424_2061_A.B.

in which the original text undergoes adaptation so as to bere-created to comply with the target linguistic and culturalconventions and to fulfill the function or purpose oftranslation, i.e. skopos.This strategy is often adopted by literary translators asseen in the translations of the following excerpts fromShakespeare’s The Merchant of Venice into Arabic byKhalil Mutran, ‘Amer Al-Buhairi, Hussein Amin andMohammed Al-Anai. They have all replaced the currencyof the time ‘ducat’, which is not readily understandable bythe Arab audience by a contemporary ‘dinar’, and evenchanged the number ‘fourscore’ into ‘seventy’.Tubal (Addressing Shylock):Your daughter spent in Genoa, as I heard one night,fourscore ducats. (111. 2. 90-95):()122 ,) .And in Launcelot’s allegory of referring to the Greekmythology such as the sea monster or the great rock‘Scylla’ and the swift sea swirl ‘Charybdis’ of which theArab audience are ignorant:Launcelot:Truly, then, I fear you are damned both by father andmother, thus when I shun Scylla your father, I fall intoCharybdis your mother. Well, you are gone both ways.(111. 5. 13-15) , , (194-193 : )So does Al-Wakeel:55