Abstract
This study aims at investigating the extent to which the aesthetic effect (AE) in Gibran’s The Prophet has been maintained among Arab recipients in four translations of this masterpiece, namely Okasha (2000), Nuaimy (2013), Al-ābid (2017), and Antonius (2017). To this end, the source text (ST) AE laden segments and their target text (TT) counterparts are compared in terms of lexical selection, sentence structure, and metaphors employed. Data of the study comprised typical illustrative examples randomly selected for analysis according to Yan Fu’s (2012, cited in Zhang 2013) triple translation criteria of faithfulness, expressiveness, and elegance in combination with Nida’s (1964) functional equivalence. Findings of the study revealed that the selected translations exhibit different levels of adequacy in terms of expressing the AE in the TT. Specifically, Okasha’s translation seems more creatively adequate in producing in the TT the approximate AE of the ST, whereas the other translations are sometimes less adequate or even inadequate in this respect.
Highlights
The universality of the language and themes embodied in Gibran’s literary works ensured his global reputation since he has discussed themes such as religion, justice, free will, science, love, happiness, the soul, the body, and death (Moreh 1988)
This section is concerned with the analysis of the sample examples in four Arabic translations of Gibran’s The Prophet
We begin with example number (1) as follows: 1. “Too many fragments of the spirit have I scattered in these streets...” (Gibran 1973: 2)
Summary
The universality of the language and themes embodied in Gibran’s literary works ensured his global reputation since he has discussed themes such as religion, justice, free will, science, love, happiness, the soul, the body, and death (Moreh 1988). Gibran seems to have utilised a less idiomatic vocabulary than have often been used by modern poets who tend to pay much attention to modernism in language (Jayyusi 1977). Emphasising this point, El Hajj (2019: 396) states that: The undisclosed value of this work [The Prophet], which remains beyond genre classification, lies in its message; it is simple yet profound, transmitted in a poetic language imbued with imagery...we notice that The Prophet presents its author’s thoughts in a limpid and accessible manner; all readers are able to savour it and draw life lessons. His concern with meaning is less important than his concern with colouring and tone
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