ترجمه شعر

This paper examines the translation of Khayyam's quatrains by three translators based on Yarmohammadi's model. Yarmohammadi's model, originally developed as a discourse analysis of Edward Fitzgerald's translation, emphasizing that Fitzgerald's discourse remains aligned with Khayyam's discourse throughout his translations. The paper has reviewed this model and applied it in the discourse analysis of the translations of Khayyam's quatrains by three translators, including the translations of Fitzgerald, E. H. Winfield, Abbas and Mansour Arianpour, and analyzed eight selected quatrains. The findings show that the translation strategies in these works have significant differences: Fitzgerald changed the images and contextual elements to match the taste of his readers, while Winfield showed more loyalty to Khayyam's ideology, although he made changes in some cases for greater clarity and did not translate some parts. Arianpour's translation is closer to the original text, but in some cases due to excessive adherence to the source text, it may cause misunderstanding in the readers. These observations show that while Yarmohammadi's model is useful for analyzing discourse at the macro level, a complementary framework is also needed at the micro level to examine poetic elements such as rhyme, phonology, phonetic balance, and imagery.

Poetry, as a unique art form, is so intertwined with its specific linguistic, cultural, and aesthetic elements that translating it into another language poses significant challenges. Using a descriptive-analytical method and providing practical examples from Persian and Russian poetry, this article analyzes the linguistic and cultural challenges in the process of poetry translation. It demonstrates that translating poetry depends not only on conveying the meanings of words but also on preserving the cultural context of the text. Ultimately, it concludes that while a complete and accurate translation of poetry may seem impossible, translators can, by employing creativity and deep cultural understanding, strike a balance between linguistic and cultural elements to produce translations that are as close as possible to the original. The aim of this study is to emphasize that poetry translation is not merely a linguistic activity, but a process in which cultures and worldviews interact and exchange. Therefore, translators must be equipped not only with language skills but also with a deep understanding of the culture and context of the source language. Finally, it is suggested that to improve the quality of poetry translation, translators should adopt a dialectical approach.

In recent centuries, among the works of Persian poetry, Khayyam's quatrains have attracted the attention of orientalists as one of the precious treasures of Persian literature. Today, this work has been translated into many languages and is accessible to many audiences. Since the poems of this poet have a special elegance, literary craftsmanship, rhythm and prosody, due to the fact that they are all in the rôbâï genre and in the khorassani style, their translation requires much more precision and effort. In this research, we attempt to examine the French translation of some quatrains of Khayyam following the theory of André Lefèvre to find out if the form of the quatrain, its rhyme, its meaning and its rhythm were well transmitted in the target language or not. To achieve this goal, we consider Lefèvre's seven categories of poetry translation: 1. rhythmic translation, 2. rhyming translation, 3. blank verse translation, 4. translation-interpretation, 5. phonetic translation, 6. translation literal and 7. prose translation, in order to identify the strategy used by him to translate the quatrains. The results obtained indicate that Marthold mainly uses the method of “rhymed and rhythmic translation”.

Translation of poetry has been a subject of scholarly interest for centuries. It poses numerous challenges, including the difficulty of conveying the poet's intended meaning, preserving the poetic form and structure, and retaining the emotional impact of the original work. The primary purpose of this study is to gain a deeper understanding of the translation process, particularly when dealing with poetry. By employing Conrad Potter Aiken's analytical approach to translation, this research seeks to shed light on the cognitive aspects involved in the transference of poetic meaning from one language to another. Through a case study of the translation of "When You Are Old" into Azerbaijani Turkish, the study aims to explore the intricate decisions and creative adaptations that the translator had to make while preserving the essence of the original poem. In the second attempt, the translation of “When you are old” is compared with some translations in Azerbaijani Turkish (Sabir’s translation of Hafiz), Persian (Nasime- Shomal’s translation of Sabir), and English (Fitzgerald’s translation of Khayyam) to present a crosslinguistic analysis of poetic translation to study the qualities of successful poetic translations. The results of the paper showed that translators of poetry, to achieve a successful translation, must be successful in transferring both form and content. The conveyance of meaning in poetry translation can be similar to the conveyance of meaning from any text, and if the translator masters both languages, it can be possible. However, to covey the form, the translator must be a poet. The investigations of Turkish, Persian, and English translations showed that mastering the respective prosody is not enough, and the translator must possess poetic wit and he must be a poet himself. This study also showed that the poetic translation can be successful if it looks like a poem in the target language. Moreover, one of the criteria for examining and investigating the translation is referring to the successful translations of that language.

The poem's phrases possess significant semantic depth, with each one conveying numerous concealed and enigmatic connotations. Therefore, comprehending its meaning necessitates a meticulous analysis of the poetry. An effective approach to comprehending word meanings is to analyze them through the lens of the theory of conceptual relations. In this theory, we aim to comprehend the precise significance of each word by analyzing the correlation between words. Synonymy is a relationship between words in which they have the same or similar meanings. When analyzing meaning through synonymy, the goal is to gather and compare terms that have the same meaning. This process helps to refine and clarify the semantic boundaries of each word by considering additional synonymous words. Synonymy can be applied in the translation of poetry and its criticism. This article critiques the equivalence of terms in the book "To turn green from love" by utilizing the notion of synonymy. This book features a compilation of Nizar Qabbani's love poems that have been translated from Arabic to Persian by Musa Aswar. During the analysis of equivalences, the initial step involved extracting the denotations of the words under discussion from the dictionary. Subsequently, the extra-lexical meanings of these words, such as their emotional and stylistic connotations, were decoded by taking into account the context of the poem. In the following, the process of selecting the most similar equivalent to the source text by gathering counterparts with the same meaning is described. Additionally, the translator's equivalence is evaluated and criticized. The research findings indicate that in certain instances, translation equivalents do not align with other terms within the context of the poem. Furthermore, many counterparts in the translation exhibit reduced emotional intensity compared to the words in the original text, while others possess a broader and more encompassing significance than the words found in Nizar's poems. Additionally, certain equivalents have caused the translated text to be unclear or open to interpretation.

Focusing on the translation of classical poetry into classical poetry between Arabic and Persian languages, this study investigates the issue of what kind of relationship is the "semantic balance" between the source and target poems in this type of translation and how it is realized. The study method is descriptive analysis. In the analytical part, first, the semantic structure of the poem is analyzed based on the theory of Order (Nazm) by Abdul Qahir Jurjani, and it is determined that the semantic structure of the poem is a product of the way the poem signifies its purpose, which is expressed in a special order of speech. Then, in the descriptive part, by referring to samples of the translation of classical poetry into classical poetry between Arabic and Persian, the semantic relationship between the samples is described, and it is specified that the semantic balance between the source and target poems is a similarity of expression that flows at the level of the way of indicating the purpose, and the semantic balance at this level is realized through simulating the function of linguistic elements in the way of presenting meaning. Therefore, the target poem is a semantic construct in the target language, whose linguistic elements are used in its production in such a way that they have a similar function to the linguistic elements of the source poem in the way of signifying the purpose.

The language of Hafez's poetry is very delicate and mysterious. In his sonnets (Qazals), the words have been accurately selected with great aesthetic taste. In such a way, all the words are somehow connected and intertwined with each other. One of the linguistic features of Hafez is the collocation of oppositions together. Oppositions used in Hafez's poems not only have explicit and implicit semantic connections but also are related to other words. Therefore, understanding the conceptual relationship of words, and in particular, oppositions, plays a great role in discovering the meaning and the elegance of Hafez's poetry. Hence, in this study, an attempt has been made to select examples of "gradable, complementary, symmetrical, directional, lexical, and implicit” oppositions in Hafez's sonnets. Also, the conceptual relationship with other words of the verse will be analyzed and its semantic and aesthetic function will be explained. Subsequently, Ali Abbas Zoleikhe's translation of semantic oppositions and their functions will be discussed and criticized. The results of the research indicate that the oppositions in question, especially implicit oppositions, have created many clear and hidden rhetorical meanings in poetry and the slightest change in the oppositions and balance of words leads to the reduction of coherence and meaning of the verse.

The issue of women’s language has been suggested in the theories of many feminist writers. According to this, women’s writing is essentially different from the man’s one. On this basis, feminist scholars tried to create a women's style of writing. So, they expressed various ideas about women’s writing. Feminist theories had influence on many female writers and poets in the Arab world. One of them is Syrian writer and poet, Ghada Al-Samman. Due to studying in the west and familiarity with feminist movements there, she created a unique women’s writing in her works. Some of her poems were translated into Persian. Abdol Hosein Farzad in Elegies for Jasmines and I Declare Love Against You, has translated some of her poems to Persian. In some cases of mentioned translations, the women’s style of writing and feminist ideas have been neglected. According to the Women’s writing (Écriture féminine), this research aims to investigate mentioned translations and explain their inarticulateness to express the women’s style of writing. The results indicate that the female words, fluidity, diversion of common structures of syntax, special graphic forms in writing, deconstruction, and displacement of male values have been ignored in some parts of translations.

Translating poetry has been one of the most important topics in translation studies that has always attracted the attention of scholars of this field. The mixing of the language of poetry with the poet's feelings along with the ambiguity and complexity of the poem's structure and its association with elements such as literary arrays, imaginative forms and music of poetry have made it so special that its translation  seems to be impossible. Some translation experts consider translating poetry to be impossible, and translation of Hafiz’s poems, with all the features of poetry and the intertwining of form and meaning, and especially Hafez's "illusions", is virtually impossible. The purpose of this paper, which used a descriptive-analytical approach, was to investigate the translation of Hafez's poems into French by the French knowledgeable, Charles Henri de Fouchécoure, to examine the difficulties and shortcomings of this translation, and to identify different aspects of the translation. The features of the two sonnets of Hafiz were examined and Fouchécoure’s translation were analyzed. It was indicated that some textual and paratextual features of the poems have been neglected and this has impeded transmission of the textual message, because the message and content of the Hafiz's poems are interwoven well with its form.

Domain of discourse refers to a set of norms, knowledge, customs, concepts, and ideologies accepted by the poet or writer that appear in his works. In translating the literary work, the study of the quality of representation domain of discourse in target language, in addition to crossing the linguistic and literary boundaries, emphasizes the importance of how it is represented, as the translator's approach to the discourse elements of the source text and how it is translated into the target language requires careful attention. Khayyam Nīshāpūrī 's quatrains (526-439 AH), an Iranian well-known Persian poet, has long been the focus of translators' attention as one of the most valuable literary works. Poet and contemporary critic of the Emirate (1976), Mohammed Abdullah Nur-al-din is also a translator who has translated these quatrain into Arabic by converting format of quatrain into new poetry and incorporating new ideologies and evolving some of the poetic elements of poetry to incorporate the essence of own thoughts according to the needs and desires of the age. The present investigation seeks to study the apparent changes in the Arabic translation of Nur al-Din by studying the elements of discourse in Khayyam's quatrains using a descriptive-analytical method and from the perspective of discourse analysis, and has described and explains the method of translating these elements into the poetic elements of these quatrains. Studying the analysis of Nur al-Din's translation of Khayyam's quatrains shows that this translation as any other translation.

According to some critics and literates, the translation of the contemporary Iraqi poet, Ahmad Safi Najafi from Khayyam's quatrains is at a high level of poetry and beauty. Apart from the positive features of this translation, we witness some changes in the discourse and the implications of Khayyam poetry in the quatrains’ translation. The present paper seeks to analyze the translation based on the cohesion principle and cohesive devices of the text, which was proposed by Michael Halliday and Ruqaiya Hasan, and to observe the changes that have been made in the Khayyam's temporal discourse and the time element in the quatrains, observing, and it can point to the importance of the imperious and form relations of the text in the translation so. According to the analyses carried out, lack of attention to the cohesive devices such as conjunctions (casual and temporal conjunctions) and lexical factors and eliminations in the translation process has caused the collapse of multiple time implications in the Khayyam quatrains’.

Theoreticians have regarded poem translation as the most challenging types of translation. The term ‘untranslatable’ is the title, which implies a challenge in this literary work. The challenge is due to the occurrence of major changes in the form and structure of poetry translation, which departs it from the original text. The literary elegance and intricacy of the poem have encouraged the translation theorists to evaluate the translation from the equality and balance gate regarding the form and structure and pay special attention to the different linguistic forms of two languages (source and target) in the translation process. In this article, using a descriptive-analytical method and comparing the source and target texts, we aim to examine the principle of quantity as one of the important principles in creating equilibrium and equality between source and target texts. At that point, the concept ‘quantity’ in Abu al-Fath al-Busti (4th century) Nuniyyah’s translation from Arabic to Persian is evaluated. This elegy has been translated to Persian by Badredin Jajarmi - semi-free translation - in the 7th century. The results indicate that; although the translator has attempted to keep quantity, the linguistic system features of target language have led him to quantitative increasing. The quantitative increase is evident in two levels of lexicon and semantics in the translation.

This research aims at describing the sevenfold solutions presented by André Lefevere for the poetry translation in a precise manner. These seven solutions are 1. Phonological or phonetic translation; 2. Literal translation; 3. Metrical translation; 4. Translation of the poetry into prose; 5. Rhymed translation; 6. Translation into blank verse, 7. Interpretation. The next step after the description, is to evaluate its proficiency in this field by implementing these solutions in translation of the poetry from Arabic to Persian and vice versa.
It is natural that due to the difference in genres and styles of poetry versification among Latin , Persian and Arabic languages, some solutions are specific to English poetry, which is the subject of Lefevere's task, and there is no place for the emergence in the Persian and Arabic languages, and also some solutions are implementable with few or many differences. This paper attempts at first, to introduce Lefevere’s ploys, by implementing the procedures of translation from Persian into Arabic and vice versa, and evaluating the weaknesses and strengths of each solution. The importance of this paper is twofold: firstly, among the writings in Persian language, Lefevere's sevenfold solutions have not been fully introduced and have been referred to only in the context of the books. In this paper the authors have attempted to introduce each of these solutions completely. this research does not restrict itself to theories, but it seeks to implement the theoretical solutions.
It is perceived from the implementation of Lefevere's solutions that six out of seven aspects of his sevenfold aspects are largely adaptable in Arabic translation into Persian and only the sixth one is not possible to be implemented, since it is the translation ploy into blank verse which is unique to English and has no counterparts in Persian and Arabic. Also, the first ploy is not adaptable in all languages, but it can be translated in Persian and Arabic due to the common vocabulary of these two languages. In addition, none of these solutions can be instrumental independently in translation from Persian into Arabic, and the translator should use a combination of different solutions to translate the poetry.

Love in loud voice is a translation of a selection of poems by Nazar Qobbani, a famous Syrian poet, which has been translated by Ahmad Pouri from English into Persian language. In the process of this literary translation from Arabic into English, and then into Persian, there have been some changes in the dominant discourses on the text that can be observed, including religious, national- ethnic and structure-breaking and political discourse that have been changed or eliminated in the process of the translation. In this paper, we are going to examine the original and translated text based on discourse analysis and then, analyzing the change of Socioculturalelements in the process of translation. What we see in this study indicates that in this translation, in the discourses such as national, ethnic, political, structure-breaking and religious ones, the changes like deletion, selection versus an inappropriate equivalent, and sometimes changes to eliminate the tension existing in the original text has been made consciously.

Due to their forms and content, the works of Saadi Shirazi, one of the well-known and outstanding Persian poets, have the potentiality of being analyzed from different points of view. Composing some remarkable parts of his poems in Arabic language, Saadi has tried to show his skills and proficiency in Arabic. These parts of his poems have been translated into Persian by Moayed Shirazi. The question raises here is how and to what extent the translated version by Jafar Moayed Shirazi indicates the spirit and the literary style of Saadi's works. Through a descriptive-analytical method, this research has been accomplished to study the translation from an aesthetic viewpoint to show the translator’s comprehensive knowledge of the language in conveying the meaning and the content. Due to Moayed Shirazi's knowledge of both languages –Persian and Arabic- he has adopted the precision of meaning transfer as a criterion and avoids the free translation that lets the translator to recreate a new text out of the source.

The Untranslatability of some part of Mowlana's mystical poetry, and the differences between the viewpoints of the East and the West cultures, has brought about changes in the Rumi's mystical discourse. Rafiq Abdullah, a South African Muslim is, lecture, translator, writer and BBC radio producer. he chose a selection of Rumi's poetry and translate for English-speaking people. This research, while reviewing different perspectives on poetry translation, shown that have been made in translated version by referring to the selected verses of Divan Shams. In other hand, common points of discourse in the chosen vocabulary and their translation has been shown, and finally this paper shows how changing the cultural patterns from the original version to western version due to the discourse changing. Mowlanism in the other countries and attention to his behaviors in the West, is the result of native translator views.

Translating poetry has always been a significant subject in translation studies. Mixture of the language of poetry with the poet’s feelings and its benefit from ambiguity and complexity as well as presence of elements such as rhythm, sentiments, and fantasy puts poetry at a higher position than prose, and accordingly adds more importance to its translation. The translator of a poem should be privileged with more freedom. An efficient translation of poetry is the outcome of recreation rather than mere rendition, as it is the case with rhythmic translations. Not only should poetry translators have all proficiencies of literary translators, they should also be familiar with contemporary poetry and its specifications, including dominant themes and tones in poetry, functions of allegory, repetition elements, internal rhythm of the poem, and application of proper nouns. The purpose of this research was to investigate the difficulties and complexities of translating poetry and in particular translating contemporary Arabic poetry regarding the theoretical and functional aspects. For this purpose, a descriptive-analytical method has been employed in this library research. Translatable and untranslatable elements were studied from a theoretical perspective, findings of which then indicated the importance of diction, meaning, rhythm, sentiments and fantasy. The difficulties of translating poetry were furthermore pointed out. From a functional approach, the most significant challenges with which the translators of contemporary Arabic poetry have to deal were then discussed by citing excerpts from poetry by Arab poets including Nizar Qabbani, Badr Shakir al- Sayyab and Nazik al-Malaika.

In the greatest poetry of the world، value is equally distributed between form and content. Among all kinds of formal specifications of a poem، phonetic specifications are of a great significance and with respect to poem-level transcendence، they have a great role to play. In translating a poem، the translator must equally pay attention to the transferance of both form and content. A poem''s special features and structures makes it distinguishable from prose. So in the process of poem translation paying attention to these complexities is a necessity. In this article، we tried to review the translation of one of Hafez’s lyrics into Russian with regard to formal specifications and particular phonetic aspects of the poem. First we considered the specifications of this lyric and then we analysised the translated version of it. We will see how the ignorance of phonetic aspects of the poem in translation could interrupt the process of the writer’s message transferance.