Bibliotheca Polyglotta

تلك اللغة الحيّة المرنة الشغوفة باختيار الكلمات الفنّية وابتكار العبارات الجديدة التي تؤدّي المعنى بقوّة ودقّة ،

tilka ’l-luġaẗ al-ḥayawiyyaẗ al-marinaẗ al-šaġūfaẗ bi-’ḫtiyār al-kalimāt al-fanniyyaẗ wa-’btikār al-ʕibārāt al-ǧadīdaẗ allatī tuʔaddī al-maʕnà bi-quwwaẗ wa-diqqaẗ,

that vivid flexible language that is eager to make sophisticated use of the vocabulary (?)¹ and invent new expressions that render the intended meaning powerfully and exactly/precisely.

1. I am not sure whether this is what the author meant. Literally, he says: ‘the choice of artistic (or: technical?) words’ – iḫtiyār al-kalimāt al-fanniyyaẗ.

AR: luġaẗ, ḥayawī (ḥayawiyyaẗ, ḥayāẗ), marin (murūnaẗ), fannī (fann), ibtikār, ǧadīd, maʕnà, quwwaẗ, diqqaẗ
EN: vivid, flexible, sophisticated, powerfully, exactly, precisely

وآخر في تفسير معنى الفنّ وتعريف وظيفته الأدبية والأخلاقية والاجتماعية وشرح قواعده

wa-ʔāḫar^a fī tafsīr maʕnà ’l-fann wa-taʕrīf waẓīfati-hī ’l-ʔadabiyyaẗ wa’l-ʔaḫlāqiyyaẗ wa’l-iǧtimāʕiyyaẗ wa-šarḥ qawāʕidi-h

And [I would also have liked to dedicate] another [chapter] to the interpretation of the meaning of art and the definition of its literary, moral and social mission as well as to the explanation of its rules;

AR: tafsīr, maʕnà, fann, taʕrīf, waẓīfaẗ, ʔadabī, ʔaḫlāqī, iǧtimāʕī, šarḥ, qawāʕid
EN: …

وآخر في درس صفة أدب اللغة ومستقبل الأنواع التي ابتدأت تدخل فيه –

wa-ʔāḫar^a fī dars ṣifaẗ ʔadab al-luġaẗ wa-mustaqbal al-ʔanwāʕ allatī ’btadaʔat tadḫul^u fī-h –

and yet another on the nature of philology (?)² and the future of th(os)e genres that have begun to invade the language.

2. I am not sure about the translation here – what is ṣifaẗ ʔadab al-luġaẗ?

AR: dars, ṣifaẗ, ʔadab, luġaẗ, mustaqbal, ʔanwāʕ (nawʕ)
EN: …

لولا أنّنا رأينا أنّ هذه المقدّمة أصبحت طويلة وكادت تكون مملّة

law-lā ʔanna-nā raʔaynā ʔanna hāḏihī ’l-muqaddimaẗ ʔaṣbaḥat ṭawīlaẗ wa-kādat takūn mumillaẗ

But, well, we feel this preface has already become too long and almost boring.

AR:…

ولذلك ستبقى تتمّة هذا الدرس لكتابنا "نظرات وملاحظات فنّية" الذي ننشره قريباً .

wa-li-ḏālika sa-tabqà tatimmaẗ hāḏā ’l-dars li-kitābi-nā "Naẓarāt wa-mulāḥaẓāt fanniyyaẗ" allaḏī nanšuru-hū qarīb^an.

We will therefore postpone the final parts of this study to our book Perspectives and Observations on Art / Aesthetic Contemplations, which we are about to publish.

AR: dars, naẓarāt, mulāḥaẓaẗ, fannī (fann)
EN: Observation

(س) وقد حذونا حذو "بلزاك" شيخ الروائيين الفرنسيين في مؤلّفاته الموسومة بالإنسانية الممثلة "La Comédie Humaine"

wa-qad ḥaḏawnā ḥaḏw^a "Balzāk" šayḫ al-riwāʔiyyīn al-faransiyyīn fī muʔallafāti-hī ’l-mawsūmaẗ bi’l-ʔinsāniyyaẗ al-mumaṯṯalaẗ "La Comédie Humaine"

[p. xv] We are following the example of Balzac, the master of French story-writers, in his writings, which are characterized by their humanism and all stage la comédie humaine.³

3. ʕUbayd gives the French expression here.

AR: Balzāk, ʔinsāniyyat (ʔinsānī, ʔinsān)
EN: Balzac, humanism, humane

Permanent link

http://www2.hf.uio.no/common/apps/permlink/permlink.php?app=polyglotta&context=ctext&uid=33c89eba-f77b-11eb-841a-005056a97067

Choose languages

Choose images, etc.

Choose languages

Choose display