the translation contains a generalizing translation in which the word الكنيسة in the TT is
a general word than its counterpart in the SL, i.e. “Mass”.
I have opted to use a general word, الكنيسة to refer to the word “Mass” in the SL, because the
word “Mass” is an activity that carries out in the church which is the building that contains
this activity.
According to Baker (1992:26), “One of the commonest strategies for dealing with many
types of non-equivalence, particularly in the area of propositional meaning is translation by a
more general word”.
ST: 4
“He was usually appointed to the honorable office of turnspit, when there was anything to
roast, which was not often, for, to do the brothers justice, they were hardly less sparing upon
themselves than upon other people.”
TT:
وعندما يكون هنالك أي أي الشخص الذي يقوم بمراقبة الشواء, ""تورنسبتفي منصب بتعيينه تشريفه وكان عادة ما يتم"
شيء ليشوي لم تكن هنالك عدالة بين الأخوة، فقد كانوا نادرا ما ينفقون على أنفسهم فما بالك أن ينفقوا على الناس
"الآخرين.
Annotation:
In the example above, the word “turnspit” in this context means “a servant or the small dog,
whose job is to turn the spit on which meat, poultry, etc., was roasting”
(www.thefreedictionary.com). I have opted to use the strategy “Translating using a loan
30
word or a loan word plus explanation”, because the word "turnspit" has no equivalent in
Arabic.( أي الشخص الذي يقوم بمراقبة الشواء ""تورنسبت )
In this regard, Baker writes "Translation using a loan word or a loan word plus explanation
strategy is common in dealing with culture-specific item, modern concepts, and buzz words.
Once explained, the loan word can be used on its own; the reader can understand it and is
not distracted by further explanation" (1992:34).
ST: 5
“The hay had hardly been got in when the haystacks were floated bodily down to the sea by
an inundation; the vines were cut to pieces with the hail; the corn was all killed by a black
blight.”
TT:
تلفتأ حبات البرد أشجار العنب، و رتدم السيول أكوام التبن الى البحر، و جرفت لم يتسنى لهم الحصول على القش حتى"
"الذرة بالكامل في معظم مناطق البلاد إلا فقط في وادي الكنوز، فقد كان كالعادة كل شيء فيه آمن. محاصيل
Annotation:
Here, in the translation of the above text, three issues need to be highlighted. First, the verb
“float” in “the haystacks were floated bodily down to the sea by inundations” indicates that
the haystacks were washed away, thus the verb جرف “wash away” renders the original verb
"float" in the SL better than يطفو .
Second, the phrase “cut to pieces” in “the vines were cut to pieces with the hail” means
“destroy or smash”, thus the verb دم ر “destroy” renders the original phrase “cut to pieces”
better than يقطع .
Third, the verb “kill” in “the corn was all killed by a black blight” means “damage”. Thus,
31
the verb يتلف “damage” renders the original verb “kill” better than يقتل .
ST: 6
“Just as he spoke there came a double knock at the house door, yet heavy and dull, as though
the knocker had been tied up—more like a puff than a knock.”
TT:
تلك اللحظة التي كان فيها غلوك يتحدث مع نفسه، إذ بباب المنزل يطرق طرقتين، أشبه بنفخة من طرقة, بثقل و "وفي
."اً بطء، وكأن الطارق مقيدّ
Annotation:
At first sight, the two sentences have the same meaning. Yet, careful consideration shows that
they are different. Because, there are some additions in the TT, such as "وفي تلك اللحظة”, and
""نفسه , and the connecter "إّذ” i.e. “then”.
I have added some additions to the TT and the pronoun “he” in the SL is returned back to the
name “غلوك” in the TT. So, these additions are added in an attempt to intrinsically manage
the text to make it hang together as a cohesive text, and read cogently and smoothly.
In this regard, Munday (2012: 95) holds: “Cohesion is produced by the grammatical and
lexical links which help a text hold together”. Halliday and Hasan identify five main cohesive
devices in English: reference, substitution, ellipsis, conjunction and lexical cohesion (Baker,
1992:180).
32
ST: 7
“Then Gluck warmed a plate and sharpened a knife. "I don't care if I do get beaten for it,"
thought he. Just as he had cut a large slice out of the mutton there came a tremendous rap at
the door. The old gentleman jumped off the hob as if it had suddenly become inconveniently
warm. Gluck fitted the slice into the mutton again, with desperate efforts at exactitude, and
ran to open the door.”
TT:
جل ذلك". وعندما كان يقطع شريحة لأضربوني نو دفأّ طبقا. وقال في قرارة نفسه: "لا يهمني إ عندئذٍ شحذ غلوك سكيناً "
كبيرة من لحم الضأن، ط ر قَ الباب بعنف. إذ بالرجل العجوز يقفز بعيدا عن الفرن كما لو أنها أصبحت ساخنة. فأعاد غلوك
."لفتح البابشريحة اللحم الى مكانها، محاولا بكل دقة و يأس ومن ثم ركض
Annotation:
I have attempted to strike a balance between accuracy and naturalness. At the level of
cohesion, naturalness is enhanced by using typical Arabic conjunctions such as “إذ“ ,”عندئذ”,
Therefore, the connectors that are mentioned above are added in an .”ومن ثمّ “ and ”ف“
attempt to make the text hang together and read cogently and smoothly.
According to Baker (1992:190), ''conjunction involves the use of formal markers to relate
sentences, clauses and paragraphs to each other. Unlike reference, substitution and ellipsis,
the use of conjunction dose not instruct the reader to supply missing information either by
looking for it elsewhere in the text or by filling structural slots".
33
Conclusion
At the end of this study, we can conclude that the process of translating John Ruskin's
fairy tale "The King of the Golden River" may cause some problems in semantics and
cohesion. Some of these problems that the translator encountered are polysemy, non-
equivalent words, lexical items, conjunction and lexical cohesion.
To overcome such problems, the researcher has used some appropriate local strategies
and procedures that deal with such kind of problems. Translation procedures are used for
sentence and smaller units of the language within the text. Some of these strategies that are
used in this study are "translating using a loan word or a loan plus explanation" and
"translation by a more general word" (Baker, 1992). Also, throughout the discussion, the
researcher has found out some suitable solutions to the semantic and textual problems.
Translation is not merely an interlinguistic process. It is more complex than replacing
source language text with target language text. It includes cultural and educational nuances
that can shape the options and attitudes of recipients. It is a difficult task which cannot be
learnt except through practice. As we have seen, there are some methods or procedures to
overcome the problems that translators may encounter. So, the researcher advices all
translators to make sure they understand these methods before starting translating.
34
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