Journal of Positive School Psychology http://journalppw.

com
2022, Vol. 6, No. 8, 4767-4783

The Impact Of Language And Culture In Ajj Akhan Waris

Shah Nu
Manal Aqil1 , Maryem Manzoor2 , Hafiz Muhammad Shahbaz3

1,2,3
LECTURER UMT Sialkot, Pakistan.

Abstract

Translation Studies is a clear, vivid, creative, diverse and in a general sense interdisciplinary field. It has
built up its level and standards to a great extent in the previous twenty years. The present study attempts to
analyze the translation of Punjabi poem “AJJ AKHAN WARIS SHAH NU” into English by two translators
of the same culture. The English translations have been done by Darshin Singh and Kumarditya Sarkar. As
a rule, the idea of culture includes society's day by day way of life, creative works, dialect, religion, and
conventions. From an anthropological point of view, culture is an arrangement of shared convictions,
thoughts, values, customs, practices, and creative esteems. The translation is an old thing and through
translation, cultures are analyzed easily. The translation is a skill but it has different modes. A little work
has been done to investigate the translation of poetry from Punjabi to English comparatively. The present
study fills the research gap. Susan Basnett and Andre Lefevere’s manipulative theory has been exploited
by the researcher to carry out the critical analysis of the poem. In order to find out the cultural turn the
themes of omission, addition, explanatory note and rewriting have been considered by the researcher. In
the analysis of the translation of the poem in the light of these themes, it has been found that these themes
and techniques played an important role in the translation of the text and to point out the cultural turns and
shifts. To achieve this aim two questions have been designed. The first question investigates whether
translation presents the true spirits of language, culture and thought as the original language represents or
not. And the second question investigates whether the original poem gives the true picture of the culture
and thought or not. On the basis of this it has been observed that the translators are not able to translate
original work due to the cultural restrictions. After analyzing the translation it has been seen that the same
language, culture or thought has not been conveyed through translations. This thing indicates that the
cultural turn is the fundamental point for the translation of the text.

KEY WORDS: translation studies, cultural turn, manipulative theory.

INTRODUCTION knowledge, belief, art, morals, law, customs and

any other capabilities and habits acquired by man
Translation Studies is a distinctive, creative, as a member of society" (As quoted in Katan
independent and essentially interdisciplinary 1999, p. 16). The language used in poetry is
field. It has built up its extension to a great extent different from that of prose. And poetic
in the previous twenty years. Culture cannot be deviations make the translation more difficult.
seen but something to be learned about. One of Poets have a special and specific cause in their
the oldest and most quoted definitions of culture poetry and for that purpose, they use personal
was presented by the English anthropologist lexical expressions. And this proves to be
Edward Burnett Tylor (1871). He comments, difficult for the translators because the simplicity
"Culture is that complex whole which includes of expression often seems to be deceptive. And
 Manal Aqil 4768

this makes the duty of the translator more hectic acknowledgment in the mid-nineties and is
and difficult. But the dynamic proportionality essentially connected with the work of Susan
was advanced by Nida (Nida, 1964), which Bassnett (Bassnett, 2013), André Lefevere
denoted another progress in translation studies. (Lefevere, 2016) and, later, Lawrence Venuti
(Venuti, 2017).Translation Studies has
The present paper aims to analyze the investigated and revived itself as a
Punjabi poem “AJJ AKHAN WARIS SHAH multidimensional field with the advantage of
NU” into English by two translators of the same learning diverse methodologies. In the field of
culture. As compared little work has been done translation studies, interpretation is not just the
to examine the translation from Punjabi to way towards exchanging idea, kind and shape
English. So the present paper fills the gap. These starting with one language to the next basic
languages are different even in their choices of structure of the language. Translations present the
words, rhyming patterns and symbols. The knowledge, idea, theme, and culture of the source
concept and idea of the culture are considered as language in the target language.
the backbone for translation. The translators try
to bridge the gap between the cultures of the Purpose Of The Study
languages, either small or large.
The purpose of the study is to analyze the
This research describes the importance of translation of the Punjabi poem into English by
culture in the translation of the original text. It two translators who share the same cultural
analyzes the selected English translations of “AJJ background. After analyzing the translation it has
AKHAN WARIS SHAH NU” by the translators been seen that whether the translators can convey
of the same culture through descriptive the original language, culture and thought of that
methodology in the perspective of cultural turn. culture or not. This will help to believe that is it
The main focus of the study is to analyze the impossible to translate the poetry or only some
importance of cultural turn in the translation of special poetry represents the specific culture is
the text. The researcher will proceed onward to difficult to translate. Based on this it is observed
survey some manipulative strategies, for that the translators are not able to present the real
example, expansion, omission, explanatory note meaning and feels of that culture which is
and rewriting in view of the cultural manipulative available in the original work. This helps to
theory (Zhang, 2012) Harping on the thoughts of conclude whether poetry can be translated or not.
scholars like Mary Snell-Hornby (Snell-Hornby, This is helpful to decide that the poetry represents
2006), Andre Lefevere (Lefevere, 2016), Gideon the special culture and thought is difficult to
Toury (Toury, 2012), Itamar Even-Zohar (Even- translate because often the translators fail to
Zohar, 1997), and Theo Hermans (Hermans, represent the original soul and culture in the
2014), Translation Studies has entwined with translation. The translators mentioned in this
different fields including writing, human paper are the representative of the same cultures
sciences, humanism, culture, ethnomethodology, and this fact affects their work.
and different subjects. Along these lines, it has
pronounced itself as a self-creating discipline and Significance Of The Study
in addition an interdisciplinary field.
Translating the poem into English sometimes
The cultural approach or 'cultural turn' is destroys and distorts the meaning to rhyme the
a hypothetical and methodological move in verses. While translating poetry it is often said
Translation Studies that picked up that “something is lost”. Punjabi Literature is in a
4769 Journal of Positive School Psychology

dangerous place and situation because there are Variables

very few people who read and understand it. And
the translation of the Punjabi poems in English • Translation of the poem by different
may distort the original sense and culture of the translators having the same cultural
Punjabi language and literature. The significance background.
of this paper is to restore the original image of
• Treatment of language, culture and
Punjabi literature and culture. Through the
thought in the given translations.
manipulative theory of Susan Basnett and Andre
Lefevere it is proved in this paper that is it not Research Design
possible to give the same stance and content of a For the analytical research, the framework that is
word in two different languages. And this work based on the manipulation theory of Susan
will bring the change in the thought of the people Bassnett and Lefevere is used in this research.
about the Punjabi language and literature. And The researcher has presented the school of
people will realize the importance of the original Translation Studies and additionally the related
literature as it is difficult to convey the exact contemplation and ideas, particularly Bassnett
meaning even if the translators have the same and Lefevere‟s creative reasoning on translation.
cultural background. Because each language has Perhaps we can get an obvious guide of their
its own culture and views the world accordingly. theory from the following chart. This diagram is
drawn in light of Lefevere and Bassnett‟s
Research Questions
manipulation theory, and the researcher
1. Does translation presents the true spirits endeavoring to fortify the structure from without
of language, culture and thought as the by getting some additionally assembling
original language represents? materials for utilize.

2. Does the original poem give the true

picture of the culture and thought?

Addition

Omission Patronage
Manipulation
Cultural Ideology
Explanatory rules
manipulation Poetics
note
and
Rewriting
Interaction

Research Design of Manipulative Theory

 Manal Aqil 4770

We can observe from the diagram that, in the manipulative theory (Zhang, 2012) and numerous
theory of cultural manipulation, translation is a esteemed scholars contemplate.
culturally diverse open act which empowers
diverse cultures to cooperate. For the school of Mode of Data Analysis
Translation Studies, translation ought not to be a The main theme of cultural analysis is divided
duplicate of the first, and above all, into four sub-themes as cultural turn elements and
notwithstanding making the made and translation their cultural impacts to make the study
of content justifiable to the objective readers, systematic and reliable. These categories are:
translators should try to exchange the cultural addition, omission, explanatory note and
arranged data inventively. This implies, in rewriting. The main objective of the research is to
deciphering, it is of imperative significance to investigate social and cultural impacts by
exchange the cultural designed data and make the observing the cultural turn in the poem of Amrita
deciphered content important and practical in the Pritam. For that cultural turn is enough to fulfill
objective culture frameworks. the requirements of research.

In this way, to begin with, translators On the other hand, to carry out a cultural
ought to have a sharp familiarity with the idea of investigation, Basnett and Lefevere’s four
translation and also of the expected significance elements of the manipulative theory (Lefevere,
and capacity of the first, trailed by changing or 2016) are observed in this research. These
controlling the source message socially and elements are addition, omission, explanatory note
culturally. and rewriting. It is observed how translators
manipulate the elements of cultural turn control
Further, the researcher will proceed the minds of the fresh translators or the
onward to survey some manipulative strategies, researchers to fulfill their hidden objective to
for example, expansion, omission, explanatory show the importance and power of culture in the
note and rewriting in view of the cultural translation studies.

Codification of the original and translated poems

No Codification No of lines Codification

1.Original poem OP (T) 14 OP(T.1),(T.2),(T.3),(T.4),(T.5),(T.6),(T.
7),(T.8),(T.9),(T.10),(T.11),(T.12),
(T.13), (T.14)

2.Translated poem L1 (A) 14 L1(A.1),(A.2),(A.3),(A.4),(A.5),(A.6),(A

(Darshin Singh) .7),(A.8),(A.9),(A.10),(A.11), (A.12),
(A.13), (A.14)

L2(B) 14 L2(B.1),(B.2),(B.3),(B.4),(B.5),(B.6),(B.
3.Translated poem 7),(B.8),(B.9),(B.10),(B.11), (B.12),
(Darshin Singh) (B.13), (B.14)

Data analysis, findings and discussion

4771 Journal of Positive School Psychology

This is a galvanic, intoxicating and arousing which is relating to thee or thyself is agent or the
poem. In this poem, the poetess deals with the object of an action. And a preposition ‘from’ is
terrible but true picture of the partition of Punjab used in both translations, which is an additional
in 1947. This poem is the call to the famous word in TL. ‘te aj’ is translated as ‘and’ and word
Punjabi poet Waris Shah, the stalwart of Punjabi aj is not translated. ‘kithab-e-ishq da koi agla
Literature to look at the violence against human varka phol’ in this line the word ‘kithab-e-ishq’ is
beings in general and particularly on the women translated as ‘book of love’ which is the very
in Punjab during partition. The poem is a serious close translation and gives the exact meaning but
request for the help and support of the Waris Shah the words ‘koi agla varka’ are translated as ‘a new
to arise from his grave and see the bad events that page’ and ‘ find the next page’. Word ‘koi’ is not
cause great sadness and tries to write the new translated and for ‘agla varka’ in translation (L2)
pages in the history of Punjab. It is one of the the word ‘next page’ is used which gives the very
most widely read poems in Indian Literature close meanings but in translation (L1) ‘a new
history of Punjab. It is one of the most widely page’ is used for the purpose of translation. In it
read poems in Indian Literature. an article ‘a’ is used as an additional word to
fulfill the requirements of TL and the words ‘new
OP(T.1) Ajj aakhan Waris Shah nu kithon page’ does not fulfill the requirements of SL. In
kabraan vichon bol the same way another additional word in
Te aj kithab-e-ishq da koi agla varka translation (L1) ‘your’ an adjective is used. ‘Phol’
phol is translated as ‘add’ and ‘find’ which again
L1(A.1) I say to Waris Shah today , speak from cannot gives the exact meaning of the SL.
your grave
And add a new page to your book of Darshin Singh used a very simple
love language in translation but Kartar Singh gives
L2(B.1) I summon Waris Shah today, speak from more importance to ornamentation and style.
thy grave, and find the next page in the Book of Strategy of addition is used in many places to
Love fulfill the requirements of the TL. After the
analyses it is observed that the translators are
The criterion of the researcher is to find out the unable to maintain the standard of equivalence
wrong translation and the breach between the SL and entertainment in translation work that is there
and TL, not to point out the deficiencies of in original poem.
translation. And while analyzing these
translations is to find out the strong impact of the OP(T.2) Ik roi si dhee Punjab di, tun likh likh
culture on poetry and the translation. maare vain,

In the translation of both (L1) and (L2) Aj lakhan dheean rondian tenu Waris
‘I’ word is used but there is no such word in the Shah nu kahen.
SL. In the same way ‘aakhan Waris Shah nu’ is L1(A.2) once one daughter of Punjab wept, and
translated as ‘summon’, as the literal meaning of you wrote your long saga;
summon is to appear in the court of law or to ask
for ‘kithon kabraan vichon bol’ is translated as today thousands weep, calling to you
‘speak from your grave’ and ‘ speak from thy Waris Shah:
grave’. Word ‘vicho’ is not translated in TL and
singular word ‘grave’ is used for the plural word
‘ kabraan’. In translation (L2) ‘thy’ word is used
 Manal Aqil 4772

L2(B.2) Once a daughter of Punjab cried and you original work. As the words ‘tun likh likh maare
wrote long and long, today millions of Punjabi vain’ have more intense feelings than the words
women are crying out to you, Waris Shah! used in TL ‘ you wrote your long saga’ and ‘you
wrote long and long’. ‘dheean’ again gives the
In translation (L1) ‘once’ is used and in taste of that culture which is not present in the
original text no such word is used. This word is words like ‘Punjabi women’. The poem is
used in TL to fulfill the requirement of past tense extremely influential and can prick many hearts
as mentioned ‘ik roi si’ in SL. Similarly but the translations of this poem cannot give that
conjunction ‘and’ is used to complete the far reaching thoughts and effects.
requirements of target language. An adjective
‘your’ is also used in the first line which is not OP(T.3) Uth dardmandaan dia dardiaa, uth takk
used in the original text. In original text Amrita apna Punjab,
Pritam put more emphasis by repeating words
like ‘likh likh’ which is translated as ‘you wrote’ Ajj bele lashaan bichian te lahu di
and it is unable to give that sense and depth that a bhari Chenab
reader can feel in the original text. ‘Vain’ is
translated as ‘long saga’. The originally ‘saga’ L1(A.3) Arise, o friend of the afflicted; arise and
itself is used as a ‘long detailed account’ here see the state of Punjab,
‘long’ is used as an extra word which is not Corpses strewn on fields, and the
required here. But the word ‘saga’ is a very close Chenaab flowing with much blood.
translation of the word ‘vain’. In second line the
L2(B.3) Rise! O sympathiser of the victims, rise
word ‘dheean’ is not translated and the words
and look at your own Punjab. Fields are covered
‘tenu’ and ‘nu’ is translated with a single pronoun
with corpses today, and the river Chenab is
‘you’.
bloodstained
In translation (L2) again ‘once’ is used In translation (L1) the word ‘uth’ is
for the past tense. In this the translator also used translated as ‘arise’. The meaning of the word
the policy of repetition to put more emphasis by arise is to get up from sleep or after lying down
translating the word ‘vain’ with ‘long and long’. that to some extent gives the sense that someone
In this translation the original word ‘vain’ lost its is calling Waris Shah to get up from his eternal
feel. And this repetition of words ‘long and long’ sleep. This is a very close translation. After that
fails to give any feel. And the words ‘likh likh’ the translator used the word ‘o friend’ for
which are repeated in the SL are translated with ‘dardiaa’. ‘o’ is word that is used to express
single past form ‘wrote’. ‘dheean’ is translated as emotions as surprise or desire and no such word
‘Punjabi women’ and here again an extra word is used in the original text. There is a intense
‘Punjabi’ is used which is not required here. In feelings, desire and wish that is there in the
second line the translator used the words ‘crying original structure of the sentence ‘uth
out’ that originally gives the sense and meanings dardmandaan dia dardiaa’ and only to come up
of wailing and to shed tears of pain or grief and with that intensity the translator used the word ‘o’
here the translator is successful to some extent to that cannot give that intensity of emotions. And
give that depth in TL. ‘friend’ is used for ‘dardiaa’. The meaning of
‘dardiaa’ is a person who can feel the pain. The
After the analysis on all level the word ‘friend’ gives the meaning of affection and
researcher is of the view that the translations love but cannot fit in this sense of ‘dardiaa’. For
cannot give the sense and depth as present in the ‘dardmandaan’ the word ‘afflicted’ is used and
4773 Journal of Positive School Psychology

the meaning of the word is to cause pain or exclamation. For ‘dardia’ he used the word
suffering by something and the translator try to ‘sympathizer’ that means to feel sorry for
make it particular word by using article ‘the’ with someone who is in a bad situation and to feel
it. ‘Afflicted’ is the close translation of the word sympathy that is quite a close definition of the
‘dardmandaan’. In the other part of that line ‘uth word ‘dardia’. And then for ‘dardmandaan’ he
takk apna Punjab’ again ‘arise’ is used for ‘uth’ used the word ‘victim’ that cannot give the
and for ‘takk’ the translator used the word ‘see’. original meaning of the word because the
Here the poetess wants Waris Shah to particularly meaning of the word victim is a person who has
observe the situation of the Punjab but the word been attacked but here the poetess is talking in the
‘see’ is used to notice something but not sense of an extreme pain. ‘uth takk apna Punjab’
particularly and here again that word is fail to is translated as ‘ and look at your Punjab’. The
fulfill the requirements of the original meaning meaning of look is to direct your eyes in a
that is there in SL. For ‘apna Punjab’ the particular direction gives the exact sense of the
translator used the words ‘the state of Punjab’ word ‘takk’ but additional word ‘and’ is used for
here the translator used the policy of addition by the requirements of TL. ‘ajj bele lashaan bichian’
using the word ‘state’ and the meaning of this is translated with the words ‘fields are covered
word is the overall physical condition of with corpses’ there is no rhyming scheme in it. It
something which is not there in SL. And word seems that the translator just explain the original
‘apna’ is not translated in TL. In the second line text by using additional words ‘are, with’ for the
the word ‘ajj’ is not translated and for ‘lashaan sake of translation and fails to gives the depth and
bichian’ the words ‘corpses strewn’ are used. The feel of these words. And in the last the translator
meaning of the word strewn is to spread or scatter used the word ‘bloodstained’ for ‘lahu di bhari’
things over or on the ground or some other which is the close translation of the word. But its
surface which cannot fulfill the meaning of the literal meaning is covered with blood which again
word ‘pichian’. And in the later part of the line is unable to come up with the original word
conjunction ‘and’ is used. And the article ‘the’ is ‘bhari’.
used with ‘Chenaab’ in order to make it a
particular place which is the rule and culture of OP(T.4) Kise ne panjan panian vich ditti zahar
English language and here the translator used the rala
culture of that language in TL. Another word Te unhan panian dharat nun ditta pani la
‘flowing’ is used in TL and its meaning is to L1(A.4) Someone filled the five rivers with
move in a steady and continuous way and there is poison,
no such word in the original text that gives the And this same water now irrigates our
sense of flowning or moving. ‘lahi di bhari’ is
soil.
translated as ‘much blood’ and here again L2(B.4) Someone must have poisoned the Five
additional word much is used in TL. Rivers and the deadly water, when irrigated, is
In translation (L2) ‘rise’ is used for the poisoning the land
word ‘uth’ and the meaning of the word is to
move upward that word cannot give the sense that In translation (L1) the word ‘kise’ is
they are calling someone from his grave or eternal translated as ‘someone’ but the word ‘ne’ is not
sleep that gives a very ordinary sense. Here the translated. The words ‘panjan panian’ is
translator put the exclamation sign that is not used translated as ‘the five rivers’ here again article
in the SL. And there is no need to put that sign of ‘the’ is used to make a specific reference of the
rivers which the requirement of the TL. The word
 Manal Aqil 4774

‘vich’ is not translated. ‘zahar rala’ is translated The sky is turning red from endless cries
as ‘filled with poison’ here the word filled is of gore
used for the word ‘rala’ which is not unable to L2(B.5) Our fertile land is now producing venom
give that meaning as the meaning of the word from every pore. The sky seems to have turned
filled is to become full and that is not the red from the bloodstained cries.
translation of the word ‘rala’. And in the second
line the words ‘unhan panian’ is translated as ‘this In the translation (L1) the words ‘is
same water’ and here ‘this’ is an extra word. And zarheez zameen’ is closely translated by the
‘pani la’ is translated as ‘irrigates’ which can give words ‘this fertile land’. But here an additional
the thematic meaning here but it is not the verb ‘is’ is used in order to complete the sentence.
translation of the original text. It is just the And for ‘futtain’ the word ‘sprouting’ is used but
thematic meaning of that line. And in the TL the the literal meaning of the word is to grow or
words ‘our soil’ are used but in SL no such words develop and that is totally giving the different
are used. meaning in TL. Then the translator used comma
to separate the parts of the sentence and the
In translation (L2) ‘someone must have poisoned arrangements of the words are also changed for
the Five Rivers’ the word must is an extra word the structure of English sentence. For ‘zehar’ the
to put emphasis on the words but there is no need translator used the word ‘venom’ and the original
of such words here. The word ‘poisoned’ means meaning of the word venom is poison that
administer poison deliberately or accidently produced by an animal and used to kill but in
which we can say a close translation of the words original text the poetess only used the word
‘ zahar rala’. But the translator here used the ‘zehar’ without using any extra word with it. But
capital initials for five rivers which are not here the translator wants to make that word more
required and he has done only to put emphasis to intense by using the word venom for zehar. In the
these words or want to make them look more same line of the original text the poetess gives the
important. This is again not required here. In the intense feeling by using the policy of repetition of
second line ‘unhan paniaan’ is translates as ‘the the word ‘lun lun’ and it is translated with the
deadly water’ and here the word deadly is an extra words ‘every pore’ and in English pore is always
word as no such word is used in the original text. used for the minute opening in a surface and that
Article the is used deadly in order to give more again changes the whole feels and meaning of the
intense feelings but again this translation is fails sentence. In the second line of the poem here the
to give vent to that dire feelings that are there in translator just gives the thematic meaning and
SL. Then the other part of that line is translated as change the whole structure of SL in TL. In the
‘when irrigates is poisoning the land’ is the second line the poetess repeat the words ‘gith
thematic meaning of that line or the hidden gith’ and ‘ futt futt’ which were not translated in
meaning of that line. But such words are not used TL and the translator only give the thematic
in the original text. meaning in order to maintain the cohesion and
OP(T.5) Is zarheez zameen de lun lun futtian coherence ties. The translator translated the
zaher whole line as ‘the sky is turning red from endless
Gith gith chariaan lalian fut fut charhia cries of gore’ which to some extent gives us the
kaher hidden meaning and massage of the poem but it
L1(A.5) This fertile land is sprouting, venom is not the translation of the line. As in original text
from every pore no word such word is used that is translated as sky
and words like futt futt and gith gith that are used
4775 Journal of Positive School Psychology

in the extreme sense to intensify the meaning that totally absent in both the translations. There is an
is absent is the translation. And the word ‘kaher’ immense use of additional words in these lines by
is translates as ‘cries of gore’ is again fails to give the translator to give the feel of the original text
the exact meaning. The literal meaning of gore is but unable to do so.
clotted blood or to pierce or wound with
something pointed that is not set in the meaning OP(T.6) Veh vallisi wah pher, van van vaggi ja,
of ‘kaher’. Moreover the translator used the verb Ohne har eik vans di vanjhali ditti naag
‘is’ for the formation of the sentence and used the banaa
preposition ‘from’ in the sentence. This
preposition is used to indicate the starting point L1(A.6) The toxic forest wind, screams from
of a physical movement or action. The inside its wake
preposition is used for the sake of sentence Turning each flute’s bamboo-shoot, into
formation here the translator adopted the policy a deadly snake
of addition to meet the rules of the target language L2(B.6) The toxic forest wind is screaming. The
and fails to give the exact or the close translation fluty sounds of the bamboos seems to have turned
of these lines. into deadly snakes
In translation (L2) the first words ‘is
zarheez zameen’ is translated as ‘our fertile land’ In the translation (L1) the translator used
here the word ‘our’ is the additional word which the words ‘toxic forest wind’ for ‘vallisi wah
changes the meaning of the sentence. And pher’ which is the contextual meaning that is not
‘futtian’ is translated as ‘is now producing’ in the exact translation of the words but he used the
which now is used that is basically used at the theme and hidden meanings of the line for the
present time or in the next moment very soon but sake of translation. The meaning of toxic is
no such time or situation is mentioned in the containing poisoning substances but this is not
original text. And secondly ‘producing’ is used to mentioned in the SL. In the second part of this
make something again this is not mentioned in the sentence he translated ‘van van vaggi ja’ as
SL. In this translation the translator like the other ‘screams from inside its wake’ here again we only
translator used the words like venom and every get the contextual meaning and readers are unable
pore and the researcher have already explain it in to get the taste of these words vallisi wah per and
the translation (L1). In the second line the van van vaggi ja because the translator is unable
translator used the words as ‘the sky seems to to translate these words and for the formation of
have turned red from the bloodstained cries’. In it the sentence he used such words which are not
the word seems is used in the place of ‘chariaan’ there in the text. In this line he also used the word
but the literal meaning of the word seems is to wake that stands for to become awake after
appear to be something or to do something. That sleeping as this thing is not mentioned in the
is not fit in the meaning of ‘chariaan’. Here again original text. On the other hand the word scream
the translator like other translator used is used for the sound of wind. Scream is a
preposition for the sake of the formation of the noticeable sound difficult to ignore very fast and
sentence and the word ‘kaher’ is translated as powerful is to some extent gives the feeling of
‘bloodstained cries’. The translator used the that wind but the use of other words with it from
words that gives the image of blood to intensify inside its wake completely change the meaning of
the meaning but unable to do so. Because the taste this line in TL. In the second line first word
of extreme pain and emotions that one can feel ‘onhe’ is not translated. And ‘har eik’ is translated
with words of ‘gith gith, futt futt, lun lun’ is by an adjective ‘each’. And ‘vans di vanjhali’ is
 Manal Aqil 4776

translated as ‘flute’s bamboo-shoot’ as in reality preposition ‘with’ that is the need for the TL as
the bamboo-shoot is an edible young shoots of such word is not used in SL. As then daang is
bamboo. Then the words ‘ditti naag banaa’ is translated as the snake bite. Here the translator
translated as ‘into the deadly snake’. Here ‘ditti’ has to give the description for the word that daang
is translated with a preposition ‘into’ which is stands for snake bite. The word ‘madarian’ is
always used for direction. And the word ‘naag’ is translated as charmers and the literal meaning of
translated as ‘the deadly snake’. In all these words the word is something that is believed to have
the translator used many additional words like magic powers and specially to prevent bad luck
article ‘the’ in order to form a sentence structure. but here again the sense of the word charmer
In translation (L2) the translator cannot fix in the meaning of madarian. The later
translates the whole line ‘veh vallisi wah pher, part of this sentence ‘mantar gaye gawach’ is
van van vaggi ja’ in a very ordinary and simple translated as ‘charmers lost their spell’. In the line
way by giving just the contextual meaning in spell is used for mantar and the meaning of spell
these words; ‘the toxic forest wind is screaming’. is a spoken word held to have magic power that
In the second line it seems that the translator just gives a close sense of the word mantar. in the
gives the explanation of the original text. He used second line the translator just gives the thematic
the words ‘the fluty sounds of the bamboos’ for meaning and presents the theme of that line into
the words ‘har eik vans di vanjhali’. This is the words without bothering what is there in the text.
explanation of the words like vans and vanjhali As the line ‘dooje dange de lag gayi, jane khane
because the sounds are not mentioned in SL. The nu lag’ is translated as ‘the second bite turned all
translator used that word to form the structure in and sundry into snakes as well’. In this translation
TL. And for the later part he provides the readers there are additional words that are not there in the
with detail in these words ‘seems to have turned original text like turned all the sundry the literal
into deadly snakes’ for the words that are there in meaning of sundry is to made up of different
SL ‘ditti naag bana’. The preposition ‘seems’ is things this is not mentioned in the original text.
used here that is stands for to appear to be Into snakes as well is also not in the original text.
something or to do something. That is an In translation (L2) this translator also
additional word here. The words have turned are used an additional preposition ‘with’ in order to
also the additional words. form the structure of the sentence. In this
translation the translator used the word ‘mantras’
OP(T.7) Pehla daang madarian, mantar gaye for ‘madarian’. The literal meaning of the word
gawach, Dooje dang di lag gayi, jane khane nu mantras is a sound, word or phrase that is
lag repeated by someone who is praying or
meditating. So this word cannot fit for the original
L1(A.7) With the first snake-bite; charmers lost word madarian. And for ‘mantar’ he used the
their spell word ‘charms’ that is the close translation. In the
The second bite turned all and sundry, second line he just wrote ‘the second turned all
into snakes, as well into snakes’ which fails to give the feel of the
L2(B.7) With the first snakebite, the mantras lost original text. The words madarian and mantar
the charms. The second tuned all into snakes have the harmony and the taste of the language as
well that is not there in the words like charmers,
In the translation (L1) the words ‘pehla mantras or spell. And the second line is not
daang madarian’ is translated as ‘with the first translated in original sense by both translators.
snake bite’. The line starts with an additional
4777 Journal of Positive School Psychology

OP(T.8) Nagan kile lok munh bus phir dang hi water’ but in SL there is no reference of water or
dang, drinking water by people. Then the other part is
Palo pali Punjab de neele pay gay ang translated as ‘then it was only poison all around’
here we can say that the translator try to give the
L1(A.8) Drinking from this deadly stream, sense of poison all around by giving the thematic
filling the land with bane meaning to the words dang hi dang. In the second
Slowly, Punjab’s limbs have turned line he wrote that ‘with the pain of poison’ as no
black and blue, with pain word for pain is mentioned in the SL. And then
L2(B.8) As people drank the deadly water, then ‘the limbs of Punjab turned blue’. Here again this
it was only poison all around. With the pain of translator like the first one used the words limbs
poison, the limbs of Punjab turned blue. of Punjab but he describe only one color that is
mentioned there in SL.
In the translation (L1) the translator again
tries to translate the whole line in the contextual OP(T.9) Galeyon tutte geet phir, takaleon tutte
level and here in TL and even changes the tand,
contextual meaning of the poem here. As he Trinjanon tutttian sahelian, charakhre
translated the line ‘nagan kile lok munh bas’ as ghukar band
‘drinking from this deadly water’ which to some
extent we can say that is presenting the theme. L1(A.9) The street-songs have been silenced;
The basic theme of this line is that people have cotton threads are snapped
the poisonous feelings like snakes in their heart Girls have left their playgroups; the
but here the translator altogether changes the spinning wheels are cracked
meaning in TL. The original meaning of the line L2(B.9) Songs in the streets are silenced. Dresses
in SL is that the snakes are with open mouth that’s are snatched away.
why there is poison. Then the other part of the line Girls left their play-groups. The spinning wheels
is translated in the way to give the meaning and were left shattered and scattered.
sense to the first part of the line. He used the
words ‘filling the land with bane’ for ‘bus phir In the translation (L1) the line ‘galeyon
dang hi dang’. Here the word bane is used for tutte geet phir’ is translated as ‘the street songs
dang hi dang and the literal meaning of the word have ‘been silenced’ which is the close
is killer which to some extent fulfill the need of translation of the SL and presents the theme as
the words like dang hi dang. In the second line he well. But the second part of the line ‘takaleon
used an adverb ‘slowly’ that is an additional word tutte tand’ is translated in ‘cotton threads are
here which means in a slow way or at low speed. snapped’ but this translation changes the meaning
And the words ‘palo pali Punjab’ is translated as of SL in TL. Because here tand is translated as
‘Punjab’s limbs’. The literal meaning of limbs is cotton threads but the word takaleon is not
the extension or branch of something but in SL no translated in TL. In the next line ‘trinjanon tuttian
branch or extension is mentioned. And ‘neele pay sahelian’ is translated as ‘girls have left their
agy ang’ is translated as ‘have turned black and playgroups’ that altogether change the meaning
blue with pain’. As black color is not mentioned of the original text. The basic meaning of
in the SL in the same way word pain is not trinjanon in Punjabi refers to that place from
mentioned. where they used to fill or get water but here in TL
In the translation (L2) the translator like the other the translator changes the whole meaning just
used the same words ‘as people drank the deadly presents the theme of the line. And the next part
 Manal Aqil 4778

of the line ‘charakre ghukar band’ is translated as Basically the word log is a usually bulky piece or
‘the spinning wheels are cracked’. But in reality length of a cut or fallen tree. And this meaning
the meaning of the line is that the sounds are no cannot set in the contextual of thematic meaning
more but here the translator used an adjective here. And the word cast away stands for the
‘cracked’ the meaning of this word having a rejection and in the original text the writer is
damaged surface but usually not broken into talking about the game not about the logs or
pieces that does not stand for the real meaning of rejection. In the second line the translator used the
SL. words ‘our hanging swing’ for the words ‘sane
In the translation (L2) he also used the dalian pingh aj’. In it the word aj is not translated
word ‘silenced’ for ‘tutte’ that gives the thematic but the other part is the close translation of the SL
meaning to the word. The next part of the line is and the translator here is successful to convey the
translated as ‘dresses are snatched away’ that exact meaning. The other part of the sentence is
completely changes the meaning of SL in TL. As translated as ‘the Pipal tree has broken in
dresser are not mentioned in the original text. In disarray’ for the words ‘pipplan ditti tor’. Here he
the second line he used the same words in again fails to convey the meaning. He used the
translation as was done in the translation (L1). word disarray here and that stands for lack of
The beauty and taste of Punjabi in there in the order, a confused situation or messy condition.
words like galleon, takaleon, trinjanon and But very simple thing presented in SL but the
charakary is not there in the TL. The beauty of the translator makes it complex by the use of intricate
words in SL ‘charakre ghukar band’ is not there words here.
in TL ‘the spinning wheels are cracked’. In the translation (L2) the translator gives
the explanation of the lines in his own words
OP(T.10) Sane sej de berian, luddan dittian rohr, without focusing that what is written in the
Sane dalian pingh aj, piplan diti tor original text. He wrote ‘our nuptial beds’ for ‘sej’.
The beauty and taste that single word sej is
L1(A.10) Our wedding beds are boats, their logs presenting is not there in these three words our
have cast away nuptial beds here he used an additional adjective
Our hanging swing, the Pipal tree has ‘our’ which is not there in the original text. Like
broken in disarray in the previous translation he also used the words
L2(B.10) Our nuptial beds are like castaway cast away boats for luddan ditain rohr. In the
boats. Our hanging swing of childhood, the Pipal second line he also used many additional words
tree, is broken. as our hanging swings of childhood’ for ‘sane
dalian pingh aj’. But here the word our is an
In the translation (L1) the translator used additional word as it is not mentioned in the SL.
the words ‘our wedding beds are boats’ for the In the same way the word childhood is also an
words ‘sane sej de berain’. That completely additional word as it is also not mentioned in the
changes the meaning of the original text. The original text. The the last part of the sentence is
meaning of the word sane is associated with color translated as ‘the Pipal tree is broken’ for
in Punjabi language and the word sej is associated ‘pipplain diti tor’ that is again not there in SL.
with stage. Here he altogether changes the
meaning in the TL as he wrote that our wedding OP(T.11) Jitthe vajdi si kook pyaar di, ve oh
beds are boat that cannot give any sense. And the vanjhali gayi gawach
second part of the sentence ‘luddan dittian rohr’ Ranjhe day sab vir aj, bhul gaye usdi
is translated as their logs have cast away’. jach
4779 Journal of Positive School Psychology

demands of the structure and complete the

L1(A.11) Where was lost the flute, where the previous sentence ‘all the flutes that played the
songs of love sounded? melodies of love, have lost their tunes’. In the
And all Ranjha’s brothers forgotten to second line the translator used an extra word to
play the flute. give some special or powerful feeling by using
L2(B.11) All the flutes that played the melodies ‘valorous brothers’ with the article ‘the’ for
of love, have lost their tunes. The valorous ‘Ranjhe day sab vir aj’. The literal meaning of the
brothers of Ranjha have forgotten that art. word valorous is valiant, courageous and
dauntless but there is no such words are used for
In the translation (L1) the translator has Ranjha’s brothers in the SL. In this translation the
changed the whole formation for the sake of word ‘aj’ is not translated as well. And the last
sentence formation. As he translated the line and part of the sentence gives us the close translation
form an interrogative sentence which is not in the of the sentence as he translated the SL ‘bhul gay
SL. As there is not any question in the original usdi jach’ in these words in TL ‘have forgotten
text. But in the translation the translator change that art’. This is the close translation of this line
the whole line in interrogative form. He also uses and here he is able to convey the same meaning.
the word ‘sounded’ and it is always used for good
condition that is cannot be used here in any OP(T.12) Dharti tay lahu vasiya, kabraan paina
context. It is a grammatical mistake on the part of choan,
the translator. He translated the line ‘ve oh Preet dian shahzadian, aj vichch
vanjhali gayi gawach’ as ‘where was lost the mazaran roan
flute’ which in no way give the sense that is there
in the original text. In the same way the words L1(A.12) Blood has rained on the soil, graves are
‘kook pyaar di’ is not the song of love but he oozing with blood,
translated it as ‘where the songs of love sounded’ The princesses of love cry their hearts
that is grammatically a wrong sentence. In the out in the graveyards
second line the words ‘Ranjhe day sab vir aj’ is L2(B.12) Blood rained on the earth, and graves
translated in these words ‘and all Ranjha’s oozed it too. The amorous princesses today wail
bothers’. Here the sentence is beginning with a at the graveyards
conjunction and that is an additional word and the
word ‘aj’ is not translated in TL. The translator In the translation (L1) the translator he
use apostrophe‘s’ here to show the possession. used the words ‘blood has rained on the earth’ for
‘phul gaye is di jach’ is translated as ‘forgotten to ‘dharti tay lahu vasiya’ that to some extent gives
play the flute’ as flute in not mentioned in the SL. the surface meaning but the depth and pain that is
And this translation that to play the flute is again there in SL and the feel the words like lahu vasiya
changes the meaning of the SL in TL. are giving us is absent in the words like blood has
In the translation (L2) the translator used rained. In the same way ‘kabraan pania choan’ is
the words in plural form like ‘all the flutes’ but presented in these words ‘graves are oozing with
no such word in there in SL. And for ‘kook pyaar blood’ as it is not written in SL that there is blood
di’ is translated as ‘melodies of love’ that to some in graves and the graves are oozing. The literal
extent gives the same meaning as present in SL. meaning of the word oozing is a soft deposit (as
‘ve oh vanjhali gayi gawach’ is translated as ‘ of muf or shells) on the bottom of a body of water.
have lost their tunes’ that is not the translation of That is again completely changing the original
this line but basically these words fulfill the meaning of the word ‘choan’. And here he also
 Manal Aqil 4780

uses the additional words with blood in order to After the analyses of these lines the
complete the sentence. In the second line the researcher can state that translation is not possible
words ‘preet di shahzadian’ is translated as ‘the as in these lines it is observed that the translators
princesses of love’ which is the close translation who are of the same cultural background are fail
but the later part of the sentence ‘aj vich mazaraan to present the word mazaar in TL. While
roan’ is translated in this manner ‘cry their heart translating they have to follow the culture of the
out in graveyard’. In this part the words cry their TL.
heart out are the additional words and are used to
enhance the impact in TL. And for ‘mazaraan’ the OP(T.13) Aj sabbhe qaido ban gaye, husn ishq de
word ‘graveyard’ is being used. In Punjabi chor
culture each and every person knew that what a Aj kitthon liaiye labh ke Waris Shah ik
mazaar is but there is no such place in the English hor
culture. And the here the translators who are of
the same culture have to follow the culture of the L1(A.13) Today all the Quaido’ have become the
TL and fails to differentiate between mazaar of thieves of love and beauty,
Punajbi culture and graveyard of English culture. Where can we find another one like
In translation (L2) the translator used the Waris Shah?
word ‘earth’ for ‘dharti’ and the meaning of earth L2(B.13) Everyone are prisoners have become
is the planet on which we live for away from the thieves of beauty of love. Where can another
original meaning. And he just gives the simple Waris Shah be found today?
explanation of the line without any rhyming
scheme and he translated the whole line as ‘blood In the (L1) translation the translator gives
rained on earth and graves oozed it too’ this is the reference of the person who is known as
completely changed the meaning of the SL. He ‘Qaidoo’ in the story of Heer Ranjha. But here in
translated the words ‘kabraan paina choan’ as this poem the poetess used the word ‘qaido’ that
‘graves oozed it too’ this is not the translation of is not the reference of that historical figure. So
this line but in order to give complete meaning to here again the translation moves towards the
the first part of the sentence he used these words wrong direct and away from the original
and combine these words by using a conjunction meaning. Then he translated the later part as
‘and’ in the sentence. In the second line for ‘preet ‘Qaido have become the thieves of love and
dian shahzadian’ he used the words ‘the amorous beauty’. But the original text is that ‘qaido ban
princesses’. The literal meaning of the word gay, husn ishq de chor’ but in translation he wrote
amorous is having or showing strong feelings of that Qaidoo which is the historical figure have
sexual attraction or love’ and he make it specific become thief that is again not there in the SL. So
by using an article ‘the’ with it. As no such words this line changes the meaning in TL. In the second
are used in the original text. The word preet line the words ‘aj kithon liaiye lab k’ is translated
should not be associated with sexual attraction or in these words ‘where can we find’ in it there is
love. And in the last part of the line here again the an additional word we is used but this word is not
word graveyard is used for the mazaar which the there is SL. ‘kithon’ is translated with the use of
researcher has explained earlier. Here he used the transitive verb ‘can’ that stands for to be able to
word ‘wail’ for ‘roan’. The literal meaning of or accomplish that to some extent gives the same
wail is to make a loud, long cry of sadness or pain meaning. But the word ‘liaiye’ is not translated.
and that word again changes the meaning of the The words ‘Waris Shah ik hor’ is translated in
original word that is used in SL. these words ‘another one like Waris Shah’ that is
4781 Journal of Positive School Psychology

far away from the original text and meaning. for ‘kithon kabraan vichon bol’ is translated as
Because in the original text the words are Waris ‘speak from your grave’ and ‘ speak from thy
Shah ik hor it does not in any way gives the sense grave’. Word ‘vicho’ is not translated in TL and
of another one like . in original text it is the direct singular word ‘grave’ is used for the plural word
reference to Waris Shah not anyone like him. ‘ kabraan’. In translation (L2) ‘thy’ word is used
In translation (L2) the translator used the which is relating to thee or thyself is agent or the
word ‘prisoner’ for ‘qaido’ that to some extent is object of an action. And a preposition ‘from’ is
the close translation of that word. But in the SL used in both translations, which is an additional
the words are ‘aj sabhe qaido ban gaye’ but in TL word in TL. ‘te aj’ is translated as ‘and’ and word
the words are ‘everyone are become prisoners’ aj is not translated. ‘kithab-e-ishq da koi agla
here the translator said that they are prisoners varka phol’ in this line the word ‘kithab-e-ishq’ is
which is not fixed in the meaning of ban gaye. translated as ‘book of love’ which is the very
The analysis of these lines again proves close translation and gives the exact meaning but
the view of the researcher that there is strong the words ‘koi agla varka’ are translated as ‘a new
impact of the culture on language and thought. As page’ and ‘ find the next page’. Word ‘koi’ is not
the first translation change the meaning of the translated and for ‘agla varka’ in translation (L2)
lines. By putting the reference of the historical the word ‘next page’ is used which gives the very
figure Qaidoo he diverts the attention of the close meanings but in translation (L1) ‘a new
readers towards different story. The sweetness page’ is used for the purpose of translation. In it
and beauty of the words like ‘husn ishq de chor’ an article ‘a’ is used as an additional word to
lost its spell in the words against it ‘thieves of fulfill the requirements of TL and the words ‘new
beauty and love’. Similarly the intensity that is page’ does not fulfill the requirements of SL. In
there in the original text for Waris Shah ‘aj kithon the same way another additional word in
liaiye lab ke Waris Shah ik hor’ lost its taste in translation (L1) ‘your’ an adjective is used. ‘Phol’
both translations. is translated as ‘add’ and ‘find’ which again
cannot gives the exact meaning of the SL.
OP(T.14) Ajj aakhan Waris Shah nu kithon
kabraan vichon bol Conclusion
Te aj kithab-e-ishq da koi agla varka The undertaking of deciphering verse requires
phol more ability than composition. This examination
attempted to investigate those things which
L1(A.14) Waris Shah! I say to you, speak from endeavor of interpreting verse effectively and
your grave those powerless focuses which remove the user
And add a new page to your book of from the first content. The examination was done
love. by evaluating the poem of Amrita Pritam ‘AJJ
L2(B14) I summon Waris Shah today, speak akhan Waris Shah Nu’. Two different translators
from thy grave, and find the next page in the Book were selected who were of the same cultural
of Love. background. A depiction of source content
classification is poetry. An announcement of the
In the translation of both (L1) and (L2) capacity of source content was discovered that
‘I’ word is used but there is no such word in the was to give stylish delight for this situation.
SL. In the same way ‘aakhan Waris Shah nu’ is Afterward, variants, unique verse and
translated as ‘summon’, as the literal meaning of interpreted works were analyzed and
summon is to appear in the court of law or to ask differentiated. This was done through the
 Manal Aqil 4782

methodology of Susan Basnett and Andre culture trade. At the end of the day, interpretation
Lefevere’s manipulative theory. In order to find can never exist without culture. Interpretation and
out the cultural turn the themes of omission, culture can never be isolated.
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