Translation as a socially-Translation as a socially-situated activity: Two situated activity: Two

instances in the history of instances in the history of Shakespeare Translation in Shakespeare Translation in

EgyptEgypt

Sameh F. HannaSameh F. Hanna

OverviewOverview

Tanyus Abdu’s Arabic translation of Tanyus Abdu’s Arabic translation of HamletHamlet (1901/1902). (1901/1902).

Accounting for Abdu’s translation through Accounting for Abdu’s translation through Bourdieu’s sociology of cultural Bourdieu’s sociology of cultural production;production;

Khalil Mutran’s translation of Khalil Mutran’s translation of OthelloOthello (1912). (1912).

Mainstream history of drama Mainstream history of drama translation in Egypt: Two translation in Egypt: Two

assumptionsassumptions

History of drama translation is the story of History of drama translation is the story of progressprogress from ‘unfaithful’ to ‘faithful’ from ‘unfaithful’ to ‘faithful’ versions [versions [linearlinear historical narrative]. historical narrative].

History of drama translation is a history of History of drama translation is a history of ‘textuality’, not agents, institutions, cultural ‘textuality’, not agents, institutions, cultural markets, etc.markets, etc.

Tanyus Abdu (1869-1926)Tanyus Abdu (1869-1926)

HamletHamlet in Arabic (1902) – Front in Arabic (1902) – Front CoverCover

Gloss of Front CoverGloss of Front Cover

Riwayat Riwayat (the Play) (the Play) of Hamletof Hamlet

A text for acting in five actsA text for acting in five actsAuthored by Shakesepeare, the renowned English PoetAuthored by Shakesepeare, the renowned English Poet

Arabized by Arabized by The skilled writer, Tanyūs Effendī ‘AbduThe skilled writer, Tanyūs Effendī ‘Abdu

Owner of the well-reputed al-Sharq NewspaperOwner of the well-reputed al-Sharq NewspaperA second edition at the expense of Ibrahīm Faris, owner of A second edition at the expense of Ibrahīm Faris, owner of

al-Sharqiyya bookshop, Cairo, Egyptal-Sharqiyya bookshop, Cairo, EgyptAl-Matba‘a al-‘Umūmiyya, Cairo, Egypt.Al-Matba‘a al-‘Umūmiyya, Cairo, Egypt.

Early reception of the translationEarly reception of the translation

The only Arabic stage version of The only Arabic stage version of HamletHamlet for over 15 years.for over 15 years.

In its published form, it went into two In its published form, it went into two different editions.different editions.

The translation as seen by The translation as seen by historians of drama translationhistorians of drama translation

The undeniable fact is that the translator The undeniable fact is that the translator availed himself of all the means of availed himself of all the means of distortion, which he brought to his distortion, which he brought to his translation…The translator pioneered a translation…The translator pioneered a school known for deformation and school known for deformation and distortion in translation practice. No story distortion in translation practice. No story or play he translated was left unchanged.or play he translated was left unchanged.

(Najm 1956: 241; my translation)(Najm 1956: 241; my translation)

Hamlet lives: change of plot Hamlet lives: change of plot structurestructure

The ghost (addressing Hamlet): And you The ghost (addressing Hamlet): And you may happily live on earth, forgiven by may happily live on earth, forgiven by Heaven. Go before me where your uncle Heaven. Go before me where your uncle sat; this throne was made but for you sat; this throne was made but for you (Hamlet ascends the throne, looking (Hamlet ascends the throne, looking admiringly at his father, while the ghost admiringly at his father, while the ghost gradually descends into the depths of the gradually descends into the depths of the earth, smiling at Hamlet. The curtain falls earth, smiling at Hamlet. The curtain falls slowly, while the public is chanting slowly, while the public is chanting outside). outside).

Hamlet sings: change of generic Hamlet sings: change of generic structurestructure

Neutralising the tragic effects in Shakespeare’s Neutralising the tragic effects in Shakespeare’s HamletHamlet..

Hamlet’s monologues in Shakespeare: divided Hamlet’s monologues in Shakespeare: divided identity, tension between the public and private identity, tension between the public and private selves…distorted language/whispered discourse selves…distorted language/whispered discourse (pauses, exclamations, questions, incomplete (pauses, exclamations, questions, incomplete structures)structures)

Monologues in Abdu’s translation: versified, Monologues in Abdu’s translation: versified, declamatory and smooth language. declamatory and smooth language.

The variety of Arabic usedThe variety of Arabic used

A diluted variety of Standard Arabic: not A diluted variety of Standard Arabic: not colloquial, but definitely not the kind of colloquial, but definitely not the kind of Arabic used in Pre-Islamic poetry or Arabic used in Pre-Islamic poetry or traditional Arabic narrative (traditional Arabic narrative (maqamatmaqamat).).

How can we study this and similar How can we study this and similar cases?cases?

Contrastive linguistic, text-based Contrastive linguistic, text-based approachesapproaches

Context-based approachesContext-based approaches

Contrastive linguistic approaches: Contrastive linguistic approaches: Is that what Shakespeare really Is that what Shakespeare really said/meant?said/meant?

Abdu’s translation of Abdu’s translation of HamletHamlet is considered is considered “an awkward translation” marked by such “an awkward translation” marked by such “deviations from the source text” that it “deviations from the source text” that it ends up offering only “a ghostly ends up offering only “a ghostly resemblance of the original” resemblance of the original”

(Alshetawi 2000: 78). (Alshetawi 2000: 78).

Context-based approachesContext-based approaches

Locating translation in its social context.Locating translation in its social context. Problem?Problem?• Unclear notions of ‘social context’: is it Unclear notions of ‘social context’: is it

used to mean the class structure, political used to mean the class structure, political structure, or the societal context in which structure, or the societal context in which translators live and work?translators live and work?

• Mechanistic understanding of the relation Mechanistic understanding of the relation between society and translation: cause-between society and translation: cause-effect relation.effect relation.

Bourdieu’s sociology: Multiple Bourdieu’s sociology: Multiple contextualisationcontextualisation 1 1

Field of Drama

translation

Social space

Bourdieu’s sociology: Multiple Bourdieu’s sociology: Multiple contextualisation 2contextualisation 2

Theatre Literary Production Production

Drama Pg. T Translation Sg.T Read. Perf. Spectatorship Readership

Drama Translation Criticism

Bourdieu’s sociology: Translation Bourdieu’s sociology: Translation as a field of cultural productionas a field of cultural production

The field: The field:

1.1. StructureStructure

2.2. DynamicsDynamics

1. Structure of the field of (drama) 1. Structure of the field of (drama) translation: translation:

1.1. Options (positions) available for producers of translation in the Options (positions) available for producers of translation in the field:field:

Range of themes, motifs, genres, linguistic and aesthetic Range of themes, motifs, genres, linguistic and aesthetic practices;practices;

Modes of production: translation for publishing vs. translation for Modes of production: translation for publishing vs. translation for stage; publishing with government vs. private publishers; stage; publishing with government vs. private publishers; publishing in a series for established writers/translators vs. a publishing in a series for established writers/translators vs. a series for marginal writers/translatorsseries for marginal writers/translators

Options are culture-specific: Options are culture-specific: namingnaming theatre in the Arabic tradition theatre in the Arabic tradition (Ibn Yunis’s translation of ‘tragedy’ and ‘comedy’ into (Ibn Yunis’s translation of ‘tragedy’ and ‘comedy’ into madihmadih and and hijahija’; the connotations of the term ’; the connotations of the term riwayariwaya))

2. Producers and co-producers of 2. Producers and co-producers of translation: translation:

Dispositions, orientations, world-views Dispositions, orientations, world-views (the outcome of socialization; (the outcome of socialization; professional training) (habitus).professional training) (habitus).

Resources (cultural and social capitals).Resources (cultural and social capitals). Trajectory: successive decisions taken in Trajectory: successive decisions taken in

the field and other adjacent fields.the field and other adjacent fields.

Structure of the field:Structure of the field:

3. Presupposed ideas (3. Presupposed ideas (doxadoxa). ).

2. Dynamics of the field of (drama) 2. Dynamics of the field of (drama) translation.translation.

Struggle between:Struggle between:

1.1. Profit-oriented and prestige-oriented Profit-oriented and prestige-oriented translators. translators.

2.2. Established translators and newcomers.Established translators and newcomers.

Another case of drama translation?Another case of drama translation?

Khalil Mutran’s translation of Khalil Mutran’s translation of OthelloOthello (1912) (1912)

1911/1912: Structural changes in 1911/1912: Structural changes in the field of drama translationthe field of drama translation

A new generation of drama translators.A new generation of drama translators. Middle-class salaried employees.Middle-class salaried employees. Published drama translation becomes an Published drama translation becomes an

option.option. Achieving distinction vis-à-vis the early Achieving distinction vis-à-vis the early

generation of drama translatorsgeneration of drama translators

A Translation of Makbith in Arabic verseA Translation of Makbith in Arabic verseMakbithMakbith

Authored by Shakespeare, the greatest of the English PoetsAuthored by Shakespeare, the greatest of the English PoetsThe play of MakbithThe play of Makbith

Arabized in verse from the English language by Muhammad ‘IffatArabized in verse from the English language by Muhammad ‘IffatOur Arabization is dedicated to the whole world, to authors, poets and Our Arabization is dedicated to the whole world, to authors, poets and

scholars.scholars.It is especially dedicated to the honourable scholar and distinguished It is especially dedicated to the honourable scholar and distinguished

relative, Tabūz Zada Husayn Rushdī Pasha, Foreign Minister of the relative, Tabūz Zada Husayn Rushdī Pasha, Foreign Minister of the Egyptian GovernmentEgyptian Government3 December 19113 December 1911Muhammad ‘IffatMuhammad ‘Iffat

Son of the late Khalīl Pasha ‘IffatSon of the late Khalīl Pasha ‘IffatPrinted in al-Muqattam printing house, Egypt, 1911Printed in al-Muqattam printing house, Egypt, 1911

Muhammad Hamdi’s translation of Muhammad Hamdi’s translation of Julius CaesarJulius Caesar (1912) (1912)

Mutran’s Mutran’s OthelloOthello (1912) (1912)

Classical literary Arabic as a strategic Classical literary Arabic as a strategic choice.choice.

Choice is politically justified.Choice is politically justified.

““By God, if I could put my hands on the By God, if I could put my hands on the vernacular, I would have killed it vernacular, I would have killed it unremorsefully, and this I would have unremorsefully, and this I would have done in revenge for a matchless past done in revenge for a matchless past glory… and for a nation whose unity had glory… and for a nation whose unity had been shattered by its vernaculars”. been shattered by its vernaculars”. (Mutran 1912: 8, my translation)(Mutran 1912: 8, my translation)

Arabization as reclamationArabization as reclamation

Arabizing the play:Arabizing the play:““I approached this play to arabize it, as if I I approached this play to arabize it, as if I

were retrieving it into its origin”. (Mutran were retrieving it into its origin”. (Mutran 1912: 8)1912: 8). .

Shifting of positions between translation Shifting of positions between translation and original.and original.

Arabizing/reclaiming the name of the title Arabizing/reclaiming the name of the title hero.hero.

And Arabizing….And Arabizing….

““In Shakespeare there is definitely In Shakespeare there is definitely something of an Arab…in all he writes, in something of an Arab…in all he writes, in general, there is something Bedouin, general, there is something Bedouin, something that anchors itself to the free, something that anchors itself to the free, genuine human instinct”. (Mutran 1912: 7-genuine human instinct”. (Mutran 1912: 7-8, my translation)8, my translation)

Othello’s discourseOthello’s discourse

Highly classical Arabic; almost archaic Highly classical Arabic; almost archaic diction; stylized structures.diction; stylized structures.

The Venetian Senate scene: the The Venetian Senate scene: the seemingly powerless Arab warrior is seemingly powerless Arab warrior is powerful with…language.powerful with…language.

Shakespeare:Shakespeare:

Othello: And little of this great world can I Othello: And little of this great world can I speakspeak

More than pertains to feats of broil and More than pertains to feats of broil and battle,battle,

And little shall I grace my causeAnd little shall I grace my cause

In speaking for myself. (In speaking for myself. (OthelloOthello. I.iii, 87-90). I.iii, 87-90)

Mutran:Mutran:Utayl: Apart from the feats of broil and Utayl: Apart from the feats of broil and

battle, I find little that my tongue can utter battle, I find little that my tongue can utter of the conditions of this huge world, and if I of the conditions of this huge world, and if I speak for myself, I cannot speak for myself, I cannot sweetensweeten my my defence, defence, and there is no need to worry and there is no need to worry about the effect of my rhetorical devices about the effect of my rhetorical devices on youon you. (Mutrān 1912: 29-30, emphasis . (Mutrān 1912: 29-30, emphasis added, my translation).added, my translation).

Mutran’s Pan-Arabism is secular Mutran’s Pan-Arabism is secular and inclusiveand inclusive

Removing references to religions, heathen Removing references to religions, heathen gods, Christian oaths.gods, Christian oaths.

Removing negative references to Removing negative references to ethnicities.ethnicities.

Secular Pan-Arabism in public spaceSecular Pan-Arabism in public space

Discourses on secular Pan-Discourses on secular Pan-Arabism in the social spaceArabism in the social space

““Some might think that the purpose of the Arab unity…is Some might think that the purpose of the Arab unity…is an Islamic unity, parallel to what existed during the apex an Islamic unity, parallel to what existed during the apex of Islamic civilization and that the aim of reviving the of Islamic civilization and that the aim of reviving the language is the strengthening of the Islamic element and language is the strengthening of the Islamic element and the re-establishment of the Islamic Empire…The Arabic the re-establishment of the Islamic Empire…The Arabic unity has become something different from what it used unity has become something different from what it used to be. to be. It comprises today all those who speak Arabic, It comprises today all those who speak Arabic, regardless of their different denominations and regardless of their different denominations and religions…the goal at which we are aiming must be religions…the goal at which we are aiming must be limited to the revival of the language disregarding limited to the revival of the language disregarding denominations. If anything else is intended, we will denominations. If anything else is intended, we will regress to the darkness of the Middle Agesregress to the darkness of the Middle Ages”.”.

(Jurji Zaydan, (Jurji Zaydan, al-Hilalal-Hilal, vol. xv, 405-6), vol. xv, 405-6)