Bibliotheca Polyglotta

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

فإنّه إذا وجد مثلاً مكاناً جميلاً فلا يحاول أنْ يصوّره على القرطاس كما شاهده ،

fa-ʔinna-hū ʔiḏā waǧada maṯal^an makān^an ǧamīl^an fa-lā yuḥāwil^u ʔan yuṣawwira-hū ʕalà ’l-qirṭās ka-mā šāhada-hū,

If he, for example, has found a beautiful place, he will not try to draw it on a paper as he sees it;

AR: ǧamīl (ǧamāl), taṣwīr
EN: …

بل يتوهّم أن الطبيعة كما هي ، ليست جميلة (هـ) جمالها الحسّي الفنّي ،

bal yatawahham^u ʔanna ’l-ṭabīʕaẗ ka-mā hiya, laysat ǧamīlaẗ ǧamāla-hā ’l-ḥissī al-fannī,

rather, he will presume that nature cannot be so beautiful [p. v] by its own artistically appealing/tangible beauty;

AR: tawahhama (tawahhum), ṭabīʕaẗ, ka-mā huwa/hiya, ǧamīl / ǧamāl, ḥissī (ḥāssaẗ / hawāss), fannī (fann)
EN: …

فيريد أنْ يزيدها جمالاً فيعتمد طبعاً على خياله

fa-yurīd ʔan yazīda-hā ǧamāl^an fa-yaʕtamidu ṭabʕ^an ʕalà ḫayāli-h

instead, he will want to make it still more beautiful, thereby relying on [too much] fantasy,

AR: ǧamāl, ḫayāl
EN: …

فيأتي لنا بوصف عقيم غامض ركيك ، إذا راجعناه في مخيّلتنا لا يتبقّي منه شيء ، ويخرج ذهننا خالياً كما كان قبل قراءته ،

fa-yaʔtī la-nā bi-waṣf ʕaqīm ġāmiḍ rakīk, ʔiḏā rāǧaʕnā-hu fī muḫayyalati-nā lā yatabaqqà min-hu šayʔ, wa-yaḫruǧ^u ḏihnu-nā ḫāliy^an ka-mā kāna qabla qirāʔati-h,

so that he will produce a sterile, unclear, weak picture of it, a picture of which nothing will remain when we will try to recall it: it will leave no impression on our minds.¹

1. Lit., our mind will leave [the scene] as empty as it was before reading it.

AR: waṣf, ʕaqīm (ʕuqm), ġāmiḍ (ġumūḍ), rakīk (rakākaẗ)
EN: sterile, unclear, weak

مع أنّ الفنّ لا يرى فقط إلى تجميل الطبيعة و تكميل النفوس لإظهار الجمال السامي الخالي من النقائص كما يتوهّم البعض ،

maʕa ʔanna ’l-fann lā yarà faqaṭ ʔilà taǧmīl al-ṭabīʕaẗ wa-takmīl al-nufūs li-ʔiẓhār al-ǧamāl al-sāmī al-ḫālī min al-naqāʔiṣ ka-mā yatawahham^u ’l-baʕḍ,

In contrast, [real] art does not simply aim, as some people imagine, at a beautification of nature and a perfection of the souls in order to highlight a sublime beauty, bare of all defects;

AR: fann, taǧmīl (ǧamāl), ṭabīʕaẗ, takmīl (kamāl), nufūs (nafs), ʔiẓhār (ẓāhir), ǧamāl, sāmⁱⁿ, naqāʔiṣ, tawahhama (tawahhum)
EN: [real] art

بل قد يكون أيضاً في تصوير الحقائق العارية المجرّدة ،

bal qad yakūn ʔayḍ^an fī taṣwīr al-ḥaqāʔiq al-ʕāriyaẗ al-muǧarradaẗ,

rather, it may also lie in the depiction of the naked, crude, unembellished facts.

AR: taṣwīr, ḥaqīqaẗ (ḥaqāʔiq), ʕārⁱⁿ, muǧarrad (taǧrīd)
EN: naked, crude, unembellished facts

وتعريفنا للفنّ هذا التعريف الجديد سيوجِد آداباً مبنيّة على الحقائق تختلف كلّ الإختلاف عن آداب الأمس ،

wa-taʕrīfu-nā lil-fann hāḏā ’l-taʕrīf al-ǧadīd sa-yūǧid^u ʔādāb^an mabnīyaẗ^an ʕalà ’l-ḥaqāʔiq taḫtalif^u kull^a ’l-iḫtlāf ʕan ʔādābⁱ ’l-ʔams,

This new way in which we define art will create a literature² based on reality³ that will be completely different from yesterday’s literature,

2. ʔādāb – the word means more than just ‘literature’ or ‘writings’ here, it comprises a whole ‘literary culture’ (see above), thereby retaining the general ethic dimension of ‘culture’ inherent in classical ʔadab. 3. Lit., the facts, al-ḥaqāʔiq.

AR: taʕrīf, fann, ǧadīd, ʔādāb, ḥaqīqaẗ (ḥaqāʔiq), ʔams
EN: …

وسينشأ من هنا تعدُّد الأنواع الأدبية والمذاهب الكتابية ممّا يدعو إلى رقي الأدب الحديث،

wa-sa-yanšaʔ^u min hunā taʕaddud al-ʔanwāʕ al-ʔadabiyyaẗ wa’l-maḏāhib al-kitābiyyaẗ mimmā yadʕū ʔilà ruqiyy al-ʔadab al-ḥadīṯ,

and from here a whole variety of literary genres and writing styles⁴ will emerge, which will enhance further development⁵ in modern literature,

4. The term used here is maḏāhib, pl. of maḏhab ‘way of doing s.th.; school, trend’. 5. raqy or ruqiyy, vn. of raqiya ‘to ascend, climb, rise, advance’. From the same root r-q-y, the vn. of form V, taraqqī, is the Nahḍa’s standard term used to render the notion of ‘progress, rise, progressive development’.

AR: našaʔa (našʔaẗ, nušūʔ), taʕaddud, ʔanwāʕ (nawʕ), ʔadab / ʔadabī, maḏāhib (maḏhab), kitābaẗ, ruqiyy, ḥadīṯ (ḥadāṯaẗ)
EN: development…

الذي أوقف تطوّرَه تقليدُنا الأعمى الجامد الغبي لأدب العرب القديم ، ومجاراتُنا لهم في الخيال والتشبيه والاستعارة والمحسنات البديعية والعبارات اللغوية .

allaḏī ʔawqafa taṭawwura-hū taqlīdu-nā ’l-ʔaʕmà ’l-ǧāmid al-ġabiyy li-ʔadab al-ʕarab al-qadīm, wa-muǧārātu-nā la-hum fī ’l-ḫayāl wa’l-tašbīh wa’l-istiʕāraẗ wa’l-muḥassināt al-badīʕiyyaẗ wa’l-ʕibārāt al-luġawiyyaẗ.

an advancement that had been stopped by our blind, stiff and stupid imitation of ancient Arabic literature⁶ and the emulation of the ancient Arabs’ imagery,⁷ similes, metaphors, rhetoric embellishments and expressive language.

6. Here, too, ʔadab may mean more than just ‘literature’, cf. above. 7. ḫayāl – could also be ‘imagination’.

AR: taṭawwur, taqlīd, ʔaʕmà (ʕam^an), ǧāmid (ǧumūd), ġabiyy (ġabāʔ), ʔadab, ʕarab, qadīm, ḫayāl
EN: …

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