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constructing pathways to translation - Higher Education Commission

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stands for the great sin(Gunah-i-Kabeera) thus, it is not justified <strong>to</strong> associate the word<br />

<strong>translation</strong> with the term ‘Rajum’. The exact meaning of the term <strong>translation</strong> yet remains<br />

questionable and contradic<strong>to</strong>ry in Urdu language, because relating it <strong>to</strong> the term ‘Rajam’<br />

raises number of questions. The term ‘Tarjuma’ needs <strong>to</strong> be differentiated from ‘Rajum’<br />

in its specific religious sense, especially when the former is popularly accepted and<br />

generally used in Urdu.<br />

4.4.2 The Purpose of Translation<br />

It is extremely difficult <strong>to</strong> delineate the exact purpose of <strong>translation</strong>. From the cultural<br />

perspective, according <strong>to</strong> Mirza Hamid Baig (1988:16), no definite answer will be found<br />

for it. In Urdu Translation tradition, if the example of the works of Syed Ahmed Bralvi<br />

Shaheed and Shah Ismael Shaheed’s Dabistan is taken, it will generate controversial<br />

confusion, because many Muslims consider the Urduized or nativized teachings of<br />

Christian missionaries in India as cultural and religious invasion at the civilization level.<br />

Similarly the purpose of <strong>translation</strong> of the Bible and Anajeel is again, difficult <strong>to</strong> be<br />

defined, because Syed Ahmed Brelvi and Shah Ismael devoted their entire lives <strong>to</strong><br />

prevent this religious and cultural invasion <strong>to</strong> be penetrated in Muslim culture.<br />

On the other hand if the purpose of literary <strong>translation</strong> is considered, the answer is not<br />

very difficult <strong>to</strong> define. It can be safely said that literature and language pursued a<br />

continuous process of internal and external struggle and scrutnization in the literary<br />

world of <strong>translation</strong>. This kind of creative continuity can be discerned in the West from<br />

Pla<strong>to</strong> and Aris<strong>to</strong>tle till the time of Coleridge, which has now adopted the form of a<br />

literary fashion. But in Urdu right till <strong>to</strong>day, one has <strong>to</strong> discover Pla<strong>to</strong> or Aris<strong>to</strong>tle in the<br />

field of literary criticism and the ‘craft of <strong>translation</strong>’. No such systematic and<br />

methodical attempt has ever been made <strong>to</strong> write the his<strong>to</strong>ry of <strong>translation</strong> in Urdu, as in<br />

English.<br />

Urdu theorists concede consensually that language flourishes in variously by means of<br />

<strong>translation</strong>s. On the linguistic level, through <strong>translation</strong>s, diverse and multiple devices<br />

for the expression of thoughts and expressions (Asaleeb-i-biyan) are introduced. During<br />

the process of <strong>translation</strong>, while new words are generated, previously existing words are<br />

given new nuance and usage, air and energy. New literary genres are also brought in<strong>to</strong><br />

existence through Translations. Urdu language owes its development <strong>to</strong> <strong>translation</strong>s.

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