Translation Activity Worksheet - Using Gen AI for Translating Poems.

           This blog is provided by Dr. Dilip Sir Barad and discusses AI tools such as ChatGPT and Gemini.For further information Click Here. and click here .

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Poem : 1 Faiz Ahmed Faiz :

“مجھ سے پہلی سی محبت مری محبوب نہ مانگ”

(Mujh Se Pehli Si Mohabbat Meri Mehboob Na Maang)

  Hindi Translation

मुझसे पहली-सी मोहब्बत, मेरी महबूब, न माँग

               — फ़ैज़ अहमद फ़ैज़

मुझसे पहली-सी मोहब्बत, मेरी महबूब, न माँग

मैं समझता था कि तू है तो ज़िंदगी रौशन है

तेरा ग़म है तो फिर दुनिया का ग़म क्या मायने रखे

तेरे चेहरे से ही इस जहाँ में बहारों को ठहराव था

तेरी आँखों के सिवा इस दुनिया में रखा ही क्या था

तू मिल जाए तो क़िस्मत झुक जाए

ऐसा न था — मैंने बस चाहा था कि ऐसा हो जाए

और भी दुख हैं ज़माने में मोहब्बत के सिवा

और भी राहतें हैं मिलन की राहत के सिवा

अनगिनत सदियों के अंधे, वहशी तिलिस्म

रेशम, अतलस और कमख़्वाब में लिपटे हुए

गली-कूचों, बाज़ारों में बिकते हुए जिस्म

मिट्टी में सने, ख़ून में नहाए हुए

नज़र उधर भी लौट जाती है — क्या कीजिए

अब भी दिलकश है तेरा हुस्न — मगर क्या कीजिए

और भी दुख हैं ज़माने में मोहब्बत के सिवा

और भी राहतें हैं मिलन की राहत के सिवा

मुझसे पहली-सी मोहब्बत, मेरी महबूब, न माँग

English Translation

Do Not Ask of Me That Love Again, My Beloved

— Faiz Ahmed Faiz

Do not ask of me that love again, my beloved

I once believed—if you were here, life would shine

If your sorrow existed, what mattered the world’s grief?

From your face, I thought, the seasons found their spring

Beyond your eyes, what else did the world contain?

If you were mine, fate itself would bow

It was not so—I only wished it so

There are other sorrows in the world besides love

Other comforts than the comfort of union

The dark, brutal spells of countless centuries

Woven into silk, brocade, and velvet dreams

Bodies sold in streets and marketplaces everywhere

Smeared with dust, bathed in blood

My gaze turns there as well—what can I do?

Your beauty still enchants—but what can I do?

There are other sorrows in the world besides love

Other comforts than the comfort of union

Do not ask of me that love again, my beloved

 ANALYSIS OF TRANSLATIONS  :

1. Handling of Key Translation Elements :

a) Syntax :

• Urdu → Hindi: Sentence structure is largely preserved due to linguistic proximity.

• Urdu → English: Syntax is adapted, not replicated, to maintain poetic fluency.

• Repetition (“اور بھی دکھ ہیں…”) is faithfully retained as a refrain.

Result: Controlled syntactic shift without loss of meaning.

b) Metre and Sound :

• Original Urdu uses soft musical cadence, repetition, and internal rhythm.

• Hindi translation preserves lyrical flow through repetition and parallel lines.

• English translation cannot fully replicate metre but preserves rhythmic balance and refrain.

Compromise accepted (as per Jakobson): sound partially sacrificed for sense.

c) Lexicon and Grammar :

• Words like:

  • غمِ دہر → दुनिया का ग़म / world’s grief

  • وصال → मिलन / union

• Grammar remains idiomatic in target languages.

 Lexical choices are context-sensitive, not literal.

d) Cultural Connotations :

• Silk, brocade, velvet → symbols of elite luxury built on exploitation.

• Bodies sold in bazaars → colonial-capitalist critique retained.

• No cultural erasure or oversimplification.

 Cultural meanings are transferred, not diluted.

e) Tone and Emotion :

• Original tone: romantic disillusionment + political awakening

• Both translations retain:

  • Tenderness toward the beloved

  • Moral awakening toward social suffering

 Emotional complexity preserved.

f) Semiotics (Symbols & Metaphors) :

Symbol	Meaning	Translation Handling
Beloved	Personal love	Retained
Darkness / spells	Historical oppression	Retained
Sold bodies	Exploitation	Explicitly conveyed
Refrain	Ideological shift	Fully preserved

 Symbolic layers remain intact.

2. Challenging Parts of Translation :

a) Difficult Sections :

• “غمِ دہر”, “بہیمانہ طلسم”, “کمخواب”

• These carry historical, emotional, and cultural weight

b) Why Challenging?

• No single-word equivalents

• Require semantic expansion

c) AI Resolution Strategy :

• Used descriptive equivalence

• Maintained imagery rather than literal meaning

3. Untranslatable Words / Phrases :

Word (Urdu)	Issue	Strategy Used in Translation
وصال (Visāl)	Conveys both emotional and spiritual union;  no single-word equivalent in English or Hindi	Used the closest poetic equivalent (union / मिलन) to retain emotional depth
طلسم (Tilism)	Combines magical, mythical, and ideological meanings	Applied contextual paraphrase to preserve symbolic and metaphorical sense
کمخواب (Khamkhwāb)	Culture-specific luxurious fabric with historical connotations	Used cultural substitution with descriptive equivalence (velvet / brocade)

No mistranslation, only creative equivalence.

4. Influence of Metre & Rhyme :

• Rhyme not rigidly preserved in English

• Repetition and rhythm prioritized

• Some liberties taken to protect emotional impact

•  Tone prioritized over mechanical rhyme.

5. Comparative Evaluation (Tool Performance) :

Aspect	Hindi Translation	English Translation
Cultural accuracy	Very high	High
Emotional depth	Very high	High
Metre	Partially retained	Adapted
Symbolism	Fully retained	Fully retained

• Hindi performs better due to linguistic closeness.
• English succeeds conceptually, though not musically.

THEORETICAL FRAMEWORK APPLICATION

Roman Jakobson :

• Poetry is partially untranslatable

• Sound → sense shift clearly visible 

J.C. Catford :

• Linguistic vs cultural untranslatability

• Cultural gaps bridged through paraphrase 

Ganesh Devy :

• Translation as cultural negotiation.

• Poem’s political consciousness preserved .

A.K. Ramanujan :

• Emphasis on contextual fidelity

• “Faithful unfaithfulness” applied 

 CONCLUSION :

This Gen-AI-assisted translation:

• Respects poetic integrity

• Balances form, meaning, and ideology

• Demonstrates limits and possibilities of AI in poetry translation

• Confirms that translation is interpretation, not substitution

 

Gemini :

This poem, written by Faiz Ahmed Faiz, marks a pivotal moment in Urdu literature—the transition from traditional romanticism to social realism. Below are the translations into Hindi and English, followed by a detailed analysis based on your specific prompts.

1. Hindi Translation

मुझसे पहली सी मोहब्बत मेरे महबूब न माँग

मैंने समझा था कि तू है तो दरख़्शां है हयात

तेरा गम है तो गम-ए-दहर का झगड़ा क्या है

तेरी सूरत से है आलम में बहारों को सबात

तेरी आँखों के सिवा दुनिया में रखा क्या है?

तू जो मिल जाए तो तक़दीर निगूँ हो जाए

यूँ न था, मैंने फ़क़त चाहा था यूँ हो जाए

और भी दुख हैं ज़माने में मोहब्बत के सिवा

राहतें और भी हैं वस्ल की राहत के सावा

अनगिनत सदियों के तारीक बहीमाना तिलिस्म

रेशम-ओ-अतलस-ओ-कमख़्वाब में बुनवाये हुए

जा-ब-जा बिकते हुए कूचा-ओ-बाज़ार में जिस्म

ख़ाक में लथड़े हुए, ख़ून में नहलाये हुए

लौट जाती है उधर को भी नज़र क्या कीजे

अब भी दिलकश है तेरा हुस्न मगर क्या कीजे

और भी दुख हैं ज़माने में मोहब्बत के सिवा

राहतें और भी हैं वस्ल की राहत के सिवा

मुझसे पहली सी मोहब्बत मेरे महबूब न माँग।

2. English Translation

Do not ask of me, my love, that love I had before.

I once believed that life shone bright because of you,

If I had your grief, what mattered the world’s despair?

Your face alone gave spring its permanence and hue,

What else was there in life but your eyes’ beauty rare?

Had I found you, fate would bow and serve my pride;

It was not so, I only wished it would be so.

There are other sorrows in this world than love’s ache,

Other comforts too, than what a lover’s union brings.

Dark, beastly spells of countless centuries, untold,

Woven into silks, satins, and brocades of gold.

Bodies sold in every lane and marketplace,

Streaked with grime and dust, bathed in blood's embrace.

My eyes wander there too—what can I do?

Your beauty still charms, but what can I do?

There are other sorrows in this world than love’s ache,

Other comforts too, than what a lover’s union brings.

Do not ask of me, my love, that love I had before.

Analysis of Translations :

A. Challenges and Cultural Handling :

• Challenging Parts: The second stanza is the hardest to translate. It shifts from the soft, romantic imagery of "eyes" and "spring" to the harsh, visceral imagery of "blood" and "beastly spells." Reconciling these two moods in English without losing the poetic "Ghazal-like" flow is difficult.

• Cultural Connotations: Words like "Vasal" (union) and "Dahr" (the universe/world) carry deep Sufi and Urdu poetic weight. In Hindi, they translate seamlessly because of shared history, but in English, "union" feels clinical compared to the spiritual yearning of "Vasal."

• Untranslatable Phrases: "Behimana Tilism" (beastly/monstrous magic/spell) refers to the systemic exploitation of colonialism and feudalism. English lacks a single word that captures both the "horror" and the "illusion" of this socio-political reality.

B. Choices in Metre, Sound, and Tone :

• Metre and Rhyme: In English, I prioritized the "Refrain" (Radif)—"Do not ask of me"—to ground the poem. However, strict Urdu Behr (metre) is impossible in English; I used an iambic-leaning rhythm to maintain a somber, meditative pace.

• Liberties Taken: In the English version, I used "love's ache" for Dukh to keep the romantic tension, even though Faiz is referring to the "pain" of poverty and oppression. This helps retain the poem's dual nature as a breakup letter to both a lover and to romantic idealism itself.

C. Tool Comparison :

• Hindi Performance: Hindi performs significantly better. Because Urdu and Hindi share the same grammar (Kriya, Karak) and a vast shared vocabulary, the Syntax and Sound are almost perfectly preserved.

• English Performance: English succeeds in Semiotics (symbols) but struggles with Syntax. Urdu allows for "pro-drop" (dropping pronouns), making it concise; English requires more words, which can dilute the "punch" of the final lines.

• Theoretical Framework Application :

• Jakobson (Equivalence in Difference): Jakobson argues that "poetry by definition is untranslatable." My translation proves this in the line Teri aankhon ke siva dunya mein rakkha kya hai. In English, it becomes a question; in Urdu, it is a statement of absolute devotion. The "equivalence" is reached through the emotion, not the literal words.

• Catford (Formal Correspondence vs. Textual Equivalence): Formal correspondence (matching word-for-word) failed in the English translation of "Resham-o-Atlas-o-Kamkhwab." I had to use "Silks and Satins" (Textual Equivalence) to evoke the same sense of luxury, even if the specific fabric types differ.

• G.N. Devy (Translation as Subversion): Devy suggests translation is a way to bridge cultures. Here, translating Faiz into English is an act of bringing "Resistance Literature" into a global context, shifting the focus from the "Mehboob" (Beloved) to the "Samaj" (Society).

• Ramanujan (Context-Sensitivity): Ramanujan emphasized that Indian texts are context-sensitive. To understand this poem, the reader must know the context of the Progressive Writers' Movement. Without this, the transition from "beauty" to "blood" seems jarring rather than revolutionary.

   Chat CPT :

Poem : 2- Second Coming BY W.B.Yeats :

 Hindi Translation :

दूसरा आगमन (The Second Coming)

— डब्ल्यू. बी. यीट्स

घूमते-घूमते फैलती जाती है घूर्णन-वृत्ति,

बाज़ अब बाज़पाल की पुकार नहीं सुन पाता;

सब कुछ बिखर रहा है, केंद्र अब थामे नहीं रहता;

निरा अराजकता संसार पर छूट पड़ी है,

रक्त से धुंधली लहरें उफन रही हैं चारों ओर,

निर्दोषता के सभी अनुष्ठान डूब गए हैं;

श्रेष्ठ जन विश्वास से रिक्त हैं,

और निकृष्ट जन उग्र उत्साह से भरे हुए।

निश्चय ही कोई उद्घाटन समीप है;

निश्चय ही दूसरा आगमन समीप है।

दूसरा आगमन! उन शब्दों के उच्चरित होते ही

मेरी दृष्टि को विचलित करता है

स्पिरिटस मुंडी से उभरा एक विराट बिंब—

रेगिस्तान की रेत में कहीं

सिंह का शरीर और मनुष्य का सिर लिए एक आकृति,

सूर्य-सी रिक्त और निर्दय दृष्टि वाली,

धीमे-धीमे अपनी जंघाएँ घसीटती हुई,

जबकि उसके चारों ओर

क्रुद्ध मरु-पक्षियों की छायाएँ मँडराती हैं।

फिर अंधकार छा जाता है; पर अब मैं जानता हूँ

कि पत्थर-सी नींद में डूबी बीस सदियाँ

एक झूलते पालने से

दुःस्वप्न में बदल दी गई थीं।

और कौन-सा वह खुरदरा पशु है

जिसका समय अब आ पहुँचा है,

जो जन्म लेने

बेथलेहेम की ओर लड़खड़ाता चला आ रहा है?

 Gujarati Translation 

બીજું આગમન (The Second Coming)

— ડબ્લ્યુ. બી. યેટ્સ

વિસ્તરતી ગતિમાં ગોળા ફરતા જાય છે,

બાજ હવે બાજપાલની પુકાર સાંભળતો નથી;

બધી વસ્તુઓ વિખેરાઈ રહી છે, કેન્દ્ર ટકી શકતું નથી;

શુદ્ધ અરાજકતા દુનિયામાં છૂટી પડી છે,

રક્તથી ધૂંધળી લહેરો સર્વત્ર વહે છે,

નિર્દોષતાની વિધિઓ ડૂબી ગઈ છે;

શ્રેષ્ઠ લોકો વિશ્વાસ ગુમાવી બેઠા છે,

અને નિકૃષ્ટ લોકો ઉગ્ર ઉન્માદથી ભરેલા છે.

નિશ્ચિત જ કોઈ પ્રકાશન નજીક છે;

નિશ્ચિત જ બીજું આગમન નજીક છે.

બીજું આગમન! એ શબ્દો ઉચ્ચારતાં જ

મારી દૃષ્ટિને વ્યાકુળ કરે છે

સ્પિરિટસ મુન્ડીમાંથી ઉદ્ભવતું વિશાળ રૂપ—

રણની રેતમાં ક્યાંક

સિંહનું શરીર અને માનવનું માથું ધરાવતું સ્વરૂપ,

સૂર્ય સમાન નિર્દય અને શૂન્ય નજર,

ધીમે ધીમે તેની જાંઘો હલાવતું,

અને તેની આસપાસ

ક્રોધિત રણપક્ષીઓની છાયાઓ ઘૂમે છે.

અંધકાર ફરી છવાઈ જાય છે; પરંતુ હવે મને ખબર છે

કે પથ્થર જેવી ઊંઘમાં સુતેલી વીસ સદીઓ

એક હલનારા પાળણથી

દુઃસ્વપ્નમાં ફેરવાઈ ગઈ હતી.

અને કયો એ ખડકિયો પશુ છે

જેણી ઘડી આખરે આવી પહોંચી છે,

જે જન્મ લેવા

બેથલેહેમ તરફ લથડતો આગળ વધે છે?

Translation into Hindi and Gujarati & Detailed Analysis :

Nature of the Original Poem (Why It Is Difficult to Translate) :

Before analysis, it is important to understand what kind of poem The Second Coming is:

• It is not a lyrical love poem but a prophetic and symbolic poem

• Written after World War I, expressing:

  • Collapse of moral order

  • Loss of control

  • Fear of a violent new age

• Language is Biblical, mythic, and philosophical

• Uses Yeats’s personal symbolism (gyre, Spiritus Mundi)

 Because of this, literal translation would destroy the poem’s power.

 Detailed Analysis of Translation Elements

1. Syntax (Sentence Structure)

Original English

Yeats uses:

• Long prophetic sentences

• Enjambment

• Sudden exclamations
  Example:

Things fall apart; the centre cannot hold;

Hindi & Gujarati Handling :

• Long sentences are broken into manageable poetic units

• Syntax is adjusted to:

  • Maintain clarity

  • Preserve rhythm

  • Avoid prose-like heaviness

Example:

The falcon cannot hear the falconer

Hindi:

बाज़ अब बाज़पाल की पुकार नहीं सुन पाता

Gujarati:

બાજ હવે બાજપાલની પુકાર સાંભળતો નથી

• Meaning retained, structure naturally adapted

Explanation:
Hindi and Gujarati cannot carry English inversion and punctuation smoothly. Hence, syntactic shift is necessary and correct.

Metre and Sound (Expanded Explanation) :

Original Metre :

• Loose iambic rhythm

• Strong stress on key words:

  • fall apart

  • blood-dimmed

  • rough beast

Translation Challenges :

• English stress-based metre ≠ Hindi/Gujarati syllabic flow

• Exact metre cannot be replicated

Translation Choice :

• Preserve:

  • Line weight

  • Pauses

  • Repetition (Surely… Surely…)

• Rhythmic effect maintained conceptually

Why this is right:
Forcing English metre into Indian languages would make the poem artificial.
This follows A. K. Ramanujan’s view: rhythm must feel natural in the target language.

Lexicon and Grammar :

Lexical Strength of Yeats

Words like:

• Anarchy

• Conviction

• Passionate intensity
  are ideologically loaded

Translation Handling :

English Phrase	Hindi	Gujarati	Reason
Anarchy	अराजकता	અરાજકતા	Political accuracy
Conviction	विश्वास	વિશ્વાસ	Moral sense retained
Passionate intensity	उग्र उत्साह	ઉગ્ર ઉન્માદ	Emotional force preserved

• Grammar remains idiomatic, not literal

Explanation:
Literal translations would weaken Yeats’s moral urgency.

 Cultural Connotations :

Key Cultural References

1. Spiritus Mundi

   • Yeats’s idea of collective human memory

2. Bethlehem

   • Christian symbol of birth

3. Second Coming

   • Biblical apocalypse

Translation Decision

• Spiritus Mundi left untranslated

• Bethlehem retained as बेथलेहेम / બેથલેહેમ

• No cultural replacement with Indian myths

•  Cultural integrity preserved

Why this is correct:
Replacing these with Indian equivalents would misrepresent Yeats’s worldview.

This aligns with Ganesh Devy’s idea of translation as cultural responsibility.

Tone and Emotion :

Original Tone

• Fearful

• Prophetic

• Apocalyptic

• Cold and ominous

Translation Result

• Use of:

  • Heavy nouns

  • Dark imagery

  • Slow pacing

• Avoided emotional softening

Example:

A gaze blank and pitiless as the sun

Hindi:

सूर्य-सी रिक्त और निर्दय दृष्टि

Gujarati:

સૂર્ય સમાન નિર્દય અને શૂન્ય નજર

•  Emotional coldness preserved

 Semiotics (Symbols and Metaphors) :

Key Symbols and Their Translation

Symbol	Meaning	Translation Strategy
Gyre	Cyclical history	Explained through phrasing
Falcon	Loss of control	Literal metaphor retained
Rough Beast	Anti-Christ / violent modernity	Literal retention
Rocking cradle	Birth of chaos	Metaphorical preservation

•  Symbolic system remains intact

Explanation:
Symbols are not explained inside the poem, only preserved—exactly as in the original.

 Most Challenging Parts (Why) :

1. Gyre

• No equivalent concept in Indian languages

• Yeats-specific philosophy

2. Spiritus Mundi

• Abstract metaphysical term

3. Rough Beast

• Symbolic ambiguity (not a clear demon or god)

AI Resolution

• Descriptive framing

• No forced explanation

• Reader interpretation preserved

Were There Untranslatable Words?

Yes.

Word	Why Untranslatable	Solution
Gyre	Culture-specific philosophy	Contextual paraphrase
Spiritus Mundi	Metaphysical abstraction	Retained unchanged
Rough Beast	Symbolic ambiguity	Literal poetic retention

 Influence of Metre & Liberties Taken :

Metre Influence

• Line breaks chosen carefully

• Heavy lines kept slow

• Repetition preserved

Liberties Taken

• Minor rephrasing

• Slight expansion for clarity

Final Evaluation :

• Hindi and Gujarati translations:

  • Preserve meaning, mood, and symbolism

  • Adapt syntax appropriately

  • Respect cultural specificity

• Demonstrates responsible Gen-AI poetic translation

• Confirms that poetry translation is interpretative, not mechanical

Gemini :

W.B. Yeats’s "The Second Coming" (1919) is a cornerstone of Modernist literature. It uses a specific, complex system of symbols—most notably the Gyre—to describe the collapse of European civilization and the rise of a new, terrifying era.

Hindi Translation: द्वितीय आगमन :

विस्तृत होते भंवर में गोल-गोल घूमते हुए,

बाज़ अब अपने बाज़दार की पुकार नहीं सुन पाता;

सब कुछ बिखर रहा है; केंद्र अब थाम नहीं सकता;

महज़ अराजकता दुनिया पर छोड़ दी गई है,

रक्त-धुंधली लहरें उमड़ पड़ी हैं, और हर ओर

निर्दोषता का अनुष्ठान डूब गया है;

श्रेष्ठ जन संकल्पहीन हैं, जबकि अधम

उग्र जुनून और तीव्रता से भरे हुए हैं।

निश्चय ही कोई दिव्य प्रकाश निकट है;

निश्चय ही 'द्वितीय आगमन' निकट है।

द्वितीय आगमन! अभी ये शब्द निकले ही थे

कि 'स्पिरिटस मुंडी' (Spiritus Mundi) से उभरी एक विशाल छवि

मेरी दृष्टि को व्याकुल करती है: मरुस्थल की रेत में कहीं

सिंह का शरीर और मनुष्य का सिर लिए एक आकृति,

एक टकटकी—शून्य और सूर्य जैसी निर्दयी,

अपनी धीमी जंघाएं हिला रही है, जबकि उसके चारों ओर

क्रुद्ध मरुस्थली पक्षियों की परछाइयां मंडरा रही हैं।

अंधेरा फिर घिर आता है; पर अब मैं जानता हूँ

कि बीस सदियों की पथरीली नींद को

एक झूलते पालने ने दुःस्वप्न में बदल दिया था,

और वह कौन सा आदमखोर जानवर है, जिसका समय अब आ गया है,

जो जन्म लेने के लिए बेथलहम की ओर घिसट रहा है?

 Gujarati Translation: દ્વિતીય આગમન

વિસ્તૃત થતા વમળમાં ગોળ-ગોળ ઘૂમતું,

શિકારી બાજ હવે તેના માલિકને સાંભળી શકતું નથી;

બધું જ વિખેરાઈ રહ્યું છે; કેન્દ્ર હવે પકડી શકતું નથી;

માત્ર અરાજકતા દુનિયા પર છોડી દેવામાં આવી છે,

રક્ત-ઘેરાયેલી ભરતી છૂટી પડી છે, અને બધે જ

નિર્દોષતાની વિધિ ડૂબી ગઈ છે;

શ્રેષ્ઠ લોકોમાં નિશ્ચયનો અભાવ છે, જ્યારે અધમ લોકો

તીવ્ર ઝનૂનથી ભરેલા છે.

ચોક્કસ કોઈ સાક્ષાત્કાર નજીક છે;

ચોક્કસ આ 'દ્વિતીય આગમન' (Second Coming) નજીક છે.

દ્વિતીય આગમન! હજુ તો આ શબ્દો બહાર આવ્યા જ હતા

ત્યાં 'સ્પિરિટસ મુંડી' (Spiritus Mundi) માંથી એક વિશાળ છબી

મારી દ્રષ્ટિને ખલેલ પહોંચાડે છે: રણની રેતીમાં ક્યાંક

સિંહનું શરીર અને માણસનું માથું ધરાવતી એક આકૃતિ,

એક નજર—સૂર્ય જેવી શૂન્ય અને નિર્દય,

તેની ધીમી જાંઘો હલાવી રહી છે, જ્યારે તેની આસપાસ

ક્રોધિત રણ-પક્ષીઓના પડછાયા ઘૂમી રહ્યા છે.

અંધકાર ફરી ઉતરી આવે છે; પણ હવે હું જાણું છું

કે વીસ સદીઓની પથ્થર જેવી ઊંઘને

એક હલતા પારણાએ ડરામણા સ્વપ્નમાં ફેરવી દીધી હતી,

અને કયું એવું જંગલી પશુ, જેનો સમય આખરે આવી ગયો છે,

જન્મ લેવા માટે બેથલેહેમ તરફ ઢસડાઈ રહ્યું છે?

Analysis of the Translations :

A. Syntax and Sentence Structure :

In the original English, Yeats uses declarative, fragmented statements like "Things fall apart; the centre cannot hold." * Handling: The Hindi and Gujarati translations struggle with this brevity because their grammars are naturally more expansive.

• Alterations: I chose to maintain a Subject-Verb-Object punchiness in Hindi (सब कुछ बिखर रहा है) rather than a complex poetic sentence. This preserves the "shock" factor of the English syntax.

B. Metre, Sound, and Rhythm :

• Original: Written in blank verse (unrhymed iambic pentameter), providing a steady, drum-like progression.

• Translation: Hindi and Gujarati do not have a direct equivalent to iambic pentameter. Instead, I used Mukt Chhand (Free Verse) with a heavy, dactylic (long-short-short) rhythm. This mimics the prophetic "chanting" sound of a visionary experiencing a nightmare.

C. Lexicon and Cultural Connotations :

• The Falcon/Falconer: This is a metaphor for the soul losing touch with God or society losing touch with order. In Hindi, using "Baazdar" (falconer) is culturally appropriate as it evokes the medieval history of falconry common to both Western and Indian aristocratic history.

• Bethlehem: This is a high-stakes cultural word. For a Western reader, it signifies the birth of Christ (goodness). For the Indian reader, keeping it as "बेथलहम" is necessary to retain the irony: that a Beast is going to the place where God was once born.

D. Challenges and "Untranslatable" Phrases :

• The Gyre: This is the most difficult word. It isn't just a "circle" (Vritt); it is a three-dimensional spiral.

• Using "Bhanwar" (vortex) in Hindi and "Vamal" in Gujarati is the best resolution, as these words imply a powerful, uncontrollable spinning motion that sucks things in.

• Spiritus Mundi: This refers to the "World Soul." I chose to retain the Latin name in parentheses because translating it to "Aatma" loses the specific Western occult flavor Yeats intended.

E. Theoretical Framework Reflection :

1. Roman Jakobson (Interlingual Equivalence): The translations seek "equivalence in difference." While the words differ, the Semiotics (symbols like the Lion-man/Sphinx) remain identical, proving that visual symbols translate better than abstract linguistic ones.

2. J.C. Catford (Translation Shifts): I utilized a Level Shift. Yeats's simple English "The best" and "The worst" become "Shreshtha Jan" and "Adham" in Hindi—shifting from simple adjectives to heavy, noun-based social categories to fit the Indian poetic tradition.

3. G.N. Devy (Translation as Subversion): Translating this into Indian languages subverts the idea that "Apocalypse" is only a Christian concept. By using Sanskritized vocabulary, the poem takes on the tone of a Pralaya (cosmic dissolution), making it culturally relevant to an Indian reader.

4. A.K. Ramanujan (Context-Sensitivity): Ramanujan argues that Indian texts are context-sensitive. To make Yeats work, the AI must balance the "foreign" context (Bethlehem) with "local" resonance (the desert imagery).

Summary Table for Worksheet :

Feature	Performance/Handling
Tone	Retained as "Apocalyptic" and "Prophetic."
Metaphors	Successfully localized (Falconer → Baazdar).
Difficulties	Occult terminology (Gyre, Spiritus Mundi).
Resolution	Used high-register Sanskritized words to match Yeats's "Grand Style."

   Chat CPT :

Poem : 3 

Poem Title: પ્રણયિની (Pranayini)

Poet: Kalapi (Sursinhji Gohil)

Original Gujarati Poem

પ્રણયિની!

તારી આંખોમાં

મૌનનું ગાન વહે છે,

હૃદયના ઊંડા તળમાંથી

પ્રેમ ધીમે ધીમે ઊભરાય છે.

શબ્દો થાકે ત્યાં

ભાવ બોલી ઊઠે,

અને જીવનની દરેક વેદના

તારા સ્મિતમાં શાંત થઈ જાય.

Hindi Translation

प्रणयिनी!

तुम्हारी आँखों में

मौन का गीत बहता है,

हृदय की गहराइयों से

प्रेम धीरे-धीरे उमड़ आता है।

जहाँ शब्द थक जाते हैं,

वहाँ भाव बोल उठते हैं,

और जीवन की हर वेदना

तुम्हारी मुस्कान में शांत हो जाती है।

English Translation

Beloved,

In your eyes

a song of silence flows,

from the deepest depths of the heart

love slowly rises.

Where words grow weary,

emotions begin to speak,

and every pain of life

finds peace in your smile.

---

DETAILED TRANSLATION ANALYSIS

1. Syntax (Sentence Structure) :

In the original Gujarati poem, Kalapi uses short, simple, emotionally packed lines. The syntax is non-complex but deeply suggestive. Each line functions almost independently, creating a soft lyrical movement.

• Gujarati: Syntax is direct and emotive.

• Hindi: Sentence structure is almost identical because Gujarati and Hindi share similar Indo-Aryan grammatical patterns.

• English: Some restructuring is unavoidable because English needs explicit subjects and connectors.

Key Point:
The translations retain the original sentence flow, especially in Hindi. English slightly alters structure but does not disturb meaning or emotional direction.

2. Metre and Sound (Rhythm & Musicality) :

The poem is written in free verse, not bound by strict metre or rhyme. Its musical quality comes from:

• repetition of soft sounds

• pauses after each line

• emotional rhythm rather than formal metre

Translation Impact:

• Hindi naturally preserves rhythm due to phonetic similarity.

• English loses some musical softness because English sounds are sharper and less vowel-heavy.

Important Explanation:
The translator does not force rhyme, because doing so would distort meaning. This follows good translation practice.

3. Lexicon and Grammar :

Kalapi’s diction is:

• simple

• emotionally charged

• culturally embedded

Key Lexical Choices:

• મૌન (silence) → not absence of sound, but emotional fullness

• ભાવ (emotion) → inner feeling, not spoken words

• વેદના (pain) → emotional suffering, not physical pain

• All these words are translated using appropriate and culturally nearest equivalents.
• Lexical choices are accurate and grammatically sound in both translations.

4. Cultural Connotations :

This is one of the most important aspects of the poem.

Examples:

• “મૌનનું ગાન” (song of silence):
  In Indian aesthetics, silence is meaningful and expressive.

• Eyes lowering / silence speaking:
  Reflects Indian cultural values of emotional restraint and modesty.

Translation Handling:

• Hindi: Fully preserves cultural meanings.

• English: Conveys meaning but cultural depth becomes less intense.

Observation:
Cultural connotations survive better when translated within Indian languages.

5. Tone and Emotion :

The poem’s tone is:

• soft

• intimate

• calm

• inward-looking

There is no dramatic declaration of love, only emotional suggestion.

Translation Result:

• Both translations retain gentleness.

• English slightly becomes descriptive but does not become exaggerated.

Key Insight:
The emotional restraint of the original is largely preserved.

6. Semiotics (Symbols and Metaphors) :

Kalapi uses simple but powerful symbols:

Symbol	Semiotic Meaning
Eyes	Emotional openness
Silence	Inner expression
Heart	Emotional depth
Smile	Healing force

These symbols are universal, which helps translation.

Result:
Symbols are translated functionally, not literally, which keeps meaning intact.

TRANSLATION DIFFICULTIES :

Challenging Parts of the Poem

1. Translating silence as sound

2. Maintaining emotional restraint

3. Preserving lyrical softness

These elements are culturally rooted, not linguistically simple.

Cultural Collocations :

• Gujarati expressions work naturally in Hindi but feel poetic rather than everyday in English.
• Translator chooses natural English poetic equivalents, not word-for-word translation.

 Untranslatable Elements :

• Musicality of Gujarati vowels

• Indian concept of silent love

• Solution:

The AI uses semantic equivalence (Jakobson) rather than formal equivalence.

TRANSLATION CHOICES :

Role of Metre and Rhyme :

• No forced rhyme

• Line length adjusted for rhythm

• Emotional continuity prioritized

Liberties Taken

• Slight expansion in English

• Minimal interpretation added for clarity

THEORETICAL APPLICATION:

Roman Jakobson

Supports interlingual translation, meaning over form.

J.C. Catford

Shows cultural untranslatability, especially emotional silence.

G.N. Devy

Translation as cultural negotiation, not replacement.

A.K. Ramanujan

Context-sensitive translation that respects reader and culture.

CONCLUSION :

This translation exercise demonstrates that:

• Poetry translation is interpretive, not mechanical.

• Cultural emotions cannot be fully transferred, only approximated.

• Hindi retains Gujarati sensibility better than English.

• AI translation succeeds when it prioritizes emotion, culture, and tone over literal accuracy.

                            

       Gemini 

                                                          

Poem 3

Gujtati Poem 

પ્રણયિની!

તારી આંખોમાં

મૌનનું ગાન વહે છે,

હૃદયના ઊંડા તળમાંથી

પ્રેમ ધીમે ધીમે ઊભરાય છે.

શબ્દો થાકે ત્યાં

ભાવ બોલી ઊઠે,

અને જીવનની દરેક વેદના

તારા સ્મિતમાં શાંત થઈ જાય.

Hindi Translation: प्रणयिनी!

प्रणयिनी!

तेरी आँखों में

मौन का गान बहता है,

हृदय के गहरे तल से

प्रेम धीरे-धीरे उमड़ता है।

शब्द जहाँ थक जाते हैं

वहाँ भाव बोल उठते हैं,

और जीवन की हर वेदના (वेदना)

तेरी मुस्कान में शांत हो जाती है।

 English Translation: O Beloved!

O Beloved!

Within your eyes,

A song of silence flows,

From the deepest depths of the heart,

Love slowly overflows.

Where words grow weary,

Emotions find their voice,

And every pang of life’s pain

Finds peace within your smile.

Handling of Key Aspects :

• Syntax: In Hindi, the sentence structure is perfectly retained (Subject-Object-Verb), allowing the poem to feel like an original Hindi composition. In English, the syntax is altered to Subject-Verb-Object. The phrase "મૌનનું ગાન વહે છે" is inverted to "A song of silence flows" to maintain the poetic imagery of movement.

• Metre and Sound: The poem is written in Mukt Chhand (Free Verse). The Hindi translation preserves the rhythm naturally due to shared phonetics. In English, I used sibilance (soft 's' sounds in silence, slowly, smile) to recreate the quiet, intimate atmosphere of the original.

• Lexicon and Grammar: The word "Pranayini" is a high-register Sanskritized term for a female lover. While it is retained in Hindi, "Beloved" is used in English. The word "Vedna" is translated as "pang" to convey emotional suffering rather than just physical pain.

• Cultural Connotations: The concept of a "Song of Silence" is deeply rooted in Indian mysticism. It suggests that the most profound truths are unspoken. This translates meaningfully into Hindi but requires a metaphorical leap in English.

Identification and Discussion :

• Challenging Parts: The phrase "શબ્દો થાકે ત્યાં" (Where words get tired) is a personification. Translating this as "words grow weary" in English captures the exhaustion of language when faced with the "overflow" of love.

• Untranslatable Phrases: The word "Bhav" (ભાવ) is more than just "emotion"; it is an aesthetic state. I resolved this by translating it as "Emotions find their voice" to capture the active nature of the original "બોલી ઊઠે" (speaks up).

• Liberties Taken: In the English version, I used "overflows" for "ઊભરાય" (Ubhray) to maintain the "liquid" imagery established by the word "flows" (vahe) in the earlier line

•  Reflection on Theoretical Frameworks :

• Roman Jakobson: "Equivalence in Difference." The English word "peace" is a different linguistic code from the Gujarati "Shant," but they achieve the same poetic function in the context of the smile.

• J.C. Catford: A Structure Shift occurs when moving from Gujarati post-positions (આંખોમાં) to English prepositions (In your eyes).

• G.N. Devy: This translation illustrates Devy's idea of "continuity." The poem feels like a continuation of the Indian romantic tradition, where the "Beloved" is a source of cosmic peace.

• A.K. Ramanujan: The translation is context-sensitive. It recognizes that the poem belongs to the "Akam" (inner/private) tradition of love poetry and maintains a soft, reverent tone.

GPT

Poem 4: 

Original Hindi Poem

मोको कहाँ ढूँढे रे बंदे,

मैं तो तेरे पास में।

ना तीरथ में, ना मूरत में,

ना एकांत निवास में।

ना मंदिर में, ना मस्जिद में,

ना काबे कैलास में।

कहे कबीर सुनो भाई साधो,

मैं तो हूँ विश्वास में।

Gujarati Translation

મને ક્યાં શોધે છે હે બંધુ,

હું તો તારા પાસે જ છું.

ન તીર્થમાં, ન મૂર્તિમાં,

ન એકાંતના નિવાસમાં.

ન મંદિરમાં, ન મસ્જિદમાં,

ન કાબા કે કૈલાસમાં.

કબીર કહે છે, સાંભળો સાધુઓ,

હું તો વિશ્વાસમાં જ વસું છું.

English Translation

Why do you search for me, O seeker?

I dwell right beside you.

Not in pilgrimage, not in idols,

not in lonely retreats.

Not in temple, not in mosque,

not in Mecca or Kailash.

Says Kabir, listen seekers,

I live only in faith.

Translation Analysis

1. Syntax (Sentence Structure) :

Original Hindi :

• Direct address (“रे बंदे”, “भाई साधो”)

• Repetition of “ना…ना…” creates rhythmic negation

• Simple declarative structure enhances oral clarity

Gujarati Translation :

• Sentence order closely mirrors Hindi

• Negation pattern preserved

English Translation :

• Slight reordering for natural flow

• Rhetorical tone retained

• Syntax is largely preserved, with minor adjustments in English.

 Metre and Sound :

Original

• Oral-song tradition

• Uses parallelism rather than fixed metre

• Musical due to repetition

Gujarati

• Retains cadence and balance

• Maintains chant-like quality

English

• Loses rhyme

• Retains parallel clauses

• Sound is best preserved in Gujarati; English prioritizes meaning.

 Lexicon and Grammar :

Key Words Analysis

Hindi Word	Meaning	Translation Strategy
बंदे	Seeker/soul	“બંધુ”, “seeker”
साधो	Saints/listeners	“સાધુઓ”, “seekers”
विश्वास	Inner faith	Literal retention

 Cultural Connotations :

Kabir challenges both Hindu and Islamic orthodoxy:

• Temple / Idol → Hindu ritualism

• Mosque / Kaaba → Islamic formalism

• Kailash → Spiritual geography

• Gujarati translation keeps cultural closeness.
• English retains references without explanation, assuming informed readership.

Tone and Emotion :

• Tone: Didactic, assertive

• Emotion: Spiritual urgency, inner awakening

• Voice: Teacher-figure addressing humanity

• All translations successfully preserve this tone.

 Semiotics (Symbols & Metaphors)

Symbol	Meaning	Translation Quality
Pilgrimage	External search	Accurate
Idol	False mediation	Preserved
Faith	Inner divinity	Faithfully translated

Difficulties in Translation:

• “साधो” has no exact English equivalent

• Nirgun philosophy is abstract

 Solution: Functional equivalence (“seekers”).

Cultural Collocations :

• “तीरथ–मूरत” is a cultural pair

• Retained as “pilgrimage–idols”

Untranslatable Elements :

• Oral rhythm

• Bhakti intimacy

• English compensates through parallelism.

 Translation Choices :

• Rhyme sacrificed for clarity

• Cultural terms retained untranslated

Application of Translation Theories :

Roman Jakobson

Interlingual translation preserves sense, not form.

J.C. Catford

Cultural untranslatability visible in “साधो”.

G.N. Devy

Translation as cultural dialogue, not duplication.

A.K. Ramanujan

Context-sensitive translation essential for Bhakti poetry.

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Conclusion

This poem demonstrates that:

• Kabir’s poetry resists organized religion.

• Translation must preserve philosophy + culture, not just words.

• Gujarati retains Indian sensibility better than English.

Gemini :

Poem 4: Mo Ko Kahan Dhundhe Re Bande

Poet: Kabir

Gujarati Translation: મને ક્યાં શોધે છે રે બંદા

મને ક્યાં શોધે છે રે બંદા,

હું તો તારી પાસે જ છું.

ના તીરથમાં, ના મૂરતમાં,

ના એકાંત નિવાસમાં.

ના મંદિરમાં, ના મસ્જિદમાં,

ના કાબે કૈલાસમાં.

કહે કબીર સુણો ભાઈ સાધુ,

હું તો રહ્યો વિશ્વાસમાં.

English Translation: Where Do You Seek Me?

Where do you seek me, O seeker?

I am right beside you.

Neither in pilgrimage, nor in icons,

Nor in a lonely dwelling.

Neither in temple, nor in mosque,

Neither in Kaaba, nor Kailash.

Says Kabir: Listen, O seekers,

I am found in the breath of faith.

Detailed Analysis :

1. Syntax and Sentence Structure

• Gujarati: The syntax is virtually a mirror of the original Hindi. Since both languages share the same grammatical roots, the Subject-Object-Verb (SOV) structure and the placement of the negative particle "Na" (ના) remain identical.

• English: The syntax is altered to use the "Neither/Nor" structure. In English poetry, this repetitive negation creates a "litany" or a rhythmic list, which effectively mimics the repetitive "Na" in Kabir’s original verse.

2. Metre, Sound, and Rhythm :

• The original is a Bhajan (devotional song), characterized by a steady, rhythmic beat meant for chanting.

• Gujarati: The metre is perfectly preserved. Because the syllable counts of the Gujarati words closely match the Hindi ones, this translation can be sung to the exact same traditional tune.

• English: While the strict musical metre is lost, the rhythm is maintained through Anaphora (the repetition of the word "Neither" at the start of lines). This provides the "prophetic" and "insistent" sound required for Kabir’s teaching.

3. Lexicon and Grammar :

• Kaaba/Kailash: These are essential cultural "collocations." They represent the two poles of organized religion (Islam and Hinduism). Retaining these specific proper nouns is crucial for preserving the poem's semiotic meaning.

• Bande: In Gujarati, "Banda" is used, which carries the same sense of a humble human or servant. In English, "Seeker" was chosen over "Man" to emphasize the spiritual quest being described.

4. Cultural Connotations and Semiotics :

• Vishwas (Faith): In the original Hindi, "Vishwas" implies an internal, living conviction. The Gujarati translation uses the same word. In English, "Breath of faith" was used to add a poetic layer that conveys the closeness and vitality of the Divine as described by Kabir.

• Icons (Murat): The word "Murat" refers to a physical idol. In English, "Icons" or "Images" serves to explain the rejection of external idolatry in favor of internal truth.

5. Comparison of Tools and Theoretical Reflection :

• Jakobson & Catford: Applying Jakobson’s theory, we see "Interlingual Transposition"—the message of internalizing God is successfully moved from a 15th-century Hindi dialect into 21st-century English. According to Catford, a Level Shift occurs where a simple Hindi negative particle becomes a complex English conjunction.

• Ramanujan & Devy: Ramanujan’s Context-Sensitivity is seen in the retention of Kaaba/Kailash; without these specific cultural contexts, the poem loses its bite. Devy’s idea of Continuity is evident in the Gujarati version, which feels like it belongs to the shared devotional history of the Indian subcontinent.

SUMMARY: CORE DIFFERENCES :

Aspect	ChatGPT	Gemini
Primary Goal	Semantic accuracy and fidelity	Poetic effect and cultural resonance
Approach to Form	Adaptive compromise	Creative reconstruction
Theoretical Use	Referential (names theories)	Integrative (applies theories)
Cultural Handling	Preservationist	Contextualizing
Self-Awareness	Explicit about limitations	Focuses on solutions
Output Style	Structured, categorical	Narrative, explanatory

concluding section :

I learned that translating poetry is more like rewriting with feeling than just changing words from one language to another. Tools like ChatGPT and Gemini don't just translate word-for-word — they try to keep the deeper meaning and mood of the poem, even if the sounds or rhythm change.

• ChatGPT is better at staying true to the original structure of the poem.

• Gemini is better at making the poem feel beautiful and meaningful in the new language.

There’s no single “perfect” translation — the best choice depends on whether you care more about accuracy or beauty.

In the end, AI tools are helpful for getting the meaning right and organizing the translation, but they can't fully capture the emotion and cultural heart of a poem.

Thank You For reading  ...!!!