Arabicونذكر 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
translitwa-naḏkuru hunā lil-dalālaẗ ʕalà ʕaẓm hāḏā al-maškal ʔanna ṣadīqa-nā al-maʔsūf ʕalay-h Muḥammad Beğ Taymūr al-ṯawrawī al-fannī ’rtaʔà baʕda ʔimʕān al-tafkīr wuǧūba waḍʕi ’l-riwāyāti ’l-qiṣaṣiyyaẗ al-marsaḥiyyaẗ bi’l-luġaẗ al-ʕāmmiyyaẗ
Transl_SGTo 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 plays
2
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.
keywordsAR: Muḥammad Taymūr, fannī (fann), irtaʔà (raʔy), waḍʕ, riwāyaẗ, marsaḥ, luġaẗ ʕāmmiyyaẗ
EN: Muḥammad Taymūr, vernacular, language of the masses
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