Compensation

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Compensation in the Translation of English Literary Texts into Arabic
Research · April 2018
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ADAB AL-RAFIDAYN, VOL.(74) 2018/1439
Compensation in the Translation of
English Literary Texts into Arabic
Zahraa R. Agha
Assist. Prof. Dr. Luqman A. Nasser *
2017/12/20 :‫تأريخ القبول‬ 2017/10/29 :‫تأريخ التقديم‬
1.Introduction
The difficulty of producing an identical version of the SL has
been proved by almost all translation theorists. The translator faces
some difficulties to make the original text and his work overlap, for
the simple reason that source language text and target language one
do not overlap. There are different strategies of translation which
the translator can adopt to fulfil his task. One of these strategies is
compensation. In other words, when the translator finds a great
difficulty to translate something, he can do something instead,
which goes with the spirit of the original text and does not ruin the
meaning. This paper gives a detailed theoretical account of the
concept of compensation in translation. It proposes a new approach
to present a detailed description of compensation . It also proposes
using reliable criteria to assess the ability to use compensation as a
translation strategy.
The limitation of the study includes studying one direction of
translation (from English into Arabic), one technique of translation
(compensation) in translating one kind of texts (literary) represented
by the Shakespearian drama (Julius Caesar). The analysis includes
both descriptive and prescriptive aspects. The steps adopted in
fulfilling this study include: Reviewing all the available literature
on the topic including definitions, types and conditions of
compensation. Five different cases of compensation in translation
have been selected from the Shakespearian drama (Julius Caesar )
with five Arabic renditions by (Hamdi, 1928; Fadhil, UD; Amin,
UD; Al’usaily, 1977 and Jamal, UD) to be samples for analysis and
discussions. The analysis includes a description of compensation
following the proposed model. Then, discussing the appropriateness
*
Dept. of Translation / College of Arts / University of Mosul .
1
Assist. Prof. Dr. Luqman A. Nasser Zahraa R. Agha
of translation as cases of compensation according to the proposed

criteria. Finally, drawing some conclusions and making
recommendations and suggesting further researches.
In terms of the description of compensation, this paper
adopts an eclectic model which is a modified version of Hervey and
Higgins (1992) model of compensation and Harvey’s (1995) model
of compensation. Whereas in terms of translation assessment of
compensation, the paper adopts a modification of Crisafulli (1996)
conditions of successful compensation.
The study of compensation has attracted many translation
theorists. The most comprehensive treatment of the subject is that
by Hervey and Higgins (1992) who classify compensation into
compensation in kind, compensation in place, compensation by
merging and compensation by splitting. This classification has been
modified into parallel compensation, contiguous compensation and
displaced compensation by Harvey (1995). Dickins et al. (2002)
practically discuss different translation notions and dedicate a
separate chapter for compensation in which they present some
examples of translation from Arabic into English applying the
classification of Harvey and Higgins (1992). Another classification
of compensation into explicit and implicit compensation is given by
Ma (2003) and compensation by integration, compensation by
isolation, compensation with the same device, compensation with a
different device, compensation in a parallel location and
compensation in a displaced location, synchronous compensation
and compensation in difference by Xia (2006). Protopopescu and
Visan (2008) discussed the difficulty of compensation n translating
James Elleroy’s white Jazz. Han (2011) studies the limits and over-
compensation as a problem in translation. He (2011:830)puts
forward two principles about linguistic humor translation to prevent
translation from turning into creation concluding that translation of
linguistic humor is an art that requires the inspirational thinking. He
concludes that when doing linguistic humor translation, translators
should not only make full use of their creative minds but also
follow the principles that help them avoid over-compensation. Cui
(2012) discusses the problem of untranslatability between Chinese
2
and English, including linguistic and cultural untranslatability. He
(2012: 826) says that some methods can be used to compensate in
order to reduce the barrier in translation and promote language and
culture communication. He concludes that there does exist
untranslatability between English and Chinese.
Motallebzadeh and Tousi (2011: 1) study the way by which
translators can compensate the loss of idiomaticity while translating
idiomatic texts. They take an English novel as the source text and
its Persian translations as the target language to solve this problem.
They show that the translators tend to translate the SL idioms into
TL non-idioms. This strategy leads to an idiomatic imbalance
between the ST and TT. In order to somehow deal with this
idiomatic loss in their translations, the Persian translators followed
compensation strategy by adding target language idioms elsewhere
in the text. They conclude that if in any case an SL idiom could not
be translated as an idiom in TL, the translator can make up for the
lost idiom by adding a TL idiom to places where there originally
was a non-idiom. They conclude that idioms often considered
difficult to translate but the translators should do their bests to be
faithful to the target text. They add that compensation strategy is a
workable strategy, not only in translation of idiomatic texts, but also
in translating other elements of the languages such as figures of
speech. As-Safi (2011) has shed the light on compensation in
translation from Arabic into English and from English into Arabic.
He discusses the concept of loss and gain of meaning with relation
to the use of compensation at different linguistic levels.
2.Compensation as a Translation Strategy
It is difficult to separate different strategies of translation
because they are complementary to a large extent. In this regard,
Desmet (2001: 35) says that substitution as a strategy may be linked
with compensation, that is, where it is impossible to create the same
effect translators can compensate for the loss of meaning by
creating that effect in a place where the source text does not have a
reference, thus creating its own links.
3. Compensation and Explication
The most close translation strategy to compensation is
explication to which the translator resorts when there is no TL
equivalent to an SL term (As-Safi, 2011a: 26). Explication is
3
usually an expansion of the contents of the ST. It is a sort of

exegetic translation which is a style of translation in which the TT
expresses and comments on details that are not explicitly conveyed
in the ST (Hervey and Higgins, 1992: 269). However, the translator
must be careful when he uses such a strategy because it may harm
the text. In this regard, (As-Safi, 2011b: 35) says that the translator
of an informative text should transmit the full referential or
conceptual content of the ST. This means that he should use ‘plain
prose’ without redundancy, and the use of explication is only when
required. Gutt (1992) also stresses that translators should
distinguish between genuine translation problems, which result
from mismatches in the linguistic resources of the two languages,
and communication problems due to differences in contextual
assumptions between the source text audience and target language
audience. He adds that such a distinction is important because the
explication of contextual information in the body of the translation
always has a distorting effect.
4. Compensation and Loss of Meaning
Compensation as a strategy in translation has been linked to
the problem of loss of meaning. This loss is mostly inevitable. The
notion of inevitable loss in translation is related to the fact that there
cannot be any perfect one-to-one equivalence between two
languages and two cultures. compensation is needed when losses
occur due to any reason (Akmali, 2012: 1).
5. Compensation and the Principle of Equivalent Effect
Translation theorists unanimously agree that achieving an
equivalent effect is the main task of the translator in any translation
process (Newmark, 1982: 48) .In other words, the translator has to
do his best to produce a TL that has an effect on the TL readers
similar to that produced on SL readers by the SL. This task,
however, is not an easy one especially between languages with
greater cultural differences. Even at the level of words, there is no
one to one correspondence between any two languages due to the
fact that words tend to have different meanings in different
languages .
4
A totally equivalent effect is difficult if not impossible to
achieve. Yet, it is possible to, at least, achieve an optimal
equivalence at the high level of naturalness. As far as compensation
is concerned, The translator should apply compensation strategies
to compensate for any lost effect in the TL (Gutt, 1991: 48). The
compensated effect is related to the unit of translation and the level
of language. In literary language, where figures of speech are
abundant, the pragmatic and aesthetic effects are expectedly to be
lost and hence should be compensated for. Therefore, the unit of
analysis in this regard, should be mostly related to such figures.
6. Compensation and the Unit of Translation
In translation, as far as compensation is concerned, the
translator should be aware of the unit of translation he is dealing
with in order to determine the effect to be compensated for.
Translation theorists have thoroughly discussed the notion of the
unit of translation.
7. Types of Compensation
The compensation for any effect lost in translation is
achieved by using different ways. These ways depend on the kind
of the loss and the ability of the translator to reduce such a loss.
Translation theorists have presented different classifications
or types of compensation. For example, Baker (1992) talks about
stylistic compensation as a translation method. She defines Stylistic
compensation as “a means that helps to recreate a similar effect in
the target text using the means specific to the target language in
order to compensate for the losses of the source text”.
Hervey and Higgins (1992) classify it into compensation in
kind, compensation in place, compensation by merging and
compensation by splitting. Harvey (1995) modifies Hervey and
Higgins (1992) model and gives a new descriptive framework for
compensation with three axes typological, linguistic
correspondence, and topographical. According to Harvey (1995),
this framework aims at refining the understanding of compensation
as a theoretical concept and increasing its power as a pedagogical
tool. He starts his framework by discussing the problem of
identifying cases of compensation by excluding instances of
grammatical transposition because they do not have a stylistic, text
specific function and suggests that puns and phonological effects
5
that are specific to the source text are potential cases of

compensation. His criteria for identifying compensation include:
compensation operates on stylistic, text specific features,
sociocultural practices require cultural substitution and hence they
fall outside the scope of compensation.
Then he addresses the relationship between the relevant
stretches of source and target texts. His first axis (typological)
solves the problem of identifying compensation whereas the second
and third axes (degree of linguistic correspondence and
topographical one) answer the second problem of relationship. In
his typological axis, Harvey (1995: 78) distinguishes between
stylistic and stylistic-systemic type of compensation.
Stylistic compensation includes the cases in which the
effects in SL and TL are text-specific and contribute uniquely to the
colour, tone and register of that specific text. These cases are
similar to cases of compensation in place proposed by (Hervey and
Higgins, 1992: 37-38).
Stylistic-systemic compensation are those cases in which the
effects have a stylistic value where they occur in the text. Harvey
(1995: 78) adds the use of idiomatic expressions which draws upon
the lexical store of a language as a case to that given by Hervey and
Higgins (1992: 35-36) in their compensation in kind where verb
tense relations are exploited for rhetorical effect.
In the second axis (the degree of correspondence), Harvey
(1995: 79) distinguishes three types of relationships (direct
correspondence, analogical correspondence, and non-
correspondence).
Direct correspondence is the case when compensation is
done by using the same type of linguistic device in the TL. It is one
of the most typical types of compensation and the most easy to
identify. Analogical correspondence differs in that compensation is
done by deriving a device from the same linguistic repertoire as that
used in the SL, without being an identical type. For example,
exploiting the relationship between the possessive pronoun (we)
and the possessive adjective (our) is a case of analogical
correspondence because they depend on a similar but not identical
6
lexico-grammatical device. In non-correspondence, on the other
hand, compensation is done by using a TL device that shares no
linguistic features with the SL one. An example for this type is the
use of punctuation and lexical borrowing to compensate for a SL
exploiting of tense system of the use of TL idioms to compensate
for SL neologisms and onomatopoeia.
In the third axis (topographical axis), Harvey (1995: 82)
tackles the issue of location of the effect compensated for. He
suggests four types of compensation in this axis: (parallel,
contiguous, displaced and generalized). A parallel relationship is
the case in which compensation occurs exactly at the same place in
the target text whereas a contiguous case occurs when
compensation is done within a short distance from the lost effect of
the source text. When compensation occurs at a long distance from
the source text loss, it is a case of displaced compensation and
finally generalized compensation in which the target text includes
stylistic features that help to naturalize the text for the target reader
to achieve a comparable number and quality of effects.
The present paper adopts an eclectic model taken from
Hervey and Higgins (1992) and Harvey’s (1995) models because
they are the most comprehensive ones and the most applicable in
translating literary works. According to Hervey and Higgins (1992:
35), translators resort to the technique referred to as compensation
when faced with apparently inevitable and unacceptable loss of
important source text features through replicating source text effects
approximately in the target text by means other than those used in
the source text. The above scholars highlight four types of
compensation which include compensation in kind, compensation
in place, compensation by merging and compensation by splitting
(Hervey and Higgins 1992: 35-40). However, this model needs
some modifications to be applicable and to clarify the justification
of types of compensation. Harvey’s (1995) model clarifies some
points concerning the identification of cases of compensation and
the relationship between the SL lost effect and TL compensated
one. Yet, the present study combines these two models and suggests
some other modifications as shown in the following diagrams:
7
7.1 Compensation in Kind

Compensation in kind involves making up for one type of
textual effect in the source text by another type in the target text.
Hervey and Higgins (2002: 44) cite as example an area where
compensation in kind is often needed to show the difference
between French and English narrative tenses. This type basically
involves the insertion of a particular textual effect in the ST that
cannot be exactly reproduced (Bryant, 2009: 1). Hervey and
Higgins (2002: 44) explain this by saying that compensation in kind
occurs when different linguistic devices are employed in the target
text in order to recreate an effect in the source text. Compensation
in kind can subdivided into three cases:
7.2. Keeping Kind
In this case, the effect of the linguistic device employed in
the SL text is compensated for in the TL text by the use of a similar
linguistic device in the TL. For example, an effect of an SL
metaphor is compensated for by the use of a metaphor in the TL
that has the same effect. Or an effect of an SL pun is compensated
for by the use of a pun in the TL that has the same effect. The same
can be said concerning other linguistic devices such as simile and
alliteration.
7.3. Changing Kind
In this case, the effect of the linguistic device employed in
the SL text is compensated in the TL text by the use of a different
linguistic device in the TL. For example, the effect lost because of
the difference between perfect and imperfect in English and Arabic
can be solved by using compensation in kind. consider the
following example taken from (Macbeth), Act 1, Scene 3, Lines
(109-111):
Angos: Who was the than lives yet;
But under heavy judgment bears that
Life which he deserves to lose.
These lines have been translated by (Amin) as:
‫ من كان في الماضي سيد كودور ال يزال حيا ً غير أن الحكم العادل قد‬:‫آنغوس‬
.‫صدر بإعدامه‬
8
Angos is one of Scotland noblemen. He is talking to
Macbeth telling that the king of Cowdor is sentenced to death since
he committed crimes deserving death. In this text, the English
phrase (But under heavy judgment bears that life which he deserves
to lose) has been rendered into: )‫(غير أن الحكم العادل قد صدر بإعدامه‬.
7.4. Kind Lost
In some cases of compensation, the linguistic device carrying
the SL lost effect disappears in the translation and the effect is
compensated for by the use of ordinary language. For example, an
effect produced by a metaphor or a pun in the SL is compensated
for in translation by the use of ordinary language and no metaphor
or pun is used.
8. Degree of Correspondence
The cases of compensation can be described according to the
degree of correspondence into three cases:
8.1 Direct Correspondence
Direct correspondence is the case when compensation is
done by using the same type of linguistic device in the TL. It is one
of the most typical types of compensation and the easiest to
identify. In this kind of compensation, the SL noun, for example, is
compensated for by a TL noun that has the same effect.
8.2. Analogical Correspondence
This case differs in that compensation is done by deriving a
device from the same linguistic repertoire as that used in the SL,
without being an identical type.
8.3. Non-correspondence
When the translator makes basic changes on the SL linguistic
devices in order to compensate for the effect, such changes will
cause merging the SL linguistic devices into smaller units or
splitting them into larger units. Therefore, two subdivisions are
created:
8.3.1. Compensation by Merging
Hervey and Higgins (1992: 38) define it as “condenses ST
features carried over a relatively long stretch of text (say, a complex
phrase)”. Sometimes one language can express a similar idea in far
fewer words than is possible in the other language. Compensation
by merging is the only way to make a balance between doing justice
to the literal meaning of ST and constructing an idiomatic TT.
9
Brynat (2009: 1) defines this as the practise of considering a

relatively extensive chunk of ST into a relatively shorter bit of TT.
Consider the following example from (Julius Caesar), Act 1, Scene
1, Line 1:
Flavius: Hence! Home, you idle creature, get you home.
This has been translated by (Amin) as:
.‫ تفرقوا إلى بيوتكم أيها الكسالى عودوا إلى دياركم‬:‫فالفيوس‬
In this line, Flavius whose duty is to defend the rights of
common people against the nobles, is angry that the working people
have taken a holiday to welcome Caesar home after his victory over
Pompey’s two sons.
In this text, the translator has rendered the English phrase
(idle creature) into (‫)الكسالى‬. As it is noticed the translator has used
compensation by merging two lexical items (idle creature) into one
(‫)الكسالى‬. This rendition is not only more economic but also keeps
the aesthetic function of the SL word. So, the translator expresses
the negative connotation of the SL expression. While the literal
translation of this text would be awkward rendition in that it does
not give the negative connotation loaded in the SL expression.
Here, compensation is inevitable.
8.3.2. Compensation by Splitting
Hervey and Higgins (1995: 26) point out that compensation
by splitting is used where there is no word in the TL to cover the
same range of meanings as a given word in the SL. Bryant (2009: 1)
argues that this as the opposite of compensation by merging, and
consists of rendering one word of SL into several words in the TT.
Consider the following example from (Macbeth), Act 1,
Scene 3, Line 53:
Banquo: Are ye fantastical? or that indeed
This has been translated by (Sulaimaan) as:
‫ هل أنتن من نسج الخيال أم أنتن كما تبدينه حقاً؟‬:‫بانكو‬
Banquo is talking to the three witches and asking them to tell
him if they were creatures of the imagination or real people.
In this text, the translator has rendered the English adjective
(fantastical) into (‫)نسج الخيال‬. The translator has used compensation
by splitting one lexical item (fantastical) into two lexical items ( ‫نسج‬
10
‫)الخيال‬. Aalthough this rendition is longer than the SL, it keeps the
aesthetic function of the SL word. The literal translation here does
not understandable, so the translator resorts to such expansion to
keeps the intended meaning of the writer.
9. Location of Compensation
Hervey and Higgins (1992: 37) maintain that compensation
in place makes up for the loss of a particular effect at a certain place
in ST by recreating a corresponding effect at an earlier or later place
in the TT. Later, Harvey (1995) in his topographical axis elaborated
the relationship between the SL item and the TL one by suggesting
four subdivisions concerning the location of the TL compensation.
These cases are parallel, contiguous, displaced and generalized
compensation. The last one is related to the whole SL text,
therefore, it will be beyond the scope of this study and will be
disregarded in this paper.
9.1. Parallel Compensation
In this paper, the criteria adopted by Harvey (1995) to
identify cases of parallel compensation will be followed. This
means that the case in which compensation occurs exactly at the
same place in the target text is a parallel compensation in terms of
the location of compensation. For example:
9.2. Contiguous Compensation
A contiguous case occurs when compensation is done within
a short distance from the lost effect of the source text. Consider the
following example which is taken from (Romeo and Juliet), Act 2,
Scene 2, Line 1:
Romeo [coming forward]: He jests at scars that never felt a
wound.
This has been translated by (Munis) as:
.‫ من لم تؤذه الجراح قط يهزأ من الندوب‬:‫روميو‬
Romeo is no doubt thinking of the scars caused by Capid’s
arrows, which Mercutio has never felt. In this text, the translator has
rendered the English sentence (He jests at scars that never felt a
wound) into (‫)من لم تؤذه الجراح قط يهزأ من الندوب‬. Here, the translator
has used contiguous compensation by translating the clauses (He
jests at scars) and (that never felt a wound) of ST are
transpositioned in the TL within a short distance from the lost effect
of the source text. Since, this sentence involves some type of
11
metaphors to translate it literally would entail awkward translation.

Semantically, the wounds are more harmful than scars so the
second must relate to the first. So, compensation here is inevitable.
9.3. Displaced Compensation
Translators sometimes use compensation at a long distance
from the source text loss. This case of compensation is called
displaced compensation. A simple example of displaced
compensation is that of compensating for a comic effect in the ST
by constructing a similar comic effect at a different place in the TT.
Another case is the omission of untranslatable pun on one word and
subsequent punning on another word.
Consider the following example taken from (Macbeth), Act
1, Scene 3, Line 123:
Banquo: But ‘t is strange
And oftentimes, to win us to our harm
The instruments of darkness tell us the truths
Win us with honest trifles, to betray’s
In deepest consequence.
These lines have been translated by (Ibrahim,2000) into:
‫ فكثيراً ما تحدثنا وسائط الظالم بالحقائق لتؤدي بنا‬:‫ ولكنه أم ٌر غريب‬:‫بانكو‬
.‫ إنها تكسب رضانا بتوافه صادقة لتخوننا في أعمق األمور خطورة‬.‫أخيراً إلى األذى‬
In this text, the translator has rendered the English clause (to
win us to our harm, The instruments of darkness tell us truths) into
(‫)تحدثنا وسائط الظالم بالحقائق لتؤدي بنا أخيراً إلى األذى‬. The translator has
used displaced compensation, the clause (to win us to our harm) of
the ST has been transpositioned in the TT. Since this phrase is a
prepositional phrase and a complement of the sentence then the
subject and the verb must precede this phrase. Semantically, this
clause is a consequence of something which is the cause to this
effect. Thus, the cause must precede the consequence. The ST
introduces grammatical and semantic changes (and therefore
losses), but these are compensated for because the changes preserve
the idiomaticity and the essential message content.
10. Conditions of Successful Compensation
Crisafulli (1996) proposed three conditions for successful
compensation. These conditions include the condition of achieving
12
the same rhetorical strength and this condition can be applied to all
cases of compensation. Second the condition of recursiveness and
this is only applied to generalized compensation and because the
latter is beyond the scope of this study, this condition will not be
applied in this paper. Third, the condition of relevance which
pertains the hermeneutic dimension.
In this paper, the three conditions proposed by (Crisafulli,
1996) with some modifications will be considered in order to assess
the appropriateness of compensation. These conditions include
(condition of Necessity, Condition of achieving the same rhetorical
strength, Condition of relevance).
10.1. Condition of Necessity
The principle of necessity means that translators should not
employ compensation strategies except on the occasion when there
is no other way to produce a translation with basically the same
effect. Linguistic features block the way of using common
translation methods so compensation is required. But compensation
is needed only when it is necessary. Any abuse of it only leads to
wrong translation.
10.2. Condition of Achieving the Same Rhetorical
Strength
The principle of achieving the same rhetorical strength in the
TL as that in the SL applies to all types of compensation. This
principle concerns the impact that a linguistic device has on the
reader and it is related to the issue of equivalent effect in
translation. In order to judge on the rhetorical strength of the target
language text, the aesthetic value of the SL text should be kept in
the TL, if so the rendition will be considered appropriate in terms of
achieving the same rhetorical strength.
10.3 Condition of Relevance
The principle of relevance is related to the hermeneutic
dimension. It questions the whether certain stylistic devices in the
target text are truly compensatory or only express the translator’s
desire to intensify of reinforce the original message. Relevance is
matter of interpreting the data in the light of the surrounding
available one. For example, if the SL writer has used some
linguistic devices (such as punning, metaphors, similes, word play
alliteration, imagery, etc.) with an intention embodied in the SL
13
such as indicating condemnation, appraisal, or any other intentions,

the translators’ interventions in the TL should be consistent with the
SL intentions as evidenced by stylistic analysis.
11. Data Analysis
In order to test the hypotheses of the research , cases of
compensation have been analyzed in five examples from the
Shakespearian tragedy (Julius Caesar ) with five renditions by
(Hamdi, 1928; Fadhil, UD; Amin, UD; Al’usaily, 1977 and
Jamal, UD). The analysis includes presenting the type of
compensation and the realization of the specified conditions for
each case in order to assess the use of compensation .
Text (1):
Cobbler: "A trade sir, that, I hope, may use with a safe
conscience which is indeed, sir, a mender of bad soles"
(Julius Caesar), Act 1, Scene 1, Line (13)
TLTs:
‫ هي حرفة يا سيدي أرجو أن أؤديها بذمة طاهرة إال أنها مهنة‬:‫الرجل الثاني‬
)Hamdi( .‫الترقيع‬
‫ وهي في الواقع يا‬،‫نقي الضمير‬ ّ ‫ صناعة يا سيدي أرجو أن أزاولها‬:‫الرجل الثاني‬
)Fadhil( .‫ مصلح الخطى السيئة‬:‫سيدي‬
‫ هي في واقع األمر‬.‫ صنعةٌ آمل أن أؤديها يا سيدي وضميري مرتاح‬:‫اإلسكافي‬
)Amin( .‫يا سيدي إصالح مسيرة الخلق‬
‫ أي في الحق يا‬،‫باغ وال عا ٍد‬
ٍ ‫ إنها يا سيدي حرفة لي أن أتخذها غير‬:‫النعّال‬
)Al’usaily( .‫سيدي مصلح ما بلي من النعال‬
‫ مرقع‬،‫ أنا يا سيدي‬...‫ أرجو أن ال أعاب به‬...‫ هو عمل يا سيدي‬:‫المواطن الثاني‬
)Jamal( .‫االنعال البالية‬
14
Interpretation:
Marllus is asking the cobbler about his job but the cobbler
did not answer the question directly, so he is making a pun; he
mends soles, but lets Marllus think he mends souls.
Table of Analysis:
a mender Cobbler: A trade sir, that, I hope, may use with a safe conscience
of bad which is indeed, sir, a mender of bad soles
soles
Type of Compensation Conditions Ap
TLTs Typ. Corres. Topog. Nec. Rhet. Rel. p.
‫أنها‬
non-
‘pun to non-
‫مهنة‬ correspondence parallel + __ __ __
pun’ (merging)
‫الترقيع‬
‫مصلح‬
‫الخطى‬ ‘pun to pun’ Direct parallel + + + +
‫السيئة‬
‫إصالح‬
‫مسيرة‬ ‘pun to pun’ Analogical parallel + + + +
‫الخلق‬
‫مصلح‬
‘pun to non-
‫ما بلي من‬ Analogical parallel + __ __ __
pun’
‫النعال‬
‫مرقع‬
‘pun to non-
‫االنعال‬ Direct parallel + __ __ __
pun’
‫البالية‬
Discussion:
In this text, the literal translation of pun in (A mender of bad
soles) will lose its effect because the original text indicates two
simultaneously intended meanings. The first is mending soles and
the second is mending souls. One knows that since the speaker is a
cobbler, he speaks in reality of the soles of shoes, whereas, when
the cobbler has said: “I can mend you” later to Marllus, he has
played on this phrase by using the additional meaning of fixing the
soles of the shoes that are worn out. In order to compensate for this
lost effect, the first translator (Hamdi) has rendered the English
phrase (A mender of bad soles) into (‫)مهنة الترقيع‬. As far as
compensation in kind is concerned, the punning in the SL has been
15
replaced by a non punning TL item which is, in terms of the degree

of correspondence between SL and TL, a non corresponding case of
merging three lexical items into two. At the axis of the location of
compensation, it is parallel in that it lies at the same location in the
TL. The second one (Fadhil) has used (‫)مصلح الخطى السيئة‬, he, in fact,
has tried to keep the kind of linguistic device since the writer here
has rendered the SL punning into a TL one. Here, the translator
wants to keep the word play on the homophone “soles” – which,
when used after the word “conscience”, sounds like “souls”;
therefore, he used ‫ الخطى‬to cover both literal and intended meanings.
In terms of the correspondence it is a direct one and parallel in
terms of the location of compensation. The third one (Amin), has
done the same by using compensation in kind to render such a pun
into (‫)إصالح مسيرة الخلق‬. In this rendition, the translator has replaced
a concrete meaning by an abstract one. The use of the word ‫مسيرة‬
here is a similar attempt to cover both meanings of the punning. It is
analogical in terms of the degree of correspondence and parallel in
terms of its location in the TL. The fourth one (Al’usaily) has
rendered the same pun into non punning (‫)مصلح ما بلي من النعال‬. The
linguistic device of the original text has disappeared with its effect,
the translator has resorted to literal translation, and it is also
analogical in terms of the degree of correspondence and parallel in
terms of its location in the TL. The fifth one (Jamal) has also used
literal translation where he has rendered the ST phrase (A mender
of bad soles) into (‫)مرقع االنعال البالية‬. It is a direct compensation in
terms of the degree of correspondence and parallel in terms of the
location in the TL. Apparently, there is no equivalent to such a kind
of pun in the target language Since the translators have translated it
literally, the aesthetic value of the verse is lost. Thus, ‘pun to non-
pun’ is the strategy used.
In order to assess the appropriateness of the compensations
made by the translators. The three conditions of successful
compensation should be met. As shown in the above table, only the
renditions of translators no 2 (Fadhil) and 3 (Amin) satisfy the three
conditions because first there is a necessity for compensation and at
the same time the rendition has the same rhetorical strength of the
16
‫)‪ADAB AL-RAFIDAYN, VOL.(74‬‬ ‫‪2018/1439‬‬
‫‪SL. It also satisfies the third condition of relevance in that it covers‬‬
‫‪the intention of the TL writer by giving both potential meanings.‬‬
‫‪Other renditions, despite meeting the requirement of the first‬‬
‫‪condition in terms of the necessity of compensation, are not‬‬
‫‪completely appropriate in that they do not satisfy the condition of‬‬
‫‪producing the same intention and having the same rhetorical‬‬
‫‪strength of the SL.‬‬
‫‪Text (2):‬‬
‫‪Cassius:‬‬ ‫‪"Why, man, he doth bestride the narrow world‬‬
‫‪Like a Colossus, and we petty men‬‬
‫‪Walk under his huge legs, and peep about‬‬
‫"‪To find ourselves dishonorable graves‬‬
‫)‪(Julius Caesar), Act 1, Scene 2, Lines (135-138‬‬
‫‪TLTs:‬‬
‫أي ٍ‬
‫رجل انه ليركب الخافقين كالتمثال الهائل في حين أنا ندرج من بين‬ ‫‪ .1‬كاسيوس‪ْ :‬‬
‫ساقيه الغليظتين ننقب عن قبور تبتلعنا لنواري فيها خزينا وعارنا‪)Hamdi( .‬‬
‫‪ .2‬كاسيوس‪ :‬ولم ال يا رجل؟ إنه يتفجح على العالم الضيق كأنه التمثال الهائل‪ ،‬ونحن‬
‫ندب تحت ساقيه الضخمتين‪ ،‬ونتطلع حوالينا فنجد أنفسنا قبو اًر يجللها‬
‫البشر التافهين ّ‬
‫العار‪)Fadhil( .‬‬
‫تنبه أيها الرجل‪ ..‬إنه يخطو اآلن بقدميه في عالمنا الضيق في مشية‬
‫‪ .3‬كاسيوس‪ّ :‬‬
‫كمشية العمالق الضخم‪ .‬وأما نحن التافهون فنسير في ظل ساقيه العظيمتين‪،‬‬
‫ونتلفت حولنا باحثين ألنفسنا عن مقابر ندفن فيها خزينا وعارنا‪)Amin( .‬‬
‫وي رجل‪ :‬إنه يقف والدنيا القميئة بين قدميه وقفة تمثال أبولو الذي طاول‬
‫‪ .4‬كاشيوش‪ْ :‬‬
‫السما‪ ،‬وانما نحن أقزٌام نسعى بين قدميه اللتين بلغتا الجبال طوالً ونتحسس ذات‬
‫تجن عارنا‪)Al’usaily( .‬‬
‫اليمين وذات الشمال نبتغي ألنفسنا أجداثاً ّ‬
‫‪ .5‬كاسيوس‪ :‬هذا الرجل إنه ليركب الخافقين كالتمثال الضخم "كلوسوس" في حين نحن‬
‫الرجال الحقيرين نمشي تحت ساقيه الهائلتين ونبحث في خوفنا على بقعة ندفن‬
‫أنفسنا بها‪)Jamal( .‬‬
‫‪17‬‬
Interpretation:
Cassius compares Caesar to the giant statue of the Greek god
Apollo, which was reported to be so large that ships could easily
pass through its legs as they entered the port at Rhodes. Cassius
clearly sees the diminished nature of his and other nobles’
importance as Caesar’s importance increases.
Table of Analysis:
Like a Colossus Cassius: Why, man, he doth bestride the narrow world
Like a Colossus, and we petty men
Walk under his huge legs, and peep about
To find ourselves dishonorable graves
Type of Compensation Conditions
App.
TLTs Typ. Corres. Topog. Nec. Rhet. Rel.
‫كالتمثال‬ Simile
into Direct parallel + + + +
‫الهائل‬
Simile
‫كأنه التمثال‬ Simile
into Analogical parallel + + + +
‫الهائل‬
Simile
‫كمشية‬ Simile
_
‫العمالق‬ into Analogical parallel + __ +
_
‫الضخم‬ Simile
‫وقفة تمثال‬ Simile

Non-
into _
‫أبولو الذي‬ correspondence parallel + __ +
expla _
‫طاول السما‬ (splitting)
nation
‫كالتمثال‬ Simile Non-
_
‫الضخم‬ into correspondence parallel + __ +
_
"‫"كلوسوس‬ Simile (splitting)
Discussion:
In this text, the translator faces the problem of translating the
Simile (like a colossus) which cannot be translated directly without
loss of meaning. The lexical item ‘colossus’ has no equivalent in
Arabic because the Arabic nearest equivalent is ‫ تمثال‬which
corresponds to statue in English. In order to compensate for this
loss of meaning, the first translator (Hamdi) has used the same
linguistic device (simile) )‫ )كالتمثال‬adding another lexical item ‫الهائل‬
to compensate for the difference between a normal statue and a
18
colossus which is a giant statue. In this case of compensation, the
same linguistic device has been used (simile‫) ك‬. In terms of
correspondence, the TT does not correspond to ST in that more than
one lexical item have been used (a case of splitting) and location of
compensation is at the same location (a parallel compensation). The
second translator (Fadhil) has used (‫ )كأنه التمثال الهائل‬in a similar
treatment of the problem yet ‫ كأن‬has been used instead of ‫ ك‬and both
are used as simile markers in Arabic. The third translator has used a
different technique to compensate for the same loss by using the
lexical items ‫العمالق الضخم‬. The problem here is that a different
connotation will be deduced here and ‫ الضخم‬can be considered
redundant because the word ‫ العمالق‬compensate for the meaning of
“giant” implied in ‘colossus’. Here, the degree of correspondence is
nil (splitting case of compensation) and the location is parallel. The
fourth translator has changed the linguistic device (simile) into a
detailed explication of the item and tried to compensate for the loss
of meaning but at the expense of the principle of economy in
translation. Another shortcoming of this rendition is that the direct
reference to the Greek god Apollo will decrease the aesthetic value
of the text. The fifth translator (Jamal) has used a couplet strategy in
which he used functional equivalence
‫ التمثال الضخم‬plus a transliteration “‫”كلوسوس‬, the latter, however,
seems redundant in this case. Generally, the same linguistic device
has been used (simile) by the four translators though they have used
different lexical items.
It is noted that the first two renditions are the most
appropriate ones in terms of compensation because they satisfy the
three conditions of necessity, rhetorical strength and relevance.
Other renditions produce a target language text with more loss of
meaning and redundancy.
19
‫‪Compensation in the Translation of English Literary Texts into Arabic‬‬
‫‪Assist. Prof. Dr. Luqman A. Nasser Zahraa R. Agha‬‬
‫‪Text (3):‬‬
‫‪Metellus:‬‬ ‫‪"O’let us have him, for his silver hairs‬‬
‫‪Will purchase, us a good opinion‬‬
‫"‪Any buy men’s voices to commend our deeds.‬‬
‫)‪(Julius Caesar), Act 2, Scene 1, Lines (144-146‬‬
‫‪TLTs:‬‬
‫‪ .1‬متاالس‪ :‬إذا نحن ضممناه إلينا اجتذب لنا بياض عذاره قلوب ًا كثيرة ورفع أصواتاً‬
‫تتمدح بأعمالنا‪)Hamdi( .‬‬
‫‪ .2‬متاالس‪ :‬أجل فلندخله في زمرتنا‪ ،‬فإن شعره الفضي يشتري لنا حسن األحدوثة في‬
‫الرأي العام ويبتاع لنا ألسنة الناس تشيد بفعلتنا‪)Fadhil( .‬‬
‫‪ .3‬متاالس‪ :‬لنضمه إلى جماعتنا‪ ،‬فال شك أن شعره األشيب سيضفي علينا سمعة‬
‫طيبة‪ ،‬ويكسب أصوات المباركين ألفعالنا‪)Amin( .‬‬
‫‪ .4‬متاالس‪ :‬ليتك تأتينا به‪ .‬إن وقاره – وقد اشتعل رأسه شيباً سيرفع لنا ذكرنا‪ ،‬بل إن‬
‫شعره‪ ،‬وقد أنقلب بيد الدهر فضية بيضاء خالصة ليشتري لنا طيب السيرة وتأييد‬
‫القوم أيانا وتصديقهم ما عملنا من عمل‪)Al’usaily( .‬‬
‫‪ .5‬متاالس‪ :‬البد من استمالته إلى جانبنا‪ .‬فهو رج ٌل عجوز‪ ،‬وشيخوخته وخبرته ستقلب‬
‫الرأي العام إلى صالحنا‪ ،‬والكثيرون من الرومان سيثنون على أعمالنا‪)Jamal(.‬‬
‫‪Interpretation:‬‬
‫‪Cassius and other conspirators who are planning to kill‬‬
‫‪Caesar consider whether or not Cicero shall be asked to join in their‬‬
‫‪plot. Metellus proposes that Cicero age and white hairs will be like‬‬
‫‪silver coins to buy them a good name as men of honour, and to win‬‬
‫‪over people to praise their actions.‬‬
‫‪20‬‬
Table of Analysis:
his silver Metellus: O’let us have him, for his silver hairs
hairs Will purchase, us a good opinion
Any buy men’s voices to commend our deeds.
Type of Compensation Conditions A
TLTs Typ. Corres. Topog. Nec. Rhet. Rel. pp.
‫بياض‬ Connotation
_
into Analogical parallel + __ +
‫عذاره‬ _
denotation
‫شعره‬ _
Keeping kind direct parallel + __ __
‫الفضي‬ _
‫شعره‬ Connotation
into Analogical parallel + + + +
‫األشيب‬
denotation
‫اشتعل‬ Non-
Rhetorical correspond
‫رأسه‬ parallel + + + +
Quranic style ence
‫شيبا‬ (splitting)
‫فهو‬
‫رج ٌل‬
Non-
،‫ عجوز‬Connotation correspond _
into parallel + __ +
‫وشيخو‬ denotation
ence _
(splitting)
‫خته‬
‫وخبرته‬
Discussion:
In terms of describing cases of compensation in this
example, it is noted that the translators have used different types of
compensation with different degrees of explication to highlight the
intended meaning of the SL. Only one translator (Fadhil) has kept
the type of linguistic device (metaphor) by using literal translation
and direct relation of correspondence is noted. Whereas, the rest
have used non corresponding lexical items mostly splitting them
into three or four. In terms of the location of compensation, all
translations have been parallel to the location of SL item.
In this example, there is a necessity to compensate for the loss
of meaning occurring because the literal translation of the English
phrase (his silver hairs) causes a loss of meaning which is the
reference to “age and experience”. To compensate for this loss, the
21
first translator has rendered the ST phrase (His silver hairs) into
(‫)بياض عذاره‬. In this rendition, the translator has changed the kind of
the linguistic device where the connotative meaning of the ST has
been replaced by a denotative one in the TT. The second one
(Fadhil) has rendered the same expression into (‫)شعره الفضي‬. This
rendition is not understandable since there is no real silver hair, and
in Arabic the reader will not deduce the intended meaning in the SL
despite the fact that silver here can be literary accepted with coins
but such a use would be too much explication. The third one (Amin)
has rendered (his silver hairs) into (‫)شعره األشيب‬, also a connotative
meaning has been replaced by a denotative one. However, the
aesthetic value impeded the indirect reference to age and experience
is still there and the Arabic reader has to deduce this indirect
reference.
The fourth one (Al’usaily) has also replaced the connotative
meaning of (His silver hairs) into a rhetorically Quranic style in
(ً‫)اشتعل رأسه شيبا‬. However, he has also made a case of redundancy
when he continued to describe (His silver hairs) into ( ‫ وقد‬،‫بل أن شعره‬
‫)أنقلب بيد الدهر فضة بيضاء خالصة‬. This rendition is not necessary since
the first one achieves the intention of the SL.
The fifth one (Jamal) has explicated (His silver hairs) into
(‫ )فهو رج ٌل عجوز وشيخوخته وخبرته‬a connotative meaning has been
replaced by a denotative one. This rendition sounds natural and
clarifies the intended meaning but at the expense of economy in
translation. Despite the fact that both of Amin’s and Al’usaily’s
renditions are the most appropriate in terms of compensating the
effect, the latter can be viewed as being the best in its rhetorical
strength of the Quranic style. Other renditions have their
shortcomings in terms of redundancy and intentionality of the
writer.
22
Text (4):
Casca: "And yesterday the bird of night did sit
Even at noon day, upon the market place
Hooting and shrieking."
(Julius Caesar), Act 1, Scene 3, Lines (25-26)
TLTs:
.‫ والبارحة كان البوم ينعق بصوته المشئوم فوق األسواق في رابعة النهار‬:‫ كاسكا‬.1
)Hamdi(
‫ وباألمس كان طائر الليل قد حطَّ في رائعة النهار على باحة السوق وهو‬:‫ كاسكا‬.2
)Fadhil( .‫ينعق ويولول‬
،ً‫أبصرت في ساحة السوق ظهر أمس بومة من البوم التي ال تنشط إال ليال‬
ُ ‫ و‬:‫ كاسكا‬.3
)Amin( .‫وهي تصيح وتصرخ‬
‫ وأمس جثمت بنت الليل عند الهاجرة – أجل عند الهاجرة – على ساحة‬:‫ كاسكا‬.4
)Al’usaily( .‫السوق تنعق وتعول‬
)Jamal( .‫ والبارحة شوهد البوم ينعب ويجلس فوق البيوت في ضوء النهار‬:‫ كاسكا‬.5
Interpretation:
Casca describes one of the extraordinary and horrible signs
that he feels signs of some great evil which is coming upon Italy.
One of them is that seeing the nocturnal bird (owl) at midday while
it is hooting.
23
Table of Analysis:
the bird Casca: And yesterday the bird of night did sit
of night Even at noon day, upon the market place
Hooting and shrieking
App.
‫البوم‬ Changing Non-
into direct corresponding parallel __ __ + __
(explication) (merging)
‫طائر الليل‬ Keeping
Direct parallel + + + +
kind
‫من‬ ‫بومة‬
‫التي‬ ‫البوم‬ Changing Non-
‫ال تنشط إال‬ (explication (splitting)
‫ليال‬
‫بنت الليل‬ Keeping
Analogical parallel + + + +
kind
‫البوم‬ Changing Non-
(explication (merging)
Discussion:
Another case in which compensation is not necessary
because the original reference to the owl as a bird of night is
intended to be indirect to enhance the aesthetic value of the text
especially that other reference has been used to the noon day as a
comparison; therefore changing what is indirect to a direct reference
here is inappropriate as noted in the translation of (1 and 5 using
‫البوم‬, and 3 who used (،ً‫)بومة من البوم التي ال تنشط إال ليال‬. They have used
explication by directly referring to the bird of night as owl )‫ (بوم‬and
more redundantly by Amin who usedً‫بومة من البوم التي ال تنشط إال ليال‬.
These renditions are not appropriate here since the writer has
deliberately mentioned the (bird of night) laying emphasis on the
night to refer to the appearance of this bird at noon. Referring to
extraordinary forecasts of some evil coming in future. Despite the
fact that these renditions have given the intended propositional
content of the message, they are not the best appropriate ones
because the deviation in the SL is lost. As for translator (2 and 4),
their renditions are more appropriate because they have kept the
24
same indirectness of the text and by doing so they have produced a
target text of similar rhetorical strength as well as producing the
same intention of the SL writer. The second translator (Fadhil) has
rendered the above text into (‫)طائر الليل‬. This rendition is suitable
according to the above interpretation. The fourth translator made a
note in his translation that Arabs used to call the owl as ‫بنت الليل‬
hence, his rendition can be considered the most appropriate one.
Descriptively, the first and the fifth renditions are non
corresponding (merging) cases whereas the third one is a case of
splitting. The rendition produced by translator (2) is a direct one in
terms of degree of correspondence whereas the rendition of
translator (4) is analogical through changing (bird) into ‫بنت‬.
He has used compensation by splitting when he has rendered
(the bird of night) into (ً‫)بومة من البوم التي ال تنشط إال ليال‬. This rendition
is not inevitable here since it is not necessary to expand the
translation since the literal translation fulfills the required purpose.
In sum, the use of compensation here is not inevitable because the
literal translation would produce the desired effect and achieve the
ultimate goal.
Text (5):
Marullus: "Have you not made an universal shout,
That Tiber trembled underneath her banks
To hear the replication of your sounds
Made in her concave shores?"
(Julius Caesar), Act 1, Scene 1, Lines (44-46)
TLTs:
.‫ راع تايبر فكان ينتفض وهو يسمع صدى أصواتكم يتردد في ثنايا ساحله‬:‫ مارلوس‬.1
)Hamdi(
‫ يرتجف لها التيبر تحت ضفتيه حيث يسمع رجع أصواتكم يتجاوب في‬:‫ مارلوس‬.2
)Fadhil( .‫فجوات شطآنه‬
)Amin( .‫ فيرتعد لها نهر التايبر بين شطآنه المتعرجة‬:‫ مارلوس‬.3
‫ رجف من وقع صداها ماء التيبر بين ضفتيه إذ يرتد في الساحل الذي‬:‫ مارلوس‬.4
)Al’usaily( .‫تدلى صخره‬
)Jamal( .‫ انتفض نهر تيبر بين ضفتيه من صدى أصواتكم‬:‫ مارلوس‬.5
25
Interpretation:
Tiber is a river in Rome, the author here means that the gaps
among Tiber shores were stirred with fear as she(the river) heard
the echo of the shouts of the people of Rome in her curving banks.
Archaically, she referred to natural objects considered to be
feminine such as a river. This use is rare now. The author here uses
Personification – the attributing of human-like characteristics to an
inanimate object. It implies that the bank was frightened by all the
shouting when the people of Rome cheered for Pompey before. The
author in fact has used feminine possessive pronoun with the river
for literary necessity.
Table of Analysis:
Tiber trembled Marullus: Have you not made a universal shout,
underneath her That Tiber trembled underneath her banks
banks To hear the replication of your sounds
Made in her concave shores?
App.
‫تايبر فكان ينتفض‬
‫صدى‬ ‫يسمع‬ ‫وهو‬ Non- _ _ _
Changing kind Parallel +
‫في‬ ‫يتردد‬ ‫أصواتكم‬ corresponding _ _ _
.‫ثنايا ساحله‬
‫التيبر‬ ‫لها‬ ‫يرتجف‬
‫حيث‬ ‫ضفتيه‬ ‫تحت‬
Non- _ _
‫ يسمع رجع أصواتكم‬Changing kind Parallel + +
corresponding _ _
‫يتجاوب في فجوات‬
.‫شطآنه‬
‫فيرتعد لها نهر التايبر‬ Non-
Changing kind corresponding Parallel + + + +
.‫بين شطآنه المتعرجة‬
(merging)
‫رجف من وقع صداها‬
‫ماء التيبر بين ضفتيه‬ Non-
_ _
Changing kind corresponding Parallel + +
‫إذ يرتد في الساحل الذي‬ _ _
(splitting)
.‫تدلى صخره‬
‫انتفض نهر تيبر بين‬ Non- _ _ _
Changing kind Parallel +
‫صدى‬ ‫من‬ ‫ضفتيه‬ corresponding _ _ _
26
.‫أصواتكم‬ (merging)
Discussion:
In this text, the first translator (Hamdi) has rendered the
English text (That Tiber trembled underneath her banks to hear the
replication of your sounds made in concave shores) into ( ‫راع تايبر‬
‫)فكان ينتفض وهو يسمع صدى أصواتكم يتردد في ثنايا ساحله‬. As previously
stated, the translator has changed the English possessive pronoun
(her) into (‫ هو‬،‫ )الهاء‬in the TT. Considering that, there is a difference
of gender between Arabic and English systems. The translator has
solved such a problem by using compensation. As for the second
translator (Fadhil) he has done the same by using compensation in
changing kind when he has rendered the same lines into:
).‫(يرتجف لها التيبر تحت ضفتيه حيث يسمع رجع أصواتكم يتجاوب في فجوات شطآنه‬
These two renditions have achieved the intended meaning of the
author since, literal translation would have been awkward and
confusing for Arabic readers thereby making compensation here
inevitable. Whereas, in the third rendition by (Amin), the translator
has economized his translation into ( ‫فيرتعد لها نهر التايبر بين شطآنه‬
‫ )المتعرجة‬by using compensation by merging. Here, there is a loss in
meaning where he has neglected some ideas of this text like (to hear
the replication of your sounds) and (underneath her banks). Here,
compensation is not inevitable. The
fourth translator (Al’usaily) and the fifth one (Jamal) have used
different lexical items with the perfect tense to render the above text
into (‫)رجف من وقع صداها ماء التيبر بين ضفتيه إذ يرتد في الساحل الذي تدلى صخره‬
and (‫)انتفض نهر تيبر بين ضفتيه من صدى أصواتكم‬. The last one is more
economic at the expense of losing part of the meaning by neglecting
the lexical items (Made in her concave shores). He has also used
compensation in kind and compensation by merging yet the last one
is not inevitable since literal translation may be acceptable. The
most appropriate rendition is that of translator (3) because it
satisfies the three conditions of necessity of compensation and
rhetorical strength by using economic translation and relevance by
reproducing the same intention of the original writer.
12. Findings
1. From the foregoing discussion and analysis of the text, the
present paper has come up with the following findings:
27
Compensation is widely used in literary translation in which loss

of meaning is considerable. Translators tend to use
compensation by splitting the SL item into more TL items or by
merging as shown in tables. This can be attributed to the fact
that there is no one to one correspondence between English and
Arabic. Some cases of compensation will be at the expense of
the principle of economy and sometimes produces redundancy .
Other cases of compensation lead to a greater loss of the
aesthetic value of the text . The selection of the type of
compensation depends on the ideology of the translator. For
example, Al’usaily tends to use Quranic rhetorical style to
compensate for some lexical items in a way that reflects his
ideology. Whereas Jamal tends to explicate the text at the
expense of its aesthetic value.
13. Conclusions
1. On the basis of the findings of the data, the current study has
come up with the following conclusions: In the translation of
literary works the loss of meaning is considerable because of the
expressive nature of such texts. In order to compensate for the
lost effect, translators justifiably use compensation as a strategy
of translation especially when it is inevitable. The translator
must be careful when he deals with compensation. He has to
know first what kind of linguistic devices are compensatory,
second how one can locate an instance of compensation in
relation to a corresponding loss and finally what counts as an
equivalent effect. Compensation is successful only when it
meets three conditions: first, the condition of necessity,
condition of having the same rhetorical strength and the
condition of relevance.
Sometimes, compensation of one aspect of a literary text is done
at the expense of another aspect as is the case of changing some
indirect language into direct one in a way that weakens the
aesthetic value of the text. Owing to the fact that there is no one
to one correspondence between English and Arabic for most
lexical items, translators tend to use compensation by merging
28
or by splitting. Harvey’s descriptive model (1995) is applicable
for the analysis of compensation in translating literary texts. Not
all cases of compensation are successful.
The main idea of compensation is to compensate for a loss of
meaning but when the result is a greater loss, compensation will
be considered inappropriate. The kind of compensation depends
on many factors including educational background of the
translator and the intended readership of the text.
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2, 1996: Wordplay and Translation: Essays on
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31
‫‪Compensation in the Translation of English Literary Texts into Arabic‬‬
‫‪Assist. Prof. Dr. Luqman A. Nasser Zahraa R. Agha‬‬
‫التعويض في ترجمة النصوص االدبية االنكليزية الى العربية‬
‫أ‪.‬م‪.‬د‪.‬لقمان عبدالكريم ناصر و زهراء ربيع أغا‬
‫يدرس هذا البحث استراتيجية التعويض في ترجمة النصوص االدبية‬

‫االنكليزية الى العربية ‪ .‬ويقدم خلفية نظرية عن هذا الموضوع بضمنها انواع وشروط‬
‫التعويض الناجح‪.‬ويهدف البحث الى وضع الية لتقييم استراتيجية التعويض ودراسة‬
‫انواعه وشروطه‪ .‬ويفترض البحث ان التعويض مطلوب فقط عندما يكون حتميا وانه‬
‫يجب ان ينتج نفس القوة البالغية للنص االصلي ونفس مقصد الكاتب االصلي للنص ‪.‬‬
‫وان عدم تحقيق ذلك يؤدي الى استخدام غير مالئم للتعويض و يقترح البحث تعديال‬
‫هارفي و هيكنس للتعويض(‪ )1992‬وكذلك نموذج هارفي (‪)1995‬‬ ‫على نموذج‬
‫ويخلص البحث الى عدد من االستنتاجات اهمها ان التعويض يكون ناجحا فقط عندما‬
‫ونفس مقصد الكاتب‬ ‫يحقق ثالثة شروط ‪ :‬الضرورة وانتاج نفس القوة البالغية‬
‫االصلي للنص‪.‬‬
‫‪32‬‬
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Compensation in the Translation of English Literary Texts into Arabic

Research · April 2018

the use of componential analysis in translation assessment View project

The user has requested enhancement of the downloaded file.

of translation as cases of compensation according to the proposed

usually an expansion of the contents of the ST. It is a sort of

that are specific to the source text are potential cases of

7.1 Compensation in Kind

Brynat (2009: 1) defines this as the practise of considering a

metaphors to translate it literally would entail awkward translation.

such as indicating condemnation, appraisal, or any other intentions,

replaced by a non punning TL item which is, in terms of the degree

‫وقفة تمثال‬ Simile

Compensation is widely used in literary translation in which loss

Education, Vol.32, No.1, 2001, 2001 Human

--------------------- (2002): Thinking French Translation: A Course in

‫التعويض في ترجمة النصوص االدبية االنكليزية الى العربية‬

‫أ‪.‬م‪.‬د‪.‬لقمان عبدالكريم ناصر و زهراء ربيع أغا‬

‫يدرس هذا البحث استراتيجية التعويض في ترجمة النصوص االدبية‬

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