then in another, there is a danger of theloss of meaning, or misreading of theintended meaning. If the first translatormakes a mistake it can finds its way inthe work of the second translator. Thatis why there was a great deal of risk intranslating the works of Khalil Gibran. Dr.M. M. Khan, the Head of the ArabicDepartment in Delhi University helped megreatly in understanding Khalil in thecontext of Arabic literature. The origin ofGibran's creativity is in his spiritual life.To capture his meaning from the secondlanguage into the third is in itself a greatchallenge. For me, the process of firstinternalizing the second language, and theemotions expressed therein, and thenexpressing them in a third language hasbeen adventurous journey.Among his popular works I havetranslated 'The Prophet' as 'Ishwar kaDoot', 'Wanderer' as 'Yayavar', 'BrokenWings as 'Toote Pankh', 'Spirits Rebellious'as 'Vidrohi Atmayen’ and the selected partsof his remaining works 'Sand and Foam','Tears and Smile', 'The Forerunner', 'TheMadman’ under the title 'Vividh’. 'TheProphet' is written in the prose-poem style.In it, instead of long prose passages thereis a wonderful rhythm in the consecutivesentences that are written like an unrhymedpoem. Many times, even after a full stopKhalil Gibran begins the next sentence with'And'. The syntax of <strong>Hindi</strong> is not like that,but to retain Khalil's style and rhythm asit is, I have used the word 'aur'. To givea feel of his tender emotions and his subtlethoughts, I have tried to use a euphonicvocabulary in my translation. While doingthis, Urdu words have naturally been used :for instance, though both 'soul' and 'spirits'are used as synonyms, when Khalil talksabout his beloved Salma, I felt thatchoosing the word 'rooh' would beappropriate because 'rooh' means 'lifebreath' and 'life' and Salma was his lifebreath. When the context is spiritual I haveused the word 'atma. Similarly, <strong>Hindi</strong>words such as 'phusphusana' or'kanaphoosi' for 'whisper' cannot expressthe feel of two lovers talking in a low voice.For 'whisper' I found the Urdu word'sargoshiyan' to be the most appropriate.The word 'gosha’ means a corner, orsolitude or the ear. That is why'sargoshiyan’ expresses better than any otherword the meaning of someone sayingsomething in her/his ear when there is noone is around. At another place I had touse Urdu words while translating linesexpressing great pain. Away from home,and tormented by the memory of hisbeloved, Khalil requests his friends :"Ah! You friends of my younger daysliving everywhere in Beirut! Whenever yougo to that graveyard in the pine forest,walk with soft steps. Ensure that the soundof your feet does not wake those dead,and approach Salma's grave with greathumility, bow to that land that holds Salmain its lap. Mention my name with a deepsigh, and tell yourself, 'Here the hopes ofGibran are buried, Gibran who lived asa prisoner of love across seas. It was herethat he was robbed of his happiness, itwas here that his tears dried, and it wasfgndi •April-June 2013 :: 147
here that he forgot to smile.'"After translating Khalil Gibran I hadthe opportunity of translating 'The GlassPlace', a novel by Amitav Ghosh, thepopular Indian English novelist. The canvasof the story in this epic novel is vast. Theprimary and secondary actions in the noveltake place in Burma, Malaya and Calcutta.The main story is set in Burma. It istherefore natural that the names ofcharacters, geographical locations, rivers,festivals and religious events are all in thelocal language. While translating the novelinto <strong>Hindi</strong> my problem was that if I wrotethose names as they were written in theEnglish version, it would have meant beingtwice removed from the original. That iswhy I decided that I would write thosenames in the devnagri script with theiroriginal pronunciation. Because I did notknow the original language, it was not aneasy task. I received no help from theMyanmar Commission. I went to theregistration office for foreign students inDelhi University. There were manyBurmese students registered there but Icould not locate them. It was there thatsomeone suggested to me that I could meetmany Burmese students studying at theinstitute for Buddhist studies. Ashinkumar,who is a research scholar there, introducedme to their professor. In the early chaptersof the translated novel, the Burmese wordsare written in the manner he suggested.He then went back to Burma. Then Isought help from Bhante Shree SayadoUegga who lives at 'Samta Vihar' inPashchimpuri. I had to pay a number ofvisits to him. With great patience, he taughtme the pronunciation of some threehundred words. Some the examples are asfollows :What is written 'The Baw' in Englishis pronounced 'Tee Baw' in Burmese. Thequeen of Burma 'Supayalat' is called'Suphyalat'. The minister 'Wungyis' wascalled 'Wonjee', his assistant 'Wundauks'was called 'Bonda', the courtier 'Pudeinwunwas called 'Patewan’. The dress 'Htamein’that women wear below their waist is called'Thamein’. ‘Angayi’ worn like a blouse iscalled 'Enjee'. A popular snack of that placeis called 'Bayagyaw' that is 'Byajo'. Thename of a place of worship, that is apagoda, is called 'Shwedagon' and ispronounced 'Shwitakon'.It was necessary to gloss many wordsused in the novel. For instance, those wholook after elephants are called 'usi' and'pasi'. Kneeling down before the king andqueen with hands spread on the groundto pay obeisance to them is called'sheekho'. In China, Malaya and Malayasiathere is a religious sect called 'Hakka.’Among its followers, there have beenpeople following teachings of Confucius,the Buddha and Jesus. The language ofthis religion too is called Hakka. I shouldhave explained the meaning of such wordsin the introduction, or the footnote or atthe end of the chapter, otherwise the flowof the reader's pleasure would have beenhindered, but all that was deleted in theediting. Perhaps the editor's purpose wasto make the book appear original.In modern English writing, an involved148 :: April-June 2013fgndi •
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A Journal ofMahatma GandhiAntarrash
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LANGUAGEArundhati Roy in Indian Lan
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all is not well with the world. Ult
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After tallying the anubhavas mentio
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sustenance. If it fights shy of phi
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progression from Shringararasabhasa
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glamour and fame, I always looked a
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grandmother. Scolded for stealing t
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of his episodes and characters from
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The short story Najum (astrology) b
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India, Indianness and BuddhaDev Bos
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Buddha Dev Bose's writings on Tagor
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development of the idea of a worldl
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defies the set patterns of known li
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The Concerns of CriticismShambhunat
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On the basis of feudal thinking the
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etween the interests of different s
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silent about Hazari Prasad Diwedi.
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Imperialism. The imperialists had c
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conventional reformers to evaluatet
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expansion of knowledge emotions are
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unprincipled propaganda takes place
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drowning with shame or pride in it.
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made criticism a pure literary subj
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It is a great paradox that in an ag
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how much they are mixing with it. M
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peculiar way of protest against not
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Radha Worship in Hindi LiteratureL.
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valuable ornaments and clothes. His
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literature in general and Hindi lit
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Not only this the hunger which I go
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3. We the Janvadi PoetsWe are write
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5. A FarmerThis time paddy crophas
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isolated, lonely and stained with p
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3. A COFFIN AND A BOTTLEIn this roo
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The omnipresence of your super imag
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As I look at the black and white pr
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But when I touched the door of the
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7. LIFEThat day when I entereda mag
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2. TEA WITH DONNEGood Morning, dear
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4. HI, KRISHNA!Hi, Krishna!What’r
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Malbe Ka MalikMohan RakeshJai Ratan
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'Everything else has changed but no
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feet, on a brick path near the open
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ightened up on seeing Rakkha Pahalw
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'So what happened?''Nothing happene
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Mad DelightMohan Rakesh was as much
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