Bibliotheca Polyglotta

ʕĪsà ʕUbayd, Muqaddima (1921)

Complete text

III-§1.a

فكيف نوفّق إذن بين لغة الأشخاص التي يتكلّمون بها في الحياة وبين اللغة الأدبية الراقية التي يجب أن تدوّن في المؤلفات .

fa-kayf^a nuwaffiq^u ʔiḏan bayna luġaẗ al-ʔašḫāṣ allatī yatakallamūn^a bi-hā fī ’l-ḥayāẗ wa-bayna ’l-luġaẗ al-ʔadabiyyaẗ al-rāqiyaẗ allatī yaǧibu ʔan tudawwan^a fī ’l-muʔallafāt.

How then should we reconcile the language people speak in daily life with the high literary language that is to be used in written works?

AR: waffaqa (tawfīq), luġaẗ, ʔašḫāṣ, ḥayāẗ, luġaẗ, ʔadabī, rāqⁱⁿ
EN: reconcile the language

ونذكر هنا للدلالة على عظم هذا المشكل أنّ صديقنا المأسوف عليه محمّد بك تيمور الثوروي الفنّي ارتأى بعد إمعان التفكير وجوب وضع الروايات القصصية المرسحية باللغة العامّية

wa-naḏkur^u hunā lil-dalālaẗ ʕalà ʕaẓm hāḏā al-maškal ʔanna ṣadīqa-nā al-maʔsūf ʕalay-h Muḥammad Beğ Taymūr al-ṯawrawī al-fannī ’rtaʔà baʕd^a ʔimʕān al-tafkīr wuǧūb^a waḍʕⁱ ’l-riwāyātⁱ ’l-qiṣaṣiyyaẗ al-marsaḥiyyaẗ bi’l-luġaẗ al-ʕāmmiyyaẗ

To underline the importance of this problem, let us remind you here of the fact that our late friend, the revolutionary artist Muḥammad Bey Taymūr,¹ had decided, after careful consideration, that theatrical plays² should be composed in the vernacular/the language of the masses,

1. Egyptian dramatist and prose writer, 1892-1921. »His reading of realistic writers like De Maupassant and Zola prepared him to become a pioneer of the modern Arabic short story .... [... Around 1918, he was among the co-founders of] the literary circle Madrasat al-ādāb al-jadīda, later known as al-Madrasa al-ḥadītha (the ‘Modern School’) ...« – Ed C.M. De Moor, art. »Taymūr, Muḥammad (1892-1921)«, in EAL, ii: 762-3, in particular 762. 2. I do not know what (if anything at all) the double qualification of these riwāyāt as qiṣaṣiyyaẗ and marsaḥiyyaẗ possibly can mean.

AR: Muḥammad Taymūr, fannī (fann), irtaʔà (raʔy), waḍʕ, riwāyaẗ, marsaḥ, luġaẗ ʕāmmiyyaẗ
EN: Muḥammad Taymūr, vernacular, language of the masses

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