Arabicثمّ إنّ مجرّد اختیار المنفلوطي تلخيص رواية "سيرانو دی برجراك" تلك الرواية الخيالية الوجدانية ، ألا يعدّ دليلاً كافياً على وجود نزعة كامنة في الكاتب المصري تجنح به إلى تصوير الجمال النقيّ والكمال السامي البعيدين عن الحقيقة بُعد السماء عن الأرض؟
translitṯumma ʔinna muǧarrada ’ḫtiyār al-Manfalūṭī talḫīṣ riwāyaẗ "Sīrānū dī Birǧirāk" tilka ’l-riwāyaẗ al-ḫayāliyyaẗ al-wiǧdāniyyaẗ, ʔa-lā yuʕaddu dalīlan kāfiyan ʕalà wuǧūd nazʕaẗ kāminaẗ fī ’l-kātib al-miṣrī taǧnaḥu/tuǧniḥu bihī ʔilà taṣwīr al-ǧamāl al-naqiyy wa’l-kamāl al-sāmī al-baʕīdayn ʕan il-ḥaqīqaẗ buʕda ’l-samāʔ ʕan il-ʔarḍ?
Transl_SGMoreover, should not al-Manfalūṭī’s deliberate choice to [considerably] shorten the plot of
Cyrano de Bergerac1
– this [highly] idealistic imaginative/romantic story – be regarded as sufficient proof of the presence, in Egyptian authors,
2
of a hidden inclination to show [nothing but] impeccable beauty and sublime perfection, both of which are as remote from reality as heaven is from earth?
1. Originally a five-act play (publ. 1897) by the French writer Edmond Rostand (1868-1918), ‘Arabized’ by al-Manfalūṭī as al-Šāʕir, aw Sīrānū dī Birǧirāk (al-Qahiraẗ 1921; various later editions). 2. al-kātib al-miṣrī is not preceded by a demonstrative pronoun like hāḏā here. Therefore, we assume that ʕUbayd refers to ‘the Egyptian writer’ in general, not specifically al-Manfalūṭī.
keywordsAR: Manfalūṭī, talḫīṣ, riwāyaẗ, Sīrānū dī Birǧirāk, ḫayāl, wiǧdānī (wiǧdāniyyaẗ), dalīl, nazʕaẗ, kātib, miṣrī (Miṣr / Miṣriyyaẗ), taṣwīr, ǧamāl, naqiyy (naqāʔ), kamāl, sāmin, ḥaqīqaẗ
EN: …
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