Bibliotheca Polyglotta

ʕĪsà ʕUbayd, Muqaddima (1921)

Complete text

III-§1.a

لأنّه يجعله يشعر بصحّة الرواية المأخوذة عن الحياة ، وبحقيقة وجود الأشخاص المصوّرين عن الطبيعة .

li-ʔanna-hū yaǧʕalu-hū yašʕur^u bi-ṣaḥwaẗ al-riwāyaẗ al-maʔḫūḏaẗ ʕan il-ḥayāẗ, wa-bi-ḥaqīqaẗ wuǧūd al-ʔašḫāṣ al-muṣawwarīn ʕan il-ṭabīʕaẗ.

as it allows the reader to feel the credibility of a story taken from life and the truth of the existence of the people portrayed by nature.¹

1. Hafez renders this paragraph – the only one he reproduces in full English translation – as follows: »Apart from the lack of creative imagination, inadequate observation and the absence of analysis, there is the weakness of description and illustrative ability. The description of the setting from which the characters emerge is one of the most important requirements of fictional art, because it has a tremendous effect on forming their characteristics and feelings. Furthermore, the vivid narrative and the use of accurate realistic description have a strong impact on the reader, for they convince him of the truthfulness of the story and of its relevance to real life« – S. Hafez, The Genesis of Arabic Narrative Discourse, Saqi Books, 1993: 179.

AR: šaʕara (šuʕūr, mašāʕir), ṣaḥwaẗ, riwāyaẗ, ḥayāẗ, ḥaqīqaẗ, ʔašḫāṣ, taṣwīr, ṭabīʕaẗ
EN: …

أما سبب ضعف الكاتب المصري في مجال التصوير ، فلعدم تدريبه عليه أو لجهله أصول الفنّ الحقيقي ،

ʔammā sabab ḍuʕf al-kātib al-miṣrī fī maǧāl al-taṣwīr, fa-li-ʕadam tadrībi-hī ʕalay-hi ʔaw li-ǧahli-hī ʔuṣūl^a ’l-fann al-ḥaqīqī,

The reason for the Egyptian writer’s weakness in the field of depiction lies in his lack of training in, or ignorance of, the basic principles of real art.

AR: sabab/ʔasbāb, ḍuʕf, kātib, miṣrī (Miṣr / Miṣriyyaẗ), taṣwīr, tadrīb, ǧahl, ʔuṣūl, fann, ḥaqīqaẗ / ḥaqīqī
EN: real art

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