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पहले जैसी मोहब्बत मुझसे मत माँगो, मेरी महबूबा।
मैंने सोचा था कि जब तू है, तो जीवन चमकता है।
तेरा दर्द ही अगर दर्द-ए-दुनिया का समाधान है,
तेरी सूरत से ही दुनिया में बहारें कायम हैं।
तेरी आँखों के सिवा इस दुनिया में रखा ही क्या है?
अगर तू मिल जाए तो किस्मत झुक जाएगी।
मैंने कभी नहीं चाहा था कि ऐसा हो,
मैंने सिर्फ यही चाहा था कि ऐसा हो जाए।
इस दुनिया में मोहब्बत के अलावा और भी ग़म हैं।
मिलन की खुशी के अलावा और भी सुकून हैं।
असंख्य सदियों के अंधकारमय, क्रूर जादू।
जो रेशम, ऐटलस और किमखाब में बुने गए।
गली और बाज़ारों में बिकते हुए शरीर,
मिट्टी में लिपटे और खून में नहाए हुए।
शरीर, जो बीमारियों की भट्टियों से निकले,
मवाद बहाते हुए और सड़ते हुए घावों से भरे।
दृष्टि उस ओर भी जाती है, पर क्या करें?
अब भी तेरा सौंदर्य आकर्षक है, लेकिन क्या करें?
इस दुनिया में मोहब्बत के अलावा और भी ग़म हैं।
मिलन की खुशी के अलावा और भी सुकून हैं।
पहले जैसी मोहब्बत मुझसे मत माँगो, मेरी महबूबा।
> English Translation:-
Do not ask of me my first love again, my beloved.
I had thought that if I had you, life would shine bright.
If your sorrow was mine, it would ease all worldly strife.
It is your beauty alone that brings spring to the world.
What is there in this world, beyond your eyes?
If I had you, destiny itself would bow low.
I had only hoped for this, nothing more,
But never had I wished for it to be like this.
There are other sorrows in this world, beyond love.
There are other comforts too, besides the comfort of union.
Countless centuries’ dark, barbaric spells,
Woven in silks, atlas, and rich brocades.
Bodies sold in alleys and markets everywhere,
Drenched in dirt, bathed in blood.
Bodies pulled from furnaces of disease,
Leaking pus from festering wounds.
Even as the eyes turn to these scenes, what can be done?
Your beauty is still enchanting, but what can be done?
There are other sorrows in this world, beyond love.
There are other comforts too, besides the comfort of union.
Do not ask of me my first love again, my beloved.
# Analysis:-
Here's an analysis of both translations of the Urdu poem Hindi and English
1. Syntax, Sound, and Metre:-
-
Hindi Translation:
- Syntax: The Hindi translation retains the structure of the original Urdu poem to a large extent. The inversion of clauses, as in “पहले जैसी मोहब्बत मुझसे मत माँगो,” mirrors the Urdu phrasing of "تجھے سے پہلی سی محبت میری محبوب نہ مانگ." The poetic flow aligns well with the Urdu, ensuring fidelity to the original syntax.
- Sound: The Hindi translation uses alliteration (e.g., “मिट्टी में लिपटे और खून में नहाए हुए”), capturing some of the rhythmic quality of the Urdu text. However, the assonance and rhyme scheme of the Urdu original (e.g., “سوا / بہاروں کو ثبات”) are not fully reproduced.
- Metre: Hindi approximates the metre of the Urdu original but doesn’t achieve the same rhythm due to structural and lexical differences between the two languages.
-
English Translation:
- Syntax: The English version restructures sentences for grammatical correctness in English, often losing the compactness of the original. For example, “Bodies sold in alleys and markets everywhere” expands the idea of “جا بہ جا بکتے ہوئے کوچہ و بازار میں جسم.”
- Sound: The musicality of the Urdu poem is harder to replicate in English, as the language lacks the same inherent melody and rhyme. However, phrases like “bathed in blood” echo the alliteration of the Urdu text.
- Metre: The free verse style in English disrupts the original’s lyrical rhythm, making the English version less metrically aligned with the Urdu poem.
2. Lexicon, Grammar, and Semiotics:-
-
Hindi Translation:
- Lexicon: The Hindi translation retains Urdu-origin words like “सुकून,” “मिट्टी,” and “सौंदर्य,” maintaining the cultural and poetic tone of the original. Words such as "भट्टियों" and "घावों" provide vivid imagery, preserving semiotic depth.
- Grammar: The grammatical structure of Hindi closely aligns with Urdu, enabling the translator to replicate phrases like “मिलन की खुशी के अलावा और भी सुकून हैं” with minimal distortion.
- Semiotics: The Hindi translation conveys the social critique embedded in the poem, particularly through phrases like “गली और बाज़ारों में बिकते हुए शरीर,” which retain the metaphorical weight of exploitation and suffering.
-
English Translation:
- Lexicon: The English translation introduces simpler, direct words like “bodies” and “markets,” which simplify but flatten the layered meanings of the original. Phrases like “bathed in blood” evoke vivid imagery but lack the cultural richness of words like "خاک میں لتھڑے."
- Grammar: English grammar requires reordering and expanding sentences for clarity, as seen in “There are other comforts too, besides the comfort of union,” which elaborates “راحتیں اور بھی ہیں وصل کی راحت کے سوا.”
- Semiotics: While the social critique is retained, the English version lacks the cultural resonance of the original, as words like “comfort” and “beauty” don’t fully capture the emotive weight of "راحت" and "حسن."
3. Cultural Connotations and Collocations:-
-
Hindi Translation:
- Cultural connotations are preserved effectively, as Hindi shares cultural and linguistic roots with Urdu. Words like "मिट्टी" and "रेशम" evoke imagery that aligns with the South Asian context. Collocations like “सौंदर्य आकर्षक है” preserve the poetic tone of the original.
- The metaphor of “बाज़ार में बिकते हुए शरीर” strongly resonates with socio-political realities in the Indian subcontinent, maintaining the critical undertone of the Urdu poem.
-
English Translation:
- English struggles to preserve cultural connotations. Phrases like “woven in silks, atlas, and rich brocades” lack the nuanced cultural associations of "ریشم و اطلس و کمخواب."
- Collocations such as “comfort of union” and “dark, barbaric spells” fail to evoke the same cultural depth as their Urdu counterparts.
4. Challenges and Resolutions:-
-
Hindi Translation:
- Challenges: The challenge lies in translating words with deep cultural and poetic significance, like “درخشاں,” which carries the dual meaning of “bright” and “illuminated.”
- Resolutions: By choosing equivalents like “चमकता,” the Hindi translation balances literal meaning and cultural resonance.
-
English Translation:
- Challenges: English lacks equivalents for culturally loaded terms like “تقدیر نگوں.” Additionally, the poem’s rhythm and rhyme are difficult to replicate.
- Resolutions: The translator employs vivid imagery (e.g., “drenched in dirt, bathed in blood”) to partially compensate for the loss of rhythm and cultural nuance.
5. Examples to Support Analysis:-
-
Syntax and Sound:
- Urdu: “تیری آنکھوں کے سوا دنیا میں رکھا کیا ہے”
- Hindi: “तेरी आँखों के सिवा इस दुनिया में रखा ही क्या है” retains the rhetorical question structure and tone.
- English: “What is there in this world, beyond your eyes?” shifts to a more neutral tone.
-
Lexicon and Semiotics:
- Urdu: “جا بہ جا بکتے ہوئے کوچہ و بازار میں جسم” evokes stark imagery.
- Hindi: “गली और बाज़ारों में बिकते हुए शरीर” mirrors this imagery closely.
- English: “Bodies sold in alleys and markets everywhere” simplifies the metaphorical richness.
# Conclusion:-
The Hindi translation is closer to the original in terms of syntax, lexicon, and cultural connotations due to shared linguistic roots. The English translation, while effective in conveying the general themes, struggles with retaining the rhythm, cultural nuance, and emotive depth of the Urdu original. Both translations face challenges in maintaining the balance between literal meaning and poetic resonance, but each resolves them in ways suitable to their target audience and language structure.
> The Theoretical Frameworks:-
Analyzing the translations through the lens of theoretical frameworks by Roman Jakobson, J.C. Catford, G.N. Devy, and A.K. Ramanujan helps to contextualize the findings. Below is a reflection on how these theorists’ ideas apply to the translations discussed earlier:
1. Roman Jakobson: Linguistic and Cultural Equivalence:-
Jakobson’s theory emphasizes three types of translation: intralingual (within the same language), interlingual (between languages), and intersemiotic (between sign systems). His key argument is that “equivalence in meaning” may not always be possible due to linguistic and cultural differences.
- Application to Findings:
- The Hindi translation, as an intralingual translation (Urdu to Hindi), achieves a higher degree of equivalence. Since Hindi and Urdu share cultural and linguistic roots, words like “मोहब्बत” (Urdu: محبت) and “सुकून” (Urdu: سکون) preserve both the meaning and emotional resonance of the original.
- The English translation, being interlingual, faces greater challenges in equivalence. For instance, translating "تقدیر نگوں" as "destiny itself would bow low" conveys the idea but loses the layered meaning of “destiny brought low by submission.” Jakobson’s idea of "non-correspondence" between languages becomes evident here.
2. J.C. Catford: Shift in Translation
Catford’s theory focuses on linguistic shifts in translation, which can be either level shifts (e.g., grammar to lexis) or category shifts (e.g., structural or semantic).
- Application to Findings:
- In the Hindi translation, there are minimal shifts because of the structural and grammatical similarities between Urdu and Hindi. For example, "کوچہ و بازار میں جسم" becomes “गली और बाज़ारों में शरीर,” where the grammatical structure remains intact.
- In the English translation, significant category shifts occur due to linguistic differences. For example:
- Urdu: "خاک میں لتھڑے ہوئے خون میں نہلائے ہوئے جسم"
- English: "Bodies drenched in dirt, bathed in blood"
Here, the English opts for descriptive verbs ("drenched," "bathed") to convey the metaphorical meaning, shifting from Urdu's more compact structure.
3. G.N. Devy: Translation as Cultural Negotiation
Devy emphasizes that translation is not merely linguistic but also a cultural act that involves negotiating between the source and target cultures. He suggests that translations must carry cultural connotations to ensure authenticity.
- Application to Findings:
- The Hindi translation successfully negotiates cultural connotations. Words like “मिट्टी” and “रेशम” retain their evocative, culturally rich meanings from the original Urdu, aligning with Devy’s view of cultural fidelity.
- The English translation, however, struggles with cultural negotiation. For example, “ریشم و اطلس و کمخواب” becomes “silks, atlas, and rich brocades.” While technically accurate, the phrase loses the deep cultural resonance that these fabrics have in the subcontinent, where they symbolize luxury and exploitation.
4. A.K. Ramanujan: Context and "Translatability"
Ramanujan highlights the cultural untranslatability of certain texts due to their rootedness in specific traditions. He argues that the cultural context must be adapted in translation, but this often leads to a dilution of meaning.
- Application to Findings:
- In the Hindi translation, cultural translatability is high because the shared socio-cultural context of Urdu and Hindi minimizes the need for adaptation. For instance, the metaphor of "गली और बाज़ारों में बिकते हुए शरीर" retains the original’s emotional weight.
- In the English translation, untranslatability becomes evident. For example:
- Urdu: "جا بہ جا بکتے ہوئے کوچہ و بازار میں جسم"
- English: "Bodies sold in alleys and markets everywhere"
The English version lacks the cultural depth of exploitation and commodification inherent in the Urdu imagery. Ramanujan’s concept of “loss in translation” is evident here.
5. Comparative Insights from Theories
- Jakobson's theory highlights the inherent difficulties of achieving equivalence, especially in the English translation, which sacrifices rhythm and cultural nuance for semantic clarity.
- Catford’s shifts are more prominent in the English version, particularly in the restructuring of grammar and lexis to fit the target language's conventions.
- Devy’s focus on cultural negotiation underscores the Hindi translation’s success in preserving cultural elements, while the English translation struggles with cultural depth.
- Ramanujan’s concept of untranslatability is most visible in the English version, where the loss of cultural and metaphorical richness alters the poem’s impact.
Examples from the Text Supporting Theories:-
Cultural Connotations (Devy, Ramanujan):
- Urdu: "ریشم و اطلس و کمخواب کے داماں"
- Hindi: "रेशम और कमख़ाब के दामन" (Cultural fidelity retained)
- English: "Woven in silks, atlas, and rich brocades" (Loss of cultural symbolism)
Lexical Shifts (Jakobson, Catford):
- Urdu: "تیری آنکھوں کے سوا دنیا میں رکھا کیا ہے"
- Hindi: "तेरी आँखों के सिवा इस दुनिया में रखा ही क्या है" (Minimal lexical shift)
- English: "What is there in this world, beyond your eyes?" (Restructuring and lexical expansion)
Challenges and Resolutions:-
- Challenge: Preserving metaphorical depth in English, as seen in “خاک میں لتھڑے ہوئے.”
- Resolution: English opts for vivid imagery like “drenched in dirt” but sacrifices cultural resonance.
- Challenge: Translating cultural markers like "ریشم و اطلس" into a Western context.
- Resolution: Retain the words (e.g., "silks") but lose the emotional connotations tied to South Asian traditions.
# Conclusion:-
The analysis through these theoretical frameworks reveals that while the Hindi translation excels in preserving the linguistic, cultural, and poetic essence of the original, the English translation prioritizes clarity and accessibility but often at the cost of depth and nuance. Each framework provides a unique lens to evaluate the trade-offs inherent in translation.
# Generated by Gemini:-
# Hindi Translation:-
दूसरा आगमन
घूम रहा है बाज़, बाज़ पकड़े जाने के परे,
गोल-गोल घूमते हुए, केंद्र खो जाता है।
चीज़ें बिखर रही हैं; केंद्र नहीं पकड़ पाता,
अराजकता चारों ओर फ़ैल रही है।
रक्तिम ज्वार उठता है, दुनिया डूब रही है,
हर जगह मासूमियत की कराह सुनाई देती है।
सबसे अच्छे लोग अब विश्वास खो चुके हैं,
और सबसे बुरे जोशीले उत्साह से भरे हुए हैं।
निश्चित ही कोई रहस्य प्रकट होने वाला है;
दूसरा आगमन आ रहा है।
दूसरा आगमन! ये शब्द शायद ही बोल पाता हूँ,
जबकि एक विशाल छवि मेरी दृष्टि में झलकती है।
रेत के रास्ते पर, एक विशाल आकृति,
शेर का शरीर और इंसान का सिर,
सुस्त आँखों के साथ, जैसे सूरज से चमकती हों।
यह धीरे-धीरे चलता है, जबकि चारों ओर
रेगिस्तानी पक्षियों की छाया गोल-गोल उड़ रही है।
घने अंधकार से निकलते हुए,
बीस सदियों की नींद से काँपते हुए।
क्या कोई मोटा जानवर, आखिरकार आ रहा है,
बेतलहम की ओर, अपने जन्म के लिए?
# Gujarati Translation:-
બીજું આગમન
ગોળ-ગોળ ફરે છે, વાઘ ફરે છે,
કદાચ તે પોતાની લક્ષ્યરેખા ગુમાવી બેસે છે.
મહત્ત્વની વસ્તુઓ છૂટી રહી છે,
મધ્યસ્થાન હવે અટકી શકતું નથી.
સર્વત્ર ગંદકી પ્રવહી રહી છે,
બધા નિર્દોષો ખૂણામાં છુપાઈ રહ્યા છે.
સૌથી શ્રેષ્ઠ લોકો તેમના વિશ્વાસ ગુમાવી બેસે છે,
અને ખરાબ લોકો અતિ ઉત્સાહભર્યા છે.
ખરેખર, હવે કંઈક મોટું બનવા જઈ રહ્યું છે;
બીજું આગમન આવે છે.
બીજું આગમન! શબ્દો મારી જીભ પર લટકી રહે છે,
જ્યારે એક મોટી છબી મારો ચિતાર ઘેરે છે.
એક વિશાળ આકૃતિ,
સિંહના શરીર સાથે અને માણસનું મસ્તક,
જેમની આંખોમાં ધીમો તાપ છે,
જે રણના માર્ગે ધીમે ધીમે આગળ વધી રહ્યું છે.
તેની આસપાસ રણનાં પક્ષીઓ મંડરાઈ રહ્યા છે.
અંધકારમાંથી ઉભરતી
વીસ સદીની ઊંઘમાંથી થરથરતી;
શીકા પશુ શું જન્મ માટે,
બેથલહેમ તરફ આગળ વધી રહ્યું છે?
Analysis of Hindi and Gujarati Translations of "The Second Coming":-
1. Syntax, Sound, and Metre:-
-
Syntax:The syntax in the original poem by Yeats is fragmented and complex, with enjambments and interruptions that emphasize chaos and disruption. In translation:
- Hindi: The syntax largely mirrors the original, but it sometimes uses longer phrases, which reduce the abruptness of Yeats' lines. For instance:
- "चीज़ें बिखर रही हैं; केंद्र नहीं पकड़ पाता" (Things fall apart; the center cannot hold) translates smoothly but sacrifices the abrupt tension of the original.
- Gujarati: The syntax is similarly fluid but leans towards a more structured sentence flow. For example:
- "મહત્ત્વની વસ્તુઓ છૂટી રહી છે, મધ્યસ્થાન હવે અટકી શકતું નથી" adds more rhythm but loses some urgency.
-
Sound:The sound devices in the original, such as consonance and assonance, are partially retained:
- Hindi: Maintains a solemn tone through repetition of soft sounds, such as "रक्तिम ज्वार" (blood-dimmed tide) and "हर जगह मासूमियत की कराह." However, the rhythm feels less tight compared to the original iambic pentameter.
- Gujarati: The tonal quality is more lyrical, due to the inherent rhythm of Gujarati. Words like "અંધકારમાંથી" (from the darkness) and "શીકા પશુ" (rough beast) create musicality but soften the starkness.
-
Metre:Yeats employs an irregular metre that reflects chaos.
- Hindi and Gujarati translations: Both lean toward regular metre due to the natural cadence of these languages, reducing the fragmented quality that mirrors the apocalyptic mood of the original.
2. Lexicon, Grammar, and Semiotics:-
-
Lexicon:The choice of words in both translations captures much of the imagery but occasionally diverges in tone:
- Hindi: Words like "रक्तिम ज्वार" and "अराजकता" accurately convey Yeats' dark imagery. However, "मासूमियत की कराह" (innocence's wail) introduces emotional overtones absent in the original.
- Gujarati: Words like "રણનાં પક્ષીઓ" (desert birds) and "શીકા પશુ" are precise yet slightly poetic, adding a cultural softness to the otherwise stark original.
-
Grammar:
- Hindi: Sentence structure often uses compound verbs ("बिखर रही हैं, पकड़ पाता") to reflect fluidity, sometimes making lines less abrupt than Yeats' style.
- Gujarati: Tends to use subject-object-verb order, which smooths out the irregular grammar of the original.
-
Semiotics:The symbolic imagery of the original—the falcon, the blood-dimmed tide, the rough beast—is preserved. However:
- In Hindi, terms like "केंद्र" (center) and "अराजकता" (chaos) carry universal semiotic weight, but some cultural nuances may not evoke the same dread.
- In Gujarati, terms like "શીકા" (rough beast) and "મહત્ત્વની વસ્તુઓ" (important things) feel slightly more neutral compared to the biblical overtones of the original.
3. Cultural Connotations and Collocations:-
-
The original poem is deeply rooted in Christian eschatology, with phrases like "the second coming" and "Bethlehem" carrying specific cultural and religious meanings.
- Hindi: Words like "दूसरा आगमन" and "बेतलहम" may lack the immediate resonance for a Hindu-majority audience unfamiliar with Christian apocalyptic traditions.
- Gujarati: Terms like "બીજું આગમન" and "બેથલહેમ" similarly feel alien, as they do not align with the cultural context of Gujarati-speaking readers.
-
Collocations:
- Hindi: Collocations like "रक्तिम ज्वार" (blood-dimmed tide) and "दूसरा आगमन" (second coming) attempt to retain the biblical and apocalyptic tone but may require contextual knowledge for full appreciation.
- Gujarati: Collocations like "અંધકારમાંથી થરથરતી" (quaking out of darkness) add cultural rhythm but slightly diminish the universal dread.
4. Challenges and Resolutions:-
-
Challenges:
- Translating Yeats' apocalyptic tone into languages with different cultural and religious frameworks.
- Preserving the irregular metre and fragmented syntax, which are central to the poem's mood.
- Retaining Christian eschatological symbols without alienating the target audience.
-
Resolutions:
- Hindi and Gujarati translators resolved these challenges by prioritizing imagery over metre and tone. For example:
- "रेत के रास्ते पर, एक विशाल आकृति" (On a desert road, a vast shape) in Hindi and "રણના માર્ગે ધીમે ધીમે આગળ વધી રહ્યું છે" (slowly moving on the desert path) in Gujarati focus on the vividness of the image rather than the abruptness of the original.
- Both translations retain the symbolic essence, even if cultural connotations are softened.
5. Theoretical Frameworks and Reflections:-
- Roman Jakobson: His idea of "translation as transmutation" is evident here. Both Hindi and Gujarati translations transform the poetic essence into culturally resonant language, though some symbolic specificity is lost.
- J.C. Catford: His emphasis on "cultural untranslatability" is evident in challenges like Bethlehem and the rough beast. While the translations attempt to resolve these with direct transliterations, the biblical undertones are softened.
- Ganesh Devy: Devy’s focus on retaining the cultural essence of a language is seen in the translators’ use of local idioms and rhythms, e.g., "અંધકારમાંથી" and "मासूमियत की कराह," which align with their respective linguistic traditions.
- A.K. Ramanujan: His argument for translations being "new poems in themselves" applies here. Both translations, while faithful to Yeats’ imagery, stand as independent poetic creations tailored to their linguistic and cultural audiences.
# Conclusion:-
Both Hindi and Gujarati translations succeed in preserving the thematic essence of "The Second Coming." However, they adapt syntax, sound, and cultural connotations to fit their respective audiences. While some of Yeats' apocalyptic urgency and Christian symbolism are inevitably diluted, the translations offer an engaging reinterpretation of his work in Indian linguistic contexts.
# Examples:-
1. Syntax and Metre:-
- Original: "The falcon cannot hear the falconer; things fall apart."
- Hindi: "बाज़ अब अपने शिकारी को नहीं सुन सकता; चीज़ें बिखर रही हैं।"
- Closely mirrors the structure but uses softer transitions.
- Gujarati: "બાજ હવે તેના શિકારીને સાંભળી શકતો નથી; મહત્ત્વની વસ્તુઓ છૂટું પડી રહી છે."
- Similar softening through Gujarati grammar.
2. Sound
- Original: "The blood-dimmed tide is loosed."
- Hindi: "रक्तिम ज्वार अब हावी हो गया है।"
- Maintains vivid imagery but lacks the harsh consonance of "blood-dimmed."
- Gujarati: "લોહિયાળ વલોણો વહેવા લાગ્યો છે."
- Adds musicality, softening the apocalyptic tone.
3. Lexicon and Semiotics
- Original: "A gaze blank and pitiless as the sun."
- Hindi: "एक दृष्टि, जो सूर्य की तरह खाली और निर्दयी है।"
- Retains the imagery but adds interpretive clarity (निर्दयी).
- Gujarati: "એક નજર, જે સૂર્યની જેમ ખાલી અને નિષ્ઠુર છે."
- Mirrors Hindi with slight tonal differences.
Hindi Translation:
बढ़ते हुए चक्र में घूमता और घूमता है बाज़ शिकारी की आवाज़ नहीं सुन सकता; चीज़ें टूट रही हैं; केंद्र टिक नहीं सकता; दुनिया पर केवल अराजकता छूटी है, रक्त-मलीन ज्वार छूटा है, और हर जगह मासूमियत का समारोह डूब गया है; सर्वश्रेष्ठ में कोई दृढ़ विश्वास नहीं है, जबकि सबसे बुरे भावुक तीव्रता से भरे हुए हैं।
निश्चित रूप से कुछ रहस्योद्घाटन हाथ में है; निश्चित रूप से दूसरा आगमन हाथ में है। दूसरा आगमन! मुश्किल से ही ये शब्द निकले हैं जब स्पिरिटस मुंडी से एक विशाल छवि मेरी दृष्टि को परेशान करती है: कहीं रेगिस्तान की रेत में एक आकृति शेर के शरीर और आदमी के सिर के साथ, सूर्य की तरह खाली और निर्दयी टकटकी, अपनी धीमी जांघों को हिला रहा है, जबकि इसके चारों ओर क्रोधित रेगिस्तानी पक्षियों की छायाएँ घूम रही हैं। अंधेरा फिर से गिरता है; लेकिन अब मुझे पता है कि बीस सदियों की पत्थर की नींद एक डोलने वाले पालने द्वारा दुःस्वप्न में विक्षुब्ध थी, और कौन सा कठोर जानवर, जिसका समय अंततः आ गया है, जन्म लेने के लिए बेथलहम की ओर झुक रहा है?
Gujarati Translation:
વિસ્તરતા વર્તુળમાં ફરતું અને ફરતું બાજ શિકારીની વાણી સાંભળી શકતો નથી; વસ્તુઓ તૂટી રહી છે; કેન્દ્ર ટકી શકતું નથી; દુનિયા પર માત્ર અરાજકતા છૂટી છે, લોહીથી ઝાંખું થયેલું પ્રવાહ છૂટ્યું છે, અને દરેક જગ્યાએ નિર્દોષતાનો સમારોહ ડૂબી ગયો છે; શ્રેષ્ઠ લોકોમાં કોઈ દ્રઢ વિશ્વાસ નથી, જ્યારે સૌથી ખરાબ જુસ્સાદાર તીવ્રતાથી ભરેલા છે.
ચોક્કસ કોઈ પ્રકટીકરણ નજીક છે; ચોક્કસ બીજું આગમન નજીક છે. બીજું આગમન! આ શબ્દો બહાર નીકળ્યા ત્યાં સુધીમાં સ્પિરિટસ મુંડીમાંથી એક વિશાળ છબી મારી દ્રષ્ટિને ખલેલ પહોંચાડે છે: ક્યાંક રણની રેતીમાં સિંહના શરીર અને માણસના માથાવાળી આકૃતિ, સૂર્યની જેમ ખાલી અને ક્રૂર નજર, તેની ધીમી જાંઘો હલાવી રહી છે, જ્યારે તેની આસપાસ ગુસ્સે ભરાયેલા રણના પક્ષીઓની છાયાઓ ફરતી રહે છે. અંધકાર ફરીથી પડે છે; પરંતુ હવે હું જાણું છું કે પથ્થરની ઊંઘની વીસ સદીઓ ઝૂલતા પલંગ દ્વારા દુઃસ્વપ્નમાં વિક્ષોભિત થઈ હતી, અને કયો રફુ જાનવર, જેનું કલાક અંતે આવી પહોંચ્યું છે, જન્મ લેવા માટે બેથલહેમ તરફ ઢળી રહ્યો છે?
> Analysis of the translations of "The Second Coming" by W.B. Yeats into Hindi and Gujarati:
Syntax, Sound, and Metre
Hindi Translation:
- Syntax: The Hindi translation generally maintains the original poem's syntax, though some adjustments are made to ensure grammatical correctness and natural flow in Hindi. For example, the phrase "Things fall apart" might be translated as "चीज़ें टूट रही हैं" (things are breaking), which uses a present continuous tense for a more natural expression in Hindi.
- Sound: The Hindi translation attempts to capture the poem's rhythmic structure and sound patterns. However, the use of Hindi sounds and the inherent differences in the phonetic systems of English and Hindi pose challenges in achieving perfect sonic equivalence.
- Metre: While maintaining a metrical pattern similar to the original English poem might be difficult in Hindi, the translator likely aimed for a rhythmic flow and emphasis on key words to preserve the poem's impact.
Gujarati Translation:
- Syntax: The Gujarati translation also adapts the syntax to fit the grammatical structure of Gujarati. Phrases like "The falcon cannot hear the falconer" might be translated as "બાજ શિકારીની વાણી સાંભળી શકતો નથી" (the falcon cannot hear the falconer's voice), which uses a different word order for better Gujarati expression.
- Sound: Similar to the Hindi translation, achieving perfect sonic equivalence in Gujarati is challenging due to the differences in phonetic systems. The translator likely focused on preserving the overall rhythm and flow of the poem.
- Metre: The Gujarati translation likely adopts a metrical pattern that is suitable for Gujarati poetry, aiming to create a similar rhythmic effect as the original English poem.
Lexicon, Grammar, and Semiotics
Hindi Translation:
- Lexicon: The Hindi translation uses vocabulary that conveys the meaning and tone of the original English words. Terms like "अराजकता" (anarchy), "रक्त-मलीन" (blood-dimmed), and "दुःस्वप्न" (nightmare) capture the essence of the English words while maintaining their impact in Hindi.
- Grammar: The Hindi translation adheres to standard Hindi grammar rules, ensuring grammatical correctness and readability.
- Semiotics: The Hindi translation aims to preserve the symbolic and cultural meanings embedded in the original poem. For example, terms like "Spiritus Mundi" might be translated with a suitable Hindi equivalent that captures its spiritual and universal significance.
Gujarati Translation:
- Lexicon: The Gujarati translation employs vocabulary that is appropriate for Gujarati and conveys the meaning and tone of the original English words. Terms like "અરાજકતા" (anarchy), "લોહીથી ઝાંખું થયેલું" (blood-dimmed), and "દુઃસ્વપ્ન" (nightmare) are used to capture the essence of the English words in Gujarati.
- Grammar: The Gujarati translation follows standard Gujarati grammar rules, ensuring grammatical accuracy and fluency.
- Semiotics: The Gujarati translation aims to preserve the symbolic and cultural significance of the original poem. For example, translating "Spiritus Mundi" into Gujarati requires careful consideration to find an equivalent term that captures its spiritual and universal connotations.
Cultural Connotations and Collocations
Hindi Translation:
- The Hindi translation faces challenges in fully conveying the cultural connotations of some English phrases and concepts. For example, the phrase "The Second Coming" might have slightly different cultural and religious connotations in Hindi compared to English.
- The translator needs to consider the cultural context of the Hindi audience and make adjustments to ensure that the translation is meaningful and relevant.
Gujarati Translation:
- Similar to the Hindi translation, the Gujarati translation might encounter challenges in conveying the cultural connotations of certain English phrases and concepts. For example, the image of "Bethlehem" might have different cultural and religious associations for Gujarati readers compared to English readers.
- The translator needs to carefully consider the cultural context of the Gujarati audience and make adjustments to ensure that the translation is culturally appropriate and meaningful.
Challenges and Resolutions
Challenges:
- Loss of Nuance: Translating poetry often involves a trade-off between literal accuracy and preserving the emotional impact and cultural nuances of the original.
- Rhyme and Meter: Replicating the rhyme scheme and meter of the original poem in Hindi and Gujarati can be challenging due to the different phonetic structures and metrical systems of these languages.
- Cultural Connotations: Conveying the cultural connotations and symbolic meanings of the original text in Hindi and Gujarati can be difficult.
Resolutions:
- Creative Adaptation: Translators can employ creative strategies to adapt the poem while preserving its essence. This might involve using figurative language, imagery, and sound devices that are appropriate for Hindi and Gujarati.
- Annotations: Providing annotations or explanatory notes can help the reader understand the cultural and historical context of the poem.
- Collaboration: Collaborating with native speakers of Hindi and Gujarati can help ensure that the translations are accurate, culturally sensitive, and aesthetically pleasing.
Examples:
- The Hindi translation of "Things fall apart" as "चीज़ें टूट रही हैं" demonstrates a syntactic adaptation to suit the grammatical structure of Hindi.
- The Gujarati translation might struggle to perfectly replicate the rhyme scheme and meter of the original English poem due to the different phonetic structures of the two languages.
- The cultural connotations of "Bethlehem" might need to be adapted in the Gujarati translation to ensure that it is meaningful and relevant for the Gujarati audience.
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