A. J. Arberry (1905–1969)

Sir Muhammad Iqbal (1873-1938) no solo se encontraba entre las principales figuras polí­ticas de su tiempo, sino que muchos lo consideraban el padre espiritual de Pakistán y un gran defensor del movimiento de reforma del Islam moderno. También fue poeta, tanto en urdu como en persa.
El tema recurrente de sus poemas es la potencialidad infinita del hombre, como socio de Dios en la configuración del destino del universo. Como musulmán ardiente, Iqbal vio la realización del futuro de la humanidad en una unión de pueblos islámicos, sin restricciones por los lazos de una nación separada, completamente liberada de las cadenas de la dominación imperial.
Javid-nama, comúnmente reconocido como su mayor trabajo, desarrolla este tema dentro del marco de la historia de la Ascensión. En imitación del Profeta del Islam, el poeta se eleva a través de las esferas, encontrando en su viaje celestial muchas grandes figuras de la historia con quienes conversa. El parecido con la Divina Comedia de Dante es obvio. -
Sir Muhammad Iqbal (1873-1938) was not only amongst the leading political figures of his time, but regarded by many as the spiritual father of Pakistan and a great champion of the reform movement of modern Islam. He was also a poet, in both Urdu and Persian.
The recurrent theme of his poems is the infinite potentiality of man, as partner with God in shaping the destiny of the universe. As an ardent Muslim, Iqbal saw the realization of mankind s future in a union of Islamic peoples, unfettered by the bonds of separate nationhood, fully liberated from the chains of imperial domination.
The Javid-nama, commonly acknowledged as his greatest work, develops this theme within the frame-work of the Ascension story. In imitation of the Prophet of Islam, the poet soars through the spheres, encountering on his heavenly journey many great figures of history with whom he converses. The resemblance to Dante s Divine Comedy is obvious.… (mais)

I don't care for this translation (by A.J. Arberry) at all. In the introduction, the translator, an Englishman, rhapsodizes about how he was inspired to undertake this work by his enjoyment of the beauty of recited Arabic, yet his translation is terribly awkward English. Apparently Mr. Arberry thought he was being lyrical, but all he manages is to be obscure. The translations by Yusufali, M. Pickthall, Ahmed Ali, N.J. Dawood, and Kenneth Cragg are better than this one. However, I have noticed that Arberry is frequently quoted, so my reaction to this work may not be typical.… (mais)