Bibliotheca Polyglotta

(حـ) 3 – أما غاية الرواية ، فيجب أنْ تكون التحرّي عن الحياة وتصويرها بأمانة وإخلاص كما تبدو لنا ، وجمع كمية كبيرة من الملاحظات والمستندات الإنسانية

3 – ʔammā ġāyaẗ al-riwāyaẗ, fa-yaǧib^u ʔan takūn^a ’l-taḥarriy^a ʕan il-ḥayāẗ wa-taṣwīri-hā bi-ʔamānaẗ wa-ʔiḫlāṣ ka-mā tabdū la-nā, wa-ǧamʕ kamiyyaẗ kabīraẗ min al-mulāḥaẓāt wa’l-mustanadāt al-ʔinsāniyyaẗ

[p. viii] 3 | The purpose of a narration¹ has to be a thorough investigation into life and depicting/portraying it in a faithful and reliable manner, [exactly] as it appears to us [i.e., as we see it]; [it also has to be] the collection of observations and evidence² about the human being

1. riwāyaẗ ‘telling a story’ almost has the meaning of ‘reporting’ here; cf. also above. 2. mustanadāt ‘documents to rely on’.

AR: ġāyaẗ, riwāyaẗ, taḥarrⁱⁿḥayāẗ, taṣwīr, ʔamānaẗ, ʔiḫlāṣ, mulāḥaẓaẗ, mustanadāt, ʔinsānī (ʔinsāniyyat, ʔinsān)
EN: thorough investigation into life, depicting/portraying, faithful, reliable, as it appears to us, observation, evidence

بحيث تكون الرواية عبارة عن "دوسيه" يطّلع فيه القارئ على تاريخ حياة إنسان أو صفحة من حياته ،

bi-ḥayṯu takūnu ’l-riwāyaẗ ʕibāraẗ ʕan "dūsīh" yaṭṭaliʕ^u fī-hi ’l-qāriʔ ʕalà tārīḫ ḥayāẗ ʔinsān ʔaw ṣafḥaẗ min ḥayāti-h,

so that the story can serve as something like a dossier³ in which the reader is informed about a person’s biography or a phase of the latter’s life.

3. ʕUbayd uses the foreign word here: dūsīh.

AR: riwāyaẗ, dūsīh, qāriʔ, tārīḫ, ʔinsān, ḥayāẗ
EN: like a dossier

ويجمل بالكاتب أنْ يدرس فيها أسرار الطبيعة البشرية وخفايا القلب الإنساني الغامض ، والتطوّر الاجتماعي والأخلاقي ، وعوامل الحضارة والبيئة والوراثة في نفوس الأشخاص،

wa-yaǧmul^u bi’l-kātib ʔan yadrus^a fī-hā ʔasrār al-ṭabīʕaẗ al-bašariyyaẗ wa-ḫafāyā al-qalb al-ʔinsānī al-ġāmiḍ, wa’l-taṭawwur al-iǧtimāʕī wa’l-ʔaḫlāqī, wa-ʕawāmil al-ḥaḍāraẗ wa’l-bīʔaẗ wa’l-wirāṯaẗ fī nufūs al-ʔašḫāṣ,

In it, a writer should ideally study the hidden secrets of the human heart; [he should also study] social and moral development as well as the influence of civilisation, milieu, and what is inherited genetically⁴ in the characters’ psyche.

4. ʕawāmil al-ḥaḍāraẗ wa’l-bīʔaẗ wa’l-wirāṯaẗ – three key terms that show that the author is well-read in European positivist theories about the influence of civilisation, (social) milieu and genetic factors on human behaviour.

AR: kātib, darasa (dars / dirāsaẗ), ʔasrār (sirr), ṭabīʕaẗ, bašarī (bašar), ḫafāyā, qalb, ʔinsānī, ġāmiḍ (ġumūḍ), taṭawwur, iǧtimāʕī (muǧtamaʕ), ʔaḫlāq, ʕawāmil (ʕāmil), ḥaḍāraẗ, bīʔaẗ, wirāṯaẗ, nufūs (nafs), ʔašḫāṣ
EN: heart, social and moral development, civilisation, milieu, genetically, characters’ psyche

وذلك مع بعض التحفّظ في إبداء حكمه أو آرائه الشخصية ، لأنّ مهمّته الأساسية تشريح النفوس البشرية وتدوين ما يكتشفه من الملاحظات ،

wa-ḏālika maʕa baʕḍ al-taḥaffuẓ fī ʔibdāʔ ḥukmi-hī ʔaw ʔārāʔi-hī al-šaḫṣiyyaẗ, li-ʔanna mahammata-hū ’l-ʔasāsiyyaẗ tašrīḥ al-nufūs al-bašariyyaẗ wa-tadwīn mā yaktašifu-hū min al-mulāḥaẓāt,

He should do so while at the same time holding back, to some extent, his [own] judgment or personal opinion, for his primary task should be to dissect the human soul and to record what he discovers via observation,⁵

5. The key words here are tašrīḥ ‘dissection’, tadwīn ‘recording, registering’, and mulāḥaẓaẗ ‘observation’.

AR: taḥaffuẓ, ḥukm, šaḫṣiyyaẗ, mahammaẗ, tašrīḥ, nufūs (nafs), bašarī, tadwīn, iktašafa (iktišāf), mulāḥaẓaẗ
EN: dissect the human soul, record, discovers, observation

تار کاً الحكم في ذلك إلى القارئ نفسه يستخلص منها المغزى الذي يرمي إليه بخفّة ومهارة دون أنْ يتحمّل مشقّة المناداة به .

tārik^an al-ḥukm fī ḏālika ʔilà ’l-qāriʔⁱ nafsi-hī yastaḫliṣ^u min-hā ’l-maġzà allaḏī yarmī ʔilay-hi bi-ḫiffaẗ wa-mahāraẗ dūn^a ʔan yataḥammal^a mašaqqaẗ al-munādāẗ bi-h.

leaving the judgment about all that to the reader who will himself draw the conclusion from it, easily and competently without having to bear the troubles of being called on to do so.

AR: ḥukm, qāriʔ, maġzà, mahāraẗ
EN: …

وإنّا لموقنون أنّ هذه الطريقة الجديدة ستصادف بادئ بدء اعتراضاً شديداً من بعض كتّابنا الذين يتوهّمون أنّهم أساتذة مرشدون جادت بهم العناية الإلهية لهداية الأمّة وحملها على اتّباع آرائهم ،

wa-ʔinnā la-mūqinūn^a ʔanna hāḏihī ’l-ṭarīqaẗ al-ǧadīdaẗ sa-tuṣādif^u bādiʔ^a badʔⁱⁿ iʕtirāḍ^an šadīd^an min baʕḍ kuttābi-nā allaḏīn^a yatawahhamūn^a ʔanna-hum ʔasātiḏaẗ^un muršidūn^a ǧādat bi-him al-ʕināyaẗ al-ʔilāhiyyaẗ li-hidāyaẗⁱ ’l-ʔummaẗ wa-ḥamli-hā ʕalà ’ttibāʕ ʔārāʔi-him,

We are convinced that this new way of writing will initially meet strong resistance among some of our writers, those who consider themselves as leading masters whom Divine Providence endowed with guiding the nation and turning it into followers of their opinions.

AR: ǧadīd, kuttāb, tawahhama (tawahhum), muršid (ʔiršād), hidāyaẗ, ʔummaẗ
EN: guiding the nation

فإنّا نخالف ذلك ونتحمّل تبعة آرائنا ، فلا يحقّ للكاتب مطلقاً أنْ يدّعي هذا الادّعاء لأنّنا معرضون دائماً للخطأ ،

fa-ʔinnā nuḫālifu ḏālika wa-nataḥammal^u tabiʕaẗ^a ʔārāʔi-nā, fa-lā yaḥiqq^u lil-kātib muṭlaq^an ʔan yaddaʕiy^a hāḏā ’l-iddiʕāʔ li-ʔanna-nā muʕraḍūn^a dāʔim^an lil-ḫaṭaʔ,

In contrast, we oppose this idea, and we take on own responsibility for our ideas.⁶ For a writer has absolutely no right to make such a claim – none of us is immune against making mistakes.

6. ? – nataḥammalu tabiʕat ʔārāʔi-nā. Unfortunately, the meaning does not become much clearer if we read tabaʕat… instead of tabiʕat...

AR: kātib, ḫaṭaʔ
EN: …

فإنّنا نحكم على حسب أمزجتنا وميولنا وأذواقنا وأمزجة الناس متعدّدة ، وميولهم متضاربة ، وأذواقهم مختلفة ومضادّة .

fa-ʔinna-nā naḥkum^u ʕalà ḥasabⁱ ʔamziǧati-nā wa-muyūli-nā wa-ʔaḏwāqi-nā wa-ʔamziǧaẗ^u ’l-nās mutaʕaddidaẗ, wa-muyūlu-hum mutaḍāribaẗ, wa-ʔaḏwāqu-hum muḫtalifaẗ wa-muḍāddaẗ.

We make up our minds according to our temperaments, preferences and personal tastes – and people’s temperaments are numerous, their preferences opposed to each other, and their tastes may be different and contradictory.

AR: ḥakama (ḥukm), mazāǧ, mayl, ʔaḏwāq (ḏawq), taʕaddud
EN: …

فلا يصحّ ولا يحقّ لنا أنْ نجبر غيرنا على قبول ما لا يسيغه ولا يهضمه ،

fa-lā yaṣaḥḥ^u wa-lā yaḥiqq^u la-nā ʔan nuǧbir^a ġayra-nā ʕalà qubūl mā lā yusīġu-hū wa-lā yahḍimu-h,

Therefore, we do not have the right, neither legally nor morally, to force somebody to accept what he cannot easily swallow and digest.

AR:…

ثمّ إنّ نفس أذواقنا وميولنا التي تعتمد (ط) عليها في الحكم تتغيّر يوماً عن يوم ،

ṯumma ʔinna nafs^a ʔaḏwāqi-nā wa-muyūli-nā ’llatī taʕtamidu ʕalay-hā fī ’l-ḥukm tataġayyar^u yawm^an ʕan yawm,

Moreover, these very same tastes and preferences on which we base [p. ix] our judgments – they change from day to day.

AR: ʔaḏwāq (ḏawq), mayl, ḥukm, taġayyur
EN: …

فقد نستحسن اليوم رأياً ونعشقه وندافع عنه ، وغداً يتّضح لنا أنّنا أخطأنا وتسرّعنا في استحساننا له فننبذه ونحاربه .

fa-qad nastaḥsin^u ’l-yawm^a raʔy^an wa-naʕšiqu-hū wa-nudāfiʕ^u ʕan-hu, wa-ġad^an yattaḍiḥ^u la-nā ʔanna-nā ʔaḫṭaʔnā wa-tasarraʕnā fī ’stiḥsāni-nā la-hū fa-nanbiḏu-hū wa-nuḥāribu-h.

Today we may appreciate a point of view, love it and defend it, while tomorrow we may realize that we’ve made a mistake and our appreciation was too hurried; so we reject it and fight against it.

AR: al-yawm, ġad^an, ittaḍaḥa (wuḍūḥ), ḫaṭaʔ
EN: …

وكيف يمكن للكاتب أنْ يثبت أنْ آراءه مفيدة للهيئة الاجتماعية غير مضرّة بها ؟

wa-kayfa yumkinu lil-kātib ʔan yuṯbita ʔanna ʔārāʔa-hū mufīdaẗ lil-hayʔaẗ al-iǧtimāʕiyyaẗ ġayr muḍirraẗ bi-hā?

How then can an author prove that his ideas are beneficial to society,⁷ not doing harm to it?

7. al-hayʔaẗ al-iǧtimāʕiyyaẗ – the Nahḍa’s standard term for the concept of ‘society’. It reflects the efendiyya’s look at society as a body, a structure, a kind of mechanism or organism that, if necessary, can be approached – and treated – as such, i.e., from the perspective of the ‘social engineers’, the ‘doctors’ who, after the dissection (tašrīḥ) of this body, will have found the defect and be able to remedy it.

AR: kātib, mufīd (fāʔidaẗ, fawāʔid), al-hayʔaẗ al-iǧtimāʕiyyaẗ, muḍirr (ḍarar)
EN: society

فإنّ أعاظم الرجال الذين أرادوا أنْ يضعوا للبشرية شرائع وأنظمة تؤدّي بها إلى السعادة الدائمة قد أخطئوا وأساءوا إلى المجتمع البشري من حيث أرادوا إسعاده .

fa-ʔinna ʔaʕāẓim al-riǧāl allaḏīna ʔarādū ʔan yaḍiʕū lil-bašariyyaẗ šarāʔiʕ wa-ʔanẓimaẗ tuʔaddī bi-hā ʔilà ’l-saʕādaẗ al-dāʔimaẗ qad ʔaḫṭaʔū wa-ʔasāʔū ʔilà ’l-muǧtamaʕ al-bašarī min ḥayṯ^u ʔarādū ʔisʕāda-h.

Those “giant men” who wanted to lay down for humanity rules and laws that would lead them into eternal happiness have actually failed; they did more harm to human society than making it happier.

AR: bašariyyaẗ (bašar), šarāʔiʕ (šarīʕaẗ), ʔanẓimaẗ (niẓām), ḫaṭaʔ, ʔasāʔa (ʔisāʔaẗ), muǧtamaʕ bašarī
EN: …

ومع ذلك فإنّنا لا نقول بعدم حقّ الكاتب في الحكم أو إبداء الرأي

wa-maʕa ḏālika fa-ʔinnanā lā naqūl bi-ʕadam ḥaqq al-kātib fī ’l-ḥukm ʔaw ʔibdāʔ al-raʔy

Nevertheless, we do not say that an author should have no right to pass a judgment or express his views.

AR: kātib, ḥukm, ʔibdāʔ al-raʔy
EN: …

ولكنّنا نقصد أنْ يتجلّى حكمه ورأيه من ثنايا ملاحظاته وتحاليله ،

walākin-nā naqṣid^u ʔan yataǧallà ḥukmu-hū wa-raʔyu-hū min ṯanāyā mulāḥaẓāti-hī wa-taḥālīli-h,

What we mean is rather that his judgment and view should become clear from his observations and analyses,

AR: ḥukm, raʔy, mulāḥaẓaẗ, taḥālīl (taḥlīl)
EN: observation, analyses

لا كما يفعل كتّاب العهد القديم من المناداة :

lā ka-mā yafʕal^u kuttāb al-ʕahd al-qadīm min al-munādāẗ:

not, as in the old days, via calling upon them, saying

AR: kātib (kuttāb), qadīm
EN: …

أيها القوم ثوبوا إلى رشدكم ، أيها الناس أقلعوا عن الرذائل ، أيها الناس تمسّكوا بالفضائل !

ʔayyuhā ’l-qawm ṯūbū ʔilà rušdi-kum, ʔayyuhā ’l-nās ʔaqliʕū ʕan il-raḏāʔil, ʔayyuhā ’l-nās tamassakū bi’l-faḍāʔil!

“Oh people, be reasonable! Oh people, rid yourselves of the bad habits! Oh people, stick to virtue!” –

AR: faḍāʔil
EN: …

تلك المناداة العقيمة التي لا تؤثّر أدنى تأثير فنّي في نفس القارئ ، بل كثيراً ما تأتي النتيجة ضدّ رغبة الكاتب ،

tilka ’l-munādāẗ al-ʕaqīmaẗ allatī lā tuʔaṯṯir^u ʔadnà taʔṯīr fannī fī nafs al-qāriʔ, bal kaṯīr^an mā taʔtī al-natīǧaẗ^u ḍidd^a raġbaẗ al-kātib,

that old barren homily that leaves not the least imprint on the reader’s mind. On the contrary, the effect is often the opposite of what was the writer’s intention.

AR: ʕaqīm (ʕuqm), taʔṯīr, fannī (fann), nafs, qāriʔ, natīǧaẗ, kātib
EN: …

إذ يأخذ القارئَ الضجرُ والمللُ فيتضايق من تلك الفضائل التي يحُثّونه عليها بقسوة وخشونة .

ʔiḏ yaʔḫuḏ^u ’l-qāriʔa ’l-ḍaǧar^u wa’l-malal^u fa-yataḍāyaq^u min tilka ’l-faḍāʔilⁱ ’llatī yaḥuṯṯūna-hū ʕalay-hā bi-qaswaẗ wa-ḫušūnaẗ.

The reader will namely be taken by boredom and dissatisfaction, and he will be annoyed by [all] these virtues to which he is being pushed violently and crudely.

AR: qāriʔ, ḍaǧar, malal, faḍāʔil
EN: …

وليس للرواية أسلوب خاصّ ، أو قاعدة عامّة ، فهی تتناول كل الأساليب والقواعد ما دامت مبنية على الملاحظة والتحليل النفساني ؛

wa-laysa lil-riwāyaẗ ʔuslūb ḫāṣṣ, ʔaw qāʕidaẗ ʕāmmaẗ, fa-hiya tatanāwal^u kull^a ’l-ʔasālīb^a wa’l-qawāʕid^a mā dāmat mabnīyaẗ ʕalà ’l-mulāḥaẓaẗ wa’l-taḥlīl al-nafsānī;

Storytelling has neither a particular style nor general principles, it may include all styles and principles as long as it is based on observation and psychological analysis.

AR: riwāyaẗ, ʔuslūb / ʔasālīb, qāʕidaẗ / qawāʕid, mulāḥaẓaẗ, taḥlīl nafsānī
EN: observation, analysis

فتارة تكون موضوعة في قالب رسالة كقصّتي "إحسان هانم" التي بادرت بها هذه المجموعة ، أو مذكّرات، أو اعتراف ، أو قصّة ، أو محاورة ثنائية ،

fa-tāraẗ^an takūn^u mawḍūʕaẗ fī qālib risālaẗ ka-qiṣṣat-ī "ʔIḥsān Ḥānim" allatī bādartu bi-hā hāḏihī ’l-maǧmūʕaẗ, ʔaw muḏakkirāt, ʔaw iʕtirāf, ʔaw qiṣṣaẗ, ʔaw muḥāwaraẗ ṯunāʔiyyaẗ,

Sometimes [the narrative] can be cast in the form of a letter, as in my story Miss Iḥsān, which opens the present collection. [It may also take the form] of memoirs, a confession, a short story, or a dialogue,

AR: muḏakkirāt, iʕtirāf, qiṣṣaẗ, muḥāwaraẗ ṯunāʔiyyaẗ
EN: …

ما دامت دعامتها الملاحظة المأخوذة عن الحياة كما هي بلا تقصير أو مغالاة ،

mā dāmat daʕāmata-hā al-mulāḥaẓaẗ^u ’l-maʔḫūḏaẗ^u ʕan il-ḥayāẗ ka-mā hiya bi-lā taqṣīr ʔaw muġālāẗ,

as long as its [main] pillar is observation, observation of real life, without reduction or exaggeration.

AR: mulāḥaẓaẗ, ḥayāẗ, ka-mā huwa/hiya, taqṣīr, muġālāẗ
EN: observation, real life, without reduction or exaggeration

ولا يعلّق الكاتب في الرواية العصرية أدنى أهمّية على السياق الروائي ،

wa-lā yuʕalliq^u ’l-kātib fī ’l-riwāyaẗ al-ʕaṣriyyaẗ ʔadnà ʔahammiyyaẗ ʕalà ’l-siyāq al-riwāʔī,

The author of a modern narrative does not [need to] attach the least importance to narrative flow

AR: kātib, riwāyaẗ, ʕaṣrī (ʕaṣriyyaẗ)
EN: …

لأنّه سيكون ثانوياً إزاء مرمی الرواية الأساسي ، ألا وهو درس أشخاصه وتشريح نفوسهم (ي) وتحليل أفكارهم ،

li-ʔanna-hū sa-yakūn^u ṯānawiyy^an ʔizāʔ^a marmà ’l-riwāyaẗ al-ʔasāsī, ʔillā wa-huwa darasa ʔašḫāṣa-hū wa-tašrīḥ nufūsi-him wa-taḥlīl ʔafkāri-him,

because this is secondary to the story’s essential objective – isn’t this the study of his characters, the dissection of their innermost feelings and [p. x] the analysis of their thoughts?

AR: riwāyaẗ, darasa (dars, dirāsaẗ), ʔašḫāṣ, tašrīḥ, nufūs (nafs), taḥlīl
EN: analysis

فإنّه يجب عليه أن يشاهدهم عن قرب ويشرف على أزماتهم ،

fa-ʔinna-hū yaǧib^u ʕalay-hi ʔan yušāhida-hum ʕan qurb wa-yušrif ʕalà ʔazamāti-him,

Therefore, it is imperative that he observes them closely and gains insight into their life crises.

AR: ʔazmaẗ
EN: …

فإنّ من الأسباب التي تحمل المؤلّف على الجنوح إلى الخيال والتكلّف ، عدم إلمامه التامّ بشخصية أشخاصه وإتيانه في روايته بأشخاص لم يشاهدهم أو شاهدهم عرضاً ولم يتسنَّ له درسُهم .

fa-ʔinna min al-ʔasbāb allatī taḥmilu ’l-muʔallif ʕalà ’l-ǧunūḥ ʔilà ’l-ḫayāl wa’l-takalluf, ʕadam^u ʔilmāmi-hī al-tāmm bi-šaḫṣiyyaẗ ʔašḫāṣi-hī wa-ʔityānu-hū fī riwāyati-h bi-ʔašḫāṣ lam yušāhid-hum ʔaw šāhada-hum ʕarḍ^an wa-lam yatasanna la-hū darsu-hum.

For one of the reasons that make authors turn to [irrealistic] imagination and mannerism is [often] his lack of a profound/comprehensive knowledge of the character of his protagonists and the fact that he creates in his narrative characters he has never, or only randomly, been able to watch and study carefully.

AR: ʔasbāb (sabab), ḫayāl, takalluf, šaḫṣiyyaẗ, riwāyaẗ, ʔašḫāṣ
EN: …

وغايتنا من ذلك أنْ يضع الكتّاب المصريون مؤلّفات قيّمة ناضجة تظلّ حيّة جديدة على مرّ الأعوام والأجيال ،

wa-ġāyatu-nā min ḏālika ʔan yaḍiʕa ’l-kuttāb al-miṣriyyūn muʔallafāt qayyimaẗ nāḍiǧaẗ taẓall^u ḥayawiyyaẗ ǧadīdaẗ ʕalà marrⁱ ’l-ʔaʕwām wa’l-ʔaǧyāl,

Our intention with all this is [to make] Egyptian writers produce mature, valuable works that will remain new and lively in spite of years and generations passing by.

AR: ġāyaẗ, kātib (kuttāb), Miṣr, qayyim (qīmaẗ), nāḍiǧ (nuḍūǧ), ḥayawī (ḥayawiyyaẗ, ḥayāẗ), ǧadīd
EN: …

والرواية لا تكون خالدة إلا إذا كوّنت من العناصر الإنسانية الخالدة .

wa’l-riwāyaẗ lā takūn ḫālidaẗ^an ʔillā ʔiḏā kuwwinat min al-ʕanāṣir al-ʔinsāniyyaẗ al-ḫālidaẗ.

For a narrative will not be immortal unless it is composed of eternal human constituents.

AR: riwāyaẗ, ḫālid (ḫulūd), takwīn / takawwun, ʕanāṣir (ʕunṣur), ʔinsānī (ʔinsāniyyat, ʔinsān), ḫālid (ḫulūd)
EN: eternal human constituents

هذا ما نطمح إليه نحن كتّاب الناشئة الجديدة .

hāḏā mā naṭmaḥ^u ʔilay-hi naḥnu kuttāb al-nāšiʔaẗ al-ǧadīdaẗ.

This is what we, the authors of the new emerging generation, are aspiring to.

AR: kātib (kuttāb), nāšiʔaẗ (našʔaẗ, nušūʔ), ǧadīd
EN: …

فنريد أنْ تكون مؤلّفاتنا ناضجة قيّمة لا تموت بموتنا ،

fa-nurīd^u ʔan takūna muʔallafāti-nā nāḍiǧaẗ qayyimaẗ lā tamūt bi-mawti-nā,

We want our works to be mature and valuable so that they do not die when we die.

AR: nāḍiǧ (nuḍūǧ), qayyim (qīmaẗ)
EN: mature, valuable

فنحن لا نكتب لبضعة المئات من قرّائنا وقد لا يوجد بينهم إلا نفر قليل جدّاً يفهمون غايتنا ، ويقدّرون مجهودنا ،

fa-naḥnu lā naktub^u li-biḍʕaẗ al-miʔāt min qurrāʔi-nā wa-qad lā yūǧad^u bayna-hum ʔillā nafar^un qalīl^un ǧidd^an yafhamūn^a ġāyata-nā, wa-yuqaddirūn^a maǧhūda-nā,

For we are not writing for the few hundreds of our readers, among whom perhaps only a handful who understand our ambitions and appreciate our efforts.

AR: qurrāʔ (qāriʔ), ġāyaẗ
EN: …

ونحن لم نُقْدِم على فنّ الأدب - وهو في الوقت الحاضر فنّ لا يورث صاحبه غير الفاقة والشقاء - إلا ونحن مدفوعون بذاك الأمل ؛

wa-naḥnu lam nuqdim ʕalà fannⁱ ’l-ʔadab – wa-huwa fī ’l-waqtⁱ ’l-ḥāḍir fann^un lā yūriṯ^u ṣāḥiba-hū ġayr^a ’l-fāqaẗ wa’l-šaqāʔ – ʔillā wa-naḥnu madfūʕūn^a bi-ḏāka ’l-ʔamal;

And we do not adventure into the art of literature – which currently is an art that earns its masters nothing but poverty and misery – unless driven by that hope,

AR: ʔaqdama (ʔiqdām), fann, ʔadab, ʔamal
EN: …

أملُ جعْلِ اسمِنا محترماً عند أطفالنا وأحفادنا الذين سيقرؤوننا ويدركون مقدارَ ما ضحّيناه لأجلهم من دمائنا ونفوسنا .

ʔamal^u ǧaʕlⁱ ’smi-nā muḥtaram^an ʕinda ʔaṭfāli-nā wa-ʔaḥfādi-nā ’llaḏīna sa-yaqraʔūna-nā wa-yudrikūn^a miqdār^a mā ḍaḥḥaynā-hu li-ʔaǧli-him min dimāʔi-nā wa-nufūsi-nā.

the hope that all this will make our names respected among our children and grandchildren who will read us and understand to what extent we have sacrificed our blood and heart for their benefit.

AR: ʔamal, muḥtaram, ʔaṭfāl (ṭifl), ʔaḥfād (ḥafīd), ḍaḥḥà (tāḍḥiyaẗ), dimāʔ (dam), nufūs (nafs)
EN: …

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