Translation is considered a second-class work here, so translated works are not given much importance. But the International Booker Prize for ‘Sand Tomb’ has underlined that the translation is also equivalent to the original. However, some people are bent on proving the translation as a small work again on the pretext of this award. This debate is old as to who is the best – the original work or the translation. Taking the same debate forward, Harish Kumar Sethi is discussing the controversy surrounding the International Booker Prize and the importance of translation.
Recently, Gitanjali Shree, a well-known story writer of Hindi literature, was awarded the International Booker Prize for her novel ‘Ret Samadhi’. It has been translated into English under the name ‘Tomb of Sand’ by Daisy Rockwell, who is teaching in America. A similar award is given by the Sahitya Akademi on the translation of literature written in Indian languages here, so that mutual exchange is encouraged among them. The basic objective of the Booker Prize is to bring the outstanding creativity of languages other than English to the English-speaking society through the medium of English. This is good news also because Geetanjali Shree is the first Hindi writer to win this award.
While there is an atmosphere of enthusiasm and happiness about this in the Indian literary world, there is a debate going on. Some say that Gitanjali Shree did not receive an award for its Hindi novel, but was awarded for its English translation. From a technical point of view, it may seem correct, but by saying this the original composition, its language and artistic features cannot be neglected. If the English translation itself is to be considered as the basis for winning the Booker Prize, then we have to admit that Rabindranath Tagore’s Bengali ‘Gitanjali’ also did not receive the ‘Nobel Prize for Literature’, because of its ‘Song of Rings’ name. Found on English translation done from.
After the announcement of the Booker Prize, it should have happened that the Indian literary world would have praised it with an open mind, and not being suffocated by the feeling of self-worth, questioning the prize, accepting the translation work as less than the original creation. Translator Daisy Rockwell has made the world aware of the originality of Indian thought, by making the world aware of the literary consciousness, heart and goal of the original work, through the lifeliness woven into the fabric of Indian feelings. This effort of his should be accepted as a meaningful and commendable effort to present, promote and disseminate excellent literature written in any language to other languages through a powerful medium like translation.
parallel creation is translation
In the present context, here the relationship between original creation-action and creative translation-work needs to be investigated. On the basis of emotion, feeling and imagination, writing a story, poem, drama etc. in any one language is a creative activity. The ‘creative writer’ does the work of embodying it. By balancing the word and meaning, the author expresses the feeling with his creative work, which is ‘all people’s interest’, with the spirit of public interest. The experience that the creator receives from the world, through his language or tact, and by covering it in the veil of imagination, gives him a creative existence. By taking this presentation in another language with the purpose of public interest, the translator expands the meaningful work of the author. In the light of spreading the spirit of public interest, both of them are seen standing on the same ground. We need to seriously examine the interrelationship and significance between the original work and its translation work on its basis.
Writers and translators both imitate – author nature; And depending on the original text and subject matter of the feelings of the translator writer. To create a text in another language with a cover of imagination and in the form of story-novel, poetry etc. ranks it. In this, the translator parallelizes the expression of the original feelings, thoughts and thoughts of the creator in another language, prepares its text.
But it is not an easy task. Because, any litterateur is completely free to present his occult feelings – thoughts and feelings in any way – as he pleases and write or compose whatever he wants. But, he creates a new world of creation in the other language by doing a creative act like transferring it to another language with his creative skill within the lakshman-rekha of the original message (Kathya) to the creator or re-creator. He has to recreate the creative power and beauty of the original work in another language in the light of its metaphorical and stylistic features.
This is such a creative business, in which creative talent is always expected. The writer creates original creation on the strength of his creative talent, but the translator creates parallel creation depending on the work and the subject matter. The translator recreates the original feeling, establishing coordination-identity with the world. In this karma, the original creation is not only transformed, but it is also renewed. The English translation of Omar Khayyam’s Rubai by Fitzgerald and the Hindi translation by Harivansh Rai Bachchan based on it, in a way, appears to be a proof of ‘anusrjan’. Therefore, for this important work, there is an inevitable requirement of creativity and sensitivity in the translator. Therefore, the work of translator requires a double genius personality. The translator who succeeds in fulfilling this responsibility is no less respected than the original creator.
The English translation of ‘Sand Tomb’ by Daisy Rockwell is also equivalent to the original creation. That’s why, impressed by the English translation expressing the same sentiments as the original, the judges of the International Booker Prize awarding organization said that ‘Tomb of Sand is the story of North India, which is based on the life of an eighty-year-old woman. As well as being original, it is a commentary on the disastrous impact of boundaries of religion, countries and genders. It is on the basis of the translated text that he is most impressed by the fact that instead of narrating a tragedy in a serious way, the novel is presented in a tone in which everything is new and completely original. ll