fहndi - Mahatma Gandhi Antarrashtriya Hindi Vishwavidyalaya

fहndi - Mahatma Gandhi Antarrashtriya Hindi Vishwavidyalaya fहndi - Mahatma Gandhi Antarrashtriya Hindi Vishwavidyalaya

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and elite style is being preferred. Itsometimes becomes difficult for the readerto follow this labyrinthine or confusingstyle. Translating such places becomes anexercise in solving a riddle. Prose passagesfull of long complex sentences often actas a hindrance for the reader to understandthe meaning.Sometimes a single word has manyalternatives. Of them, the word that canbest convey the meaning in a given contextis used. Two lovers, Alison and Dinu areabout to be separated because of war. Inthe last moments they are together, thephilosophy of love has been presented interms of a positive being made from anegative in a darkroom. The author writes,"The darkness of the one becomes the lightof the other. The first time I saw it happenI thought what must it be like to touchlike this — with utter absorption. For onething to become irradiated with theshadows of another." "Jab aap negative kokaagaz par rakh kar unhe jeevit hote dekhtehain. . . ek ka andhera doosre ka prakashban jata hai. Jab maine pahli baar yeh ghatithote dekha to maine socha ki sampoornavilayan ke sath is prakar ke sparsh kaanubhav karna kaisa hota hoga...ek vastuka doosari vastu ki chhaya se jagmaga uthna,kaisi anubhuti.In this context, the words for 'utterabsorption' given in the dictionary are'tanmay', 'antarlayan', 'shoshan', and'samaveshan'. But in that context, I feltthat 'sampoorna vilay' was the betteralternative to express the pinnacle of lovedescribed therein. In 'He is a difficult man'the words suggested for 'difficult' are'bedhab', 'adbang' and adbanga'. Theadjective 'khadoos' too is sometimes usedin the spoken language. All these wordsare ill-sounding. In that situation, and forthat particular character in the story andfor his background etc., words or sentenceslike 'jiddi', 'tedha' or 'jiske saath nibhanamushkil ho' have been used. Similarly, for'fog' words like 'kohra', 'dhundhalka' etc.,did not appear apt in the given context.The fog coming out of the fields of Malayawas sticking to the workers' clothes whichthey were pulling out. In this context, Ifound the word 'kharpatwar' to be the mostappropriate to express the meaning. Thisword was given in Reynolds' Englishdictionary.In ('Sheeshmahal') 'The Glass Palace'an Indian soldier uses the proverb 'dhobika kutta na ghar ka na ghat ka' for SayaJohn. The reader in Hindi understandswhat it means therefore the explanationgiven by the writer was not translated. Totranslate an English proverb for which thereis no corresponding proverb in Hindi, Ihave used in my translation a simplerlanguage to express my meaning.Translation is not merely changing thetext from one language to another—thereis enough scope for research in it. Whatare the bases of the development of thestory in the original work, what is its social,political and historical background, andwhat are the tools of expression used init—without researching these it isimpossible to do justice to the author. In'The Glass Palace' ('Sheeshmahal’) therefgndi •April-June 2013 :: 149

are the opulence of royalty, struggle forpower, slave trade, cultural and socialfestivals, the colonialism of the British, theSecond World War and its consequences,the work culture in the army, photographyand similar subjects were such areas whichneeded to be researched in order tounderstand them. I took the help of relatedbooks and the internet. I also talked toformer soldiers and tried to understand thefiner points of photography from expertsin photography, and only then could Ibegin to translate the text.Kanan Jhingan : born 1938, Karachi (undivided India), educated and worked at Delhi.Kanan was reader in Hindi at Daulat Ram College, University of Delhi from 1961 to 2003.Author of seven books, she specialises in writing on films and philosophy. She has translatedAmitav Ghosh’s novel ‘The Glass Palace’ for Penguin India. Kanan lives in Delhi.Dr. Ravi Nandan Sinha : has published poetry and literary criticism in India and elsewhere.He has also translated poetry and fiction which the Sahitya Akademi and National BookTrust India have brought out. He is the founder-editor of The Quest (estd. 1987), a journaldevoted to Indian literature and translation. He has been a member of the awards committeeof Sahitya Akademi, New Delhi. Presently he is the Head, Postgraduate Department of English,St. Xavier’s College (Autonomous), Ranchi. Email: questranchi@gmail.com150 :: April-June 2013fgndi •

and elite style is being preferred. Itsometimes becomes difficult for the readerto follow this labyrinthine or confusingstyle. Translating such places becomes anexercise in solving a riddle. Prose passagesfull of long complex sentences often actas a hindrance for the reader to understandthe meaning.Sometimes a single word has manyalternatives. Of them, the word that canbest convey the meaning in a given contextis used. Two lovers, Alison and Dinu areabout to be separated because of war. Inthe last moments they are together, thephilosophy of love has been presented interms of a positive being made from anegative in a darkroom. The author writes,"The darkness of the one becomes the lightof the other. The first time I saw it happenI thought what must it be like to touchlike this — with utter absorption. For onething to become irradiated with theshadows of another." "Jab aap negative kokaagaz par rakh kar unhe jeevit hote dekhtehain. . . ek ka andhera doosre ka prakashban jata hai. Jab maine pahli baar yeh ghatithote dekha to maine socha ki sampoornavilayan ke sath is prakar ke sparsh kaanubhav karna kaisa hota hoga...ek vastuka doosari vastu ki chhaya se jagmaga uthna,kaisi anubhuti.In this context, the words for 'utterabsorption' given in the dictionary are'tanmay', 'antarlayan', 'shoshan', and'samaveshan'. But in that context, I feltthat 'sampoorna vilay' was the betteralternative to express the pinnacle of lovedescribed therein. In 'He is a difficult man'the words suggested for 'difficult' are'bedhab', 'adbang' and adbanga'. Theadjective 'khadoos' too is sometimes usedin the spoken language. All these wordsare ill-sounding. In that situation, and forthat particular character in the story andfor his background etc., words or sentenceslike 'jiddi', 'tedha' or 'jiske saath nibhanamushkil ho' have been used. Similarly, for'fog' words like 'kohra', 'dhundhalka' etc.,did not appear apt in the given context.The fog coming out of the fields of Malayawas sticking to the workers' clothes whichthey were pulling out. In this context, Ifound the word 'kharpatwar' to be the mostappropriate to express the meaning. Thisword was given in Reynolds' Englishdictionary.In ('Sheeshmahal') 'The Glass Palace'an Indian soldier uses the proverb 'dhobika kutta na ghar ka na ghat ka' for SayaJohn. The reader in <strong>Hindi</strong> understandswhat it means therefore the explanationgiven by the writer was not translated. Totranslate an English proverb for which thereis no corresponding proverb in <strong>Hindi</strong>, Ihave used in my translation a simplerlanguage to express my meaning.Translation is not merely changing thetext from one language to another—thereis enough scope for research in it. Whatare the bases of the development of thestory in the original work, what is its social,political and historical background, andwhat are the tools of expression used init—without researching these it isimpossible to do justice to the author. In'The Glass Palace' ('Sheeshmahal’) therefgndi •April-June 2013 :: 149

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