Vol.

7 No 1 2023

A TEXTUAL ANALYSIS OF LINGUISTIC ADAPTATIONS IN THE URDU

TRANSLATION OF SHAKESPEARE'S HAMLET: AN INQUIRY OF FAITHFULNESS

Tanzeela Ishaq
M.Phil, Scholar, Department of English Linguistics,
National University of Modern Languages, Faisalabad.
Email: tanzeelaishaq@gmail.com

Dr Aftab Akram
Lecturer, Department of English Linguistics,
National University of Modern Languages, Faisalabad.
Email: aakram@numl.edu.pk

Abstract
The objective of this study is to investigate the various translation strategies employed by a translator in the process
of translating a source text (ST) into a target text (TT), based on Vinay and Darbelnet's model of translational shift
(2000). The study also utilizes the Skopos Theory of Translation by Vermeer to achieve its research goals. To carry
out this research, the researcher has selected "Hamlet," a renowned English play written by William Shakespeare,
as the source text, and its translation into Urdu by Firaq Gorakhpuri as the target text. The data collection process
involved Convenience sampling followed by simple random sampling technique, a meticulous examination of the
translation at the word, phrase, and sentence levels. The collected data was subjected to qualitative analysis to
uncover the translator's utilization of translation techniques and to assess their effectiveness. The researcher
selected 27 examples at random from Act One of the source text and proceeded to apply Vinay and Darbelnet's
Model of Translation and Skopos Theory. Out of these, only 03 instances pertained exclusively to the faithfulness of
the text, wherein borrowing, calque, and literal translation techniques were employed. In contrast, the remaining 24
examples involved the adaptation and alteration of the text to enhance its cultural familiarity for the target
audience. This research aims to shed light on the translation strategies employed in the transformation of "Hamlet"
from English to Urdu, contributing to our understanding of the intricacies of the translation process. The analysis
provided insights for future research in translation studies and comparative literature, focusing on linguistic
adaptations in translating classical texts like Shakespeare's.
Key words: Vinay and Darbelnet’s model of translation, Skopos theory of Translation, Source
Text (ST), Targeted Text (TT)
1. Introduction
This research project aims to conduct a comprehensive textual analysis of the linguistic
adaptations employed in the Urdu translation of William Shakespeare's "Hamlet." The primary
focus of this analysis is to examine how the translator has strived to maintain faithfulness to the
source text while accommodating the linguistic and cultural nuances of the target audience. To
accomplish this, the research makes use of Vinay and Darbelnet's Model of Translation and
Vermeer's Skopos Theory of Translation to assess the extent of faithfulness in the Urdu
translation of "Hamlet," particularly in terms of vocabulary and syntax. The study adopts
qualitative research methods for the textual analysis, addressing critical questions related to
faithfulness in translation and investigating the key linguistic challenges that arise during the
translation process. Additionally, this research project lays the groundwork for future
investigations, suggesting various areas for further exploration, such as specific linguistic
adaptation techniques for translating classical or archaic source texts, comparative analyses of

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different translations of "Hamlet" into Urdu, audience reception, and the broader implications of
these translation techniques in cross-cultural literary adaptation.
The primary goal of this study is to assess the Urdu translation of "Hamlet" by Firaq Gorakhpuri
in terms of its faithfulness to the original text, particularly by examining linguistic adaptations,
including vocabulary and syntax. The research also aims to identify and analyze the key
linguistic challenges faced by translators when rendering "Hamlet" into Urdu. Furthermore, it
seeks to investigate the strategies and techniques employed by translators to address these
challenges while maintaining fidelity to Shakespeare's source text. Through this examination, the
study offers insights into the complexities and nuances of translating Shakespearean works into
languages with distinct linguistic and cultural characteristics, contributing to a deeper
understanding of the art of translation and the preservation of the original text's essence in a
different linguistic context.
"Hamlet" was a renowned tragedy authored by William Shakespeare, recounting the tale of
Prince Hamlet of Denmark. After his father's sudden demise, Hamlet was visited by his ghost,
disclosing that he had been murdered by Hamlet's uncle, who had assumed the throne.
Overwhelmed by grief, anger, and a thirst for revenge, Hamlet feigned insanity and grappled
with moral dilemmas, leading to a series of tragic events, including the deaths of his beloved
Ophelia, her brother Laertes, his mother Queen Gertrude, and ultimately, Hamlet himself. The
play delved into themes of retribution, madness, betrayal, and the repercussions of one's actions,
solidifying its status as one of Shakespeare's most intricate and enduring works.
To conduct this research, a qualitative research method is employed for the textual analysis of
the data. The data collection process involves convenience sampling followed by a simple
random sampling technique. The research team initially selects Act One as a convenient sample
and then randomly selects text from that Act using a simple random sampling technique.
Subsequently, textual analysis techniques are applied to the data.
Vinay and Darbelnet's Translation Model historically assesses target text faithfulness to the
source text using techniques like "Direct Translation" and "Calque" for word retention and literal
translation. "Modulation" allows for altering expression while preserving meaning, and
"Equivalence" seeks to find equivalent expressions in the target language. These techniques
ensure historical fidelity in translation analysis.
Vermeer's Skopos Theory of Translation provides a framework for evaluating faithfulness,
emphasizing "functional equivalence" to adapt the translation to the target audience's
communicative goals. "Dynamic equivalence" allows flexibility to capture the source text's
essence, even if it diverges from literal translation. These techniques maintain faithfulness while
considering the unique communicative context.
This research project extensively examines linguistic adaptations in the Urdu translation of
"Hamlet" using established translation models and theories. It emphasizes the translator's pursuit
of fidelity to the source while addressing linguistic and cultural nuances, particularly in
vocabulary and syntax. Qualitative research methods probe questions about faithfulness and the
translation challenges encountered. The study also suggests future research directions in
translation studies and comparative literature, including the translation of classical texts, multiple
Urdu "Hamlet" translations, audience reception, and broader cross-cultural literary adaptation
implications.
1.1 Statement of Problem

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The central issue under investigation in this study is to assess the degree of linguistic adaptations
present in the Urdu translation of Shakespeare's 'Hamlet' and to determine the level of
faithfulness exhibited by the translator to the original text.
1.2 Research Objectives
 To investigate the translation strategies employed in translating "Hamlet" from English to
Urdu using Vinay and Darbelnet's model of translational shift.
 To examine the application of Skopos Theory in the translation process to achieve
specific communicative goals and cultural adaptation.
 To analyze a selected sample of 27 examples from Act One, focusing on instances of
borrowing, calque, literal translation, and adaptation techniques.
 To contribute to a deeper understanding of the translation process for classical texts like
Shakespeare's in the context of linguistic and cultural adaptation, with implications for
translation studies and comparative literature.
1.3 Research Questions
1. To what extent does the Urdu translation of Shakespeare's Hamlet maintain faithfulness
to the original text in terms of linguistic adaptations, such as vocabulary and syntax?
2. What are the key linguistic challenges in translating Shakespeare's Hamlet into Urdu?
3. How do translators address these challenges while maintaining faithfulness to the source
text?
1.4 Significance of study
The study's significance resided in its contribution to the understanding of translation
strategies, the application of translation theories, the balance between faithfulness and
adaptation, and its potential to inform future research in the fields of translation studies and
comparative literature. It underscored the importance of translation in cultural exchange and
enriched our appreciation of the intricate art of transforming literary works across languages
and cultures.

1. Literature Review
Prior to the introduction of Shakespearean literature in Urdu culture, theatrical drama was scarce,
allowing room for controversy and innovation. The first Urdu translation of "Hamlet" was by
Mirza Ghalib, a renowned Urdu poet, marking a milestone in introducing Shakespearean drama
to Urdu audiences in 1870. Ghalib's historic translation left a lasting impact on Urdu literature,
ushering in the world of Shakespeare for Urdu readers.
Apart from Mirza Ghalib, other prominent Urdu writers and playwrights have also translated
"Hamlet" into Urdu. Mustansir Hussain, known for his late 20th-century translation, and Qateel
Shifai, a renowned poet, who translated it in the mid-20th century. Tariq Aziz, another Urdu
writer, contributed his translation in the latter part of the 20th century. These translations
expanded Urdu readers' access to Shakespeare's iconic play, enriching the cultural and literary
landscape.
William Shakespeare's "Hamlet" has achieved global renown for its profound exploration of
human emotions and political intricacies, captivating scholars and enthusiasts alike since the
15th century. This study delves into the unique perspective of Urdu author Firaq Gorakhpuri and
his translation of "Hamlet." Specifically, we explore his linguistic choices, encompassing
vocabulary, syntax, and cultural adaptation, to understand how these choices impact the Urdu
rendition of this classic play.

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Translating Shakespeare presents unique challenges, such as preserving ambiguities and

wordplay while ensuring clarity in Urdu. This study examines Gorakhpuri's strategies for
maintaining the linguistic subtleties of the original text. Additionally, it explores how he
navigated the task of retaining the poetic elements inherent in Shakespeare's language while
adapting them to an Urdu context. The study also delves into his approach to addressing cultural
sensitivities to ensure the play's relevance to Urdu-speaking audiences.
This study employs a blend of Linguistic model of translation by ‘Vinay and Darbelnet’ and
'Adaptation Theory' of ‘Linda Hutcheon’ to delve into a more profound comprehension and
significance of a specific context using various methodologies. Research is focused on the
linguistic patterns followed by the translator and how they are adopted in the urdu culture by
translator.
This model emphasizes the idea that translation is not a mechanical, word-for-word substitution
but a complex process that involves many linguistic and cultural factors. The Vinay and
Darbelnet model outlines various translation techniques and strategies, including: (1) Borrowing
technique, involves directly importing words or phrases from the source language into the target
language. It is often used when there are no equivalent terms in the target language, such as
technical or specialized terms. (2) Calque, A calque is a word or phrase borrowed from the
source language but translated word-for-word into the target language. This can lead to idiomatic
or awkward expressions in the target language. (3) Literal Translation, in this technique, the
translator adheres closely to the structure of the source language, often resulting in sentences that
may sound unnatural in the target language. It is used when the literal meaning is crucial, even if
it sacrifices fluency. (4) Transposition, Transposition involves changing the grammatical
category of a word or phrase, such as converting a noun in the source language to a verb in the
target language, to maintain the meaning and naturalness in the translation. (5)Modulation,
Modulation involves changing the perspective, point of view, or expression of a concept to make
it more culturally or idiomatically appropriate in the target language. (6) Equivalence, This
technique aims to find equivalent expressions or idiomatic phrases in the target language to
maintain both meaning and style, even if it requires substantial rephrasing. (7) Adaptation,
Adaptation involves making cultural or situational adjustments to the text to ensure its relevance
and comprehensibility in the target language. This may involve replacing cultural references with
equivalent ones from the target culture. (8)Compensation, Compensation is used when it's not
possible to translate a term or concept directly. It involves providing the missing information
elsewhere in the text, usually in the form of additional explanatory sentences. Mundy,
introducing translation studies: theories and applications.
The theory or model being discussed is most likely "Skopos theory," or the "Skopos translation
theory." Skopos theory is a framework within the field of translation studies that was developed
by the German linguist Hans J. Vermeer and his associates. This theory places a significant
emphasis on the importance of considering the purpose or function (Skopos) of a translation, and
tailoring the translation to meet the specific needs and expectations of the target audience.
Skopos theory takes into account various factors such as equivalence, cultural specificity, lexical
errors, semantic complexity, different meanings, superordinate translation, specific terms,
differences in physical and interpersonal perspectives, differences in expressing meaning,
differences in form, differences in the frequency and purpose of using specific terms, and the use
of loan words from the source text. Nosheen , Mahmood, Iqbal (2021)
Skopos theory fundamentally centers around the idea of producing translations that are
contextually appropriate for the target audience, prioritizing effective communication over rigid

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linguistic equivalence with the source text. The primary goal of translation, according to this
theory, is to convey the intended message in the target language and culture, taking into account
the specific communicative and cultural context of the translation's use.
Functional equivalence, rather than strict linguistic equivalence, is the cornerstone of Skopos
theory. This means that a translation should fulfill the same communicative intent or purpose as
the source text, even if it necessitates adjustments in content, style, or structure to suit the target
audience and context. These adaptations might result in non-equivalence, but they ensure the
message's effectiveness.
Cultural considerations are paramount in Skopos theory. Cultural variations can significantly
impact how a message is expressed and understood, so translators must navigate these
differences. This may involve modifying or explaining cultural references to enhance the text's
accessibility and relevance to the target audience.
Skopos theory also acknowledges the need for addressing lexical errors or disparities in the
source text to maintain clarity and precision in the target language. Moreover, it allows for
modifications in the semantic intricacy of the translation, balancing between simplification and
expansion to ensure contextual suitability.
In summary, Skopos theory provides a flexible framework for translation that adapts to the
specific needs and context of the target audience, recognizing the dynamic interplay between
language, culture, and communication. It underscores the importance of achieving functional
equivalence and making deliberate choices that align with the purpose of the translation and the
expectations of the audience, even if it means departing from strict linguistic equivalence with
the source text.
2. Methodology
Qualitative research method is used for the textual analysis of the data. Convenience sampling
followed by simple random sampling technique is used to collect the data. First researcher
selects Act one as a convenient sample then the text was selected from that Act randomly by
using simple random sampling technique. Then textual analysis technique is used to analysis the
data. For analyzing the data Vinay and Darbelnet's Model of Translation and Vermeer’s Skopos
theory of translation used by researcher.
3. Theoretical Analysis
The study employed a qualitative research approach, utilizing convenience and simple random
sampling methods for data collection. Act One served as a convenient sample, and 27 random
text segments were selected. The data was then analyzed using Vinay and Darbelnet's Model of
Translation and Vermeer's Skopos theory. This approach provided insights into the translation
process, considering linguistic and functional aspects while ensuring a representative sample.
4.1 Vinay and Darbelnet’s Model of Translation
3.1.1 Direct Translation:
In this research, the direct translation method following Vinay and Darbelnet's model was
used to explore how translations can faithfully preserve the source text's structure and style,
ensuring a strong correspondence between the two.
3.1.1.1 Borrowing
Source Text: Page 40 Target Text: Page 40 Explanation
Laertes: My necessaries are ‫ اچھا اب رخصت ہوتا ہوں‬:‫ الٹرٹس‬Borrowing was employed in
embark'd; farewell: And sister, ‫ بہن! میرا تمام سامان جہاز پربار‬the translation, with the word
‫ہوچکا ہے‬ "embar'd" used as "‫ "بار‬in the
Laertes: Acha ab ruksat hota target text without

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hon behan!mera tamam saman modification.

jahaz par bar ho chukka hai

Translator used borrowing technique in the above example. This technique is used by the
translators when they did not get exact translation from the targeted language to stick the
audience or readers to the original text. Here, translator used “‫ "بار‬directly in the translation of
“embark’d”. But the problem is that this word has translation in many English to Urdu
dictionaries. Even Google gives the meaning of it “‫"سوار‬.
3.1.1.2 Calque
Source Text: Page 36 Target Text: Page 22 Explanation
Hamlet: ..., Frailty, thy name ‫ تیرا ہی نام‬،‫اے کمزوری‬،...:‫ ہیملیٹ‬Calque was applied by the
is woman ‫عورت ہے۔‬ translator in this instance,
Hamlet: Aye Kamzori tera hi involving a direct translation
nam aurat hai. of a phrase on a word-for-
word basis.
The calque technique was utilized to achieve a word-for-word translation while maintaining the
original sentence's structure and essence in Urdu. In this calque translation, the structure and
literal meanings were conserved, but it's important to acknowledge that the resulting translation
may not have encompassed the poetic and cultural nuances inherent in the original English text.
3.1.1.3 Literal Translation
Source Text: Page 39 Target Text: Page 27 Explanation
Horatio: Nay, very pale. ‫ بہت زرد تھا‬،‫ نہیں‬:‫ہوریشو‬ A literal translation approach
Horatio: nahi, bohat zard tha. was adopted by the translator
to facilitate a clearer
understanding of the text by
using a word-for-word
rendition of the source text.
In this translation, translator strived to maintain the words and structure of the original sentence
while closely adhering to literal meanings. However, it's imperative to acknowledge that this
method might not have comprehensively conveyed the nuanced and subtle aspects of the original
text in the target language.
3.1.2 Oblique Translation
The technique of oblique translation was used to ensure the translation captured not only the
literal text but also the cultural and contextual nuances, offering a comprehensive
understanding. It allowed for the preservation of "Hamlet's" essence while making it
accessible to Urdu-speaking readers, enhancing their grasp of the play's depth and intent.
3.1.2.1 Amplification
Source Text: Page 37 Target Text: Page 24 Explanation
Hamlet: ..., I shall not look ‫ مجھے دنیا میں ان جیسا‬،... :‫ ہیملیٹ‬Amplification is employed in
upon his like again. ‫کوئی شخص نظرنہیں آتا۔‬ this translation with the
Hamlet: Mujhy duniya main in inclusion of the word "‫دنیا‬,"
jesa koi shaksh nazar ni aata. signifying "world," even
though it was not originally
present in the source text.

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Source Text: Page 38 Target Text: Page 26 Explanation

Hamlet: 'Tis very strange. ‫ 'کیا عجیب واقعہ ہے۔‬:‫ہیملیٹ‬ Amplification is utilized in the
Hamlet: kia ajeeb waqeeya hai translation by introducing the
word "‫واقعہ‬," which translates
to "event," even though it was
not originally present in the
source text.

Source Text: Page 40 Target Text: Page 29 Explanation

Ophelia: No more but so? ‫ کیا اس سے زیادہ اس کی‬:‫اوفیلیا‬ Amplification is employed in
‫کوئی اہمیت نہیں؟‬ the translation by
Ophelia: kia iss se zayada iss incorporating the term "‫اہمیت‬,"
ki koi ahmeeyat ni? which translates to
"importance," even though it
is not present in the original
source text.

Source Text: Page 49 Targeted Text: Page 41 Explanation

Hamlet: O God! ‫ رحیم و کریم مالک‬:‫ہیملٹ‬ Amplification is employed in
Hamlet: Raheem o Kareem the translation, introducing the
Malik terms "‫رحیم و کریم‬," which
convey the meaning of
"Merciful and kind," despite
their absence in the original
text.
The amplification technique was employed in the translation process, which entails enriching the
target text by adding extra information, context, or elucidations to facilitate a deeper
understanding of the source text.
3.1.2.2 Equivalence
Source Text: Page 52 Target Text: Page 45 Explanation
Hamlet: so be it ‫ ایسا ہی ہو۔‬:‫ہیملیٹ‬ In this translation, the concept
Hamlet: Aisa hi ho of 'equivalence' has been
implemented, aiming for a
literal word-for-word
rendition. This methodology
remains consistent, even when
utilizing machine translation.

3.1.2.3 Transposition
Source Text: Page 44 Target Text: Page35 Explanation
Horatio: It is a nipping and an ‫ جسم میں چھید کرنے والی‬:‫ہوریشو‬ The translation employs the
eager air. ‫ہوا ہے۔‬ 'transposition' technique,
Horatio: Jism main ched karny wherein in the source
wali hawa hai language, the verb 'nipping' is
paired with the adjective

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'eager,' while in the target

language, the noun ' ‫چھید کرنے‬
‫ 'والی‬is substituted for both.

Source Text: Page 54 Target Text: Page 48 Explanation

Hamlet: And therefore as a ‫ اگر ایسا ہے تو اسے ایک‬:‫ہیملیٹ‬ Transposition is a linguistic
stranger give it welcome. ‫اجنبی کی ماند سمجھو۔‬ technique employed in
Hamlet: Agar aisa hai tu issy translation. In the source
aik ajnabi ki manind samjho. language, the noun "welcome"
is used to convey acceptance.
However, in the target
language, the word "‫ "سمجھو‬is
used, which is an adjective
denoting acceptance. This
transposition preserves the
meaning while adapting the
grammatical structure to the
requirements of the target
language.

Source Text: Page 48 Targeted Text: Page 40 Explanation

Ghost: …, when I to ‫ دوزخ کی آک میں جلنے‬:‫روح‬ Transposition in translation
sulphurous and tormenting ‫کےلئے مجھے پھر واپس جانا ہے۔‬ involves replacing the
flames Must render up myself. Roh: dosakh ki aag main jalny adjectives "sulphurous" and
k liye mujhy phir wapis jana "tormenting" from the source
hai. text with the noun "‫ "دوزخ‬in
the target text, simplifying the
language while preserving the
intended meaning.
The 'transposition' technique in translation was a crucial tool for conveying meaning across
languages. It involved adjusting grammar to fit the target language while preserving the intended
message, highlighting the intricate art of translation, where linguistic choices bridged language
and culture, ensuring the essence of the original text was faithfully conveyed.
3.1.2.4 Modulation
Source Text: Page 35 Targeted Text: Page 21 Explanation
Hamlet: Oh, that this too too ‫ پروردگار! تو نے خود کشی‬:‫ ہیملیٹ‬Modulation was employed to
solid flesh would melt, Thaw ‫ کرنے والوں کے لۓ اتنی سخت سزا‬transform the solid flesh into
and resolve itself into a dew: ‫ کیوں مقرر کی ہے۔ میرا یہ جسم پانی‬the word '‫جسم‬,' which
Or that the Everlasting had not ‫کی طرح گھل کیوں نہیں جاتا‬ translates to 'body' in the
fix’d Hamlet: Pervardigaar! Tu ne dictionary. Additionally, the
His canon 'gainst self- khud kushi karny walon k liye phrase 'O God' was originally
slaughter. O God, God! itni sakht saza q muqarar ki called out at the end twice, but
hai. Mera yeh jism pani ki in the translation, it was added
tarha ghul q ni jata at the beginning only once as
'‫پروردگار‬.'

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Source Text : Page 49 Target Text: Page 41-42 Explanation

Hamlet: Haste, haste me to ‫ بتاؤ مجھے جلدی بتاؤ۔ تاکہ‬:‫ ہیملیٹ‬Modulation is employed to
know it, that I with wings as ‫ میں اتنی ہی تیزی سے اپنے باپ کے‬transform 'wings as swift' into
swift As meditation or the ‫اتنی ہی تیزی سے' خون کا بدلہ لے سکوں جتنی تیزی‬,' where there is
thoughts of love, ‫ سے کہ انسان کے دماغ میں محبت‬not a direct dictionary
May sweep to my revenge. ‫کے خیاالت پیدا ہوتے ہیں۔‬ translation of 'wings' as '‫پروں‬,'
Hamlet: Batao mujhy jail the plural form of 'wing,'
batao. Ta k main itni he tezi se which is '‫پر‬.'
apny baap k khoon ka badla ly
sakoon jitni tezi se k insaan k
dimag main mohabbat k
khyalaat paida hoty hain.
These instances illustrated how Hamlet's emotional condition and objectives shifted by the
translator using modulation technique throughout the dialogue, mirroring the intricate and
evolving aspects of his character as well as the development of the play's storyline.
3.1.2.5 Adaptation
Source Text: Page 31 Target Text: Page 16 Explanation
King: ..., with one auspicious, ‫ ہماری آنکھوں میں‬،... :‫ بادشاہ‬Adaptation was employed to
and one dropping eye, with ‫ خوشی کی جھلک کے ساتھ ساتھ‬modify the entire meaning of
mirth in funeral, and with ‫ آنسوؤں کی بوندیں بھی ہیں۔ اسی‬the text in accordance with the
dirge in marriage, In equal ‫ طرح ہماری خوشی اور غم ہم پلہ ہیں۔‬specific audience's needs, even
scale weighing delight and Badshah:.., Humari ankhon though there was an omission
dole main khushi ki jhalak k sath in translating the phrase 'with
sth ansoon ki boondain b hain. mirth in funeral, and with
Issi tarha humari khushi aur dirge in marriage.'
ghum hum palah hain.

Source Text: Page 48 Target Text: Page 41 Explanation

Ghost: ..., I could a tale ‫ میں تم کو ایک ایسی‬،... :‫بھوت‬ In the adaptation, the
unfold, whose lightest word ‫داستان سناتا کہ جسے سن کر‬ translator chose to express
Would harrow up thy soul, ‫تمہارےرونگھٹے کھڑے ہو جاتے۔‬ "whose lightest word" as " ‫کہ‬
freeze thy young blood. ‫اور خون رگوں میں جم جاتا۔‬ ‫ "جسے سن کر‬without providing
Bhoot: main tum ko aik aisi dictionary meanings to
dastan sunata jisy sun kar maintain a storytelling mood.
tumhare rongtay kharay ho They also used the Urdu idiom
jaty. Aur khoon raghoon main "‫ "رونگھٹے کھڑے ہو جاتے‬when
jum jata. translating "would harrow up
thy soul" to make the text
culturally relevant to the
audience.
These adaptations involved making the text more accessible and relatable to an Urdu-speaking
audience while preserving the essence and meaning of the original English text. It was important
to adapt the text while ensuring it remained faithful to the core themes and intentions of the
original work.
3.2 Skopos Theory

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3.2.1 Equality
Source Text: Page 25 Targeted Text: Page 6 Machine Translation
Barnardo: Well, good night. ‫ شب بخیر۔‬، ‫ اچھا‬:‫برنارڈو‬ ‫ شب بخیر۔‬،‫ ٹھیک ہے‬:‫برنارڈو‬
Barnardo: Acha, shaba khair
Translator employed the equivalence technique to ensure that the translated text closely mirrored
the original source text in the target language.
3.2.2 Cultural Specification
Source Text: Page 25 Targeted Text: Page 05 Machine Translation
Francisco:……, And I am sick ‫ میرا تو دل بیٹھا جارہا‬،‫ ۔۔۔۔‬:‫ اور میں دل سے فرانسسکو‬،……:‫فرانسسکو‬
at heart ‫یے‬ ‫بیمار ہوں۔‬
Francisco…, Mera tu dil betha
jar aha hai.
The translator incorporated cultural terms more extensively rather than relying solely on literal
word-for-word translation, employing the skopos technique of cultural specification.

3.2.3 Lexical Error

Source Text: Page 25 Targeted Text: Page 04 Machine Translation
Barnardo: He ‫ ہاں میں ہی ہوں‬:‫برنارڈو‬ ‫ وہ‬:‫برنارڈو‬
Barnardo: Han main hi hon
The translator encountered a challenge when translating old English words, as additional context
was needed for accurate interpretation. This issue arises in machine translation because in
modern English, "he" is a personal pronoun referring to a male person, while in Urdu; it
translates to "‫وہ‬." However, in old English, "he" had the meaning of "yes."
Source Text: Page 52 Targeted Text: Page 46 Machine Translation
Marcellus: Nor I, my lord ‫ اور میں بھی کہتا ہوں آقا کہ‬:‫ میرے آقا مارسیلس‬،‫ نہ میں‬:‫مارسیلس‬
‫کسی سے نہیں کہوں گا‬
Marcellus: Aur main b kehta
hon aaqa k kisi se nahi kahon
ga

3.2.4 Complexity Semantically

Source Text: Page 25 Targeted Text: Page 05 Machine Translation
Francisco: Give you good ‫ اچھا میں چال‬:‫فرانسسکو‬ ‫ آپ کو شب بخیر۔‬:‫فرانسسکو‬
night. Francisco: Acha main chala
The translator, following the Skopos theory, provided text with intricate meanings. In this
context, "semantically complex" meant emphasizing the deeper, nuanced, and culturally
embedded aspects of the source text, considering the context, intent, and purpose of
communication. This could involve a more detailed interpretation in the target language, even if
it didn't align with a literal translation, all aimed at effectively conveying the source text's
intended message and cultural nuances in the target context.
3.2.5 Different Dictionary Meanings
Source Text: Page 25 Targeted Text: Page 05 Machine Translation
Marcellus: O, farewell honest ‫ اچھے سپاہی الوداع‬:‫مارسیلس‬ ‫ اے ایماندار سپاہیوں کو‬:‫مارسیلس‬
soldiers, Marcellus: Achy sipahi Alvida ‫الوداع‬

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At times, the translator diverged from dictionary definitions, utilizing Skopos techniques, which
prioritize the context and communicative purpose to offer entirely different meanings.
3.2.6 Specific Terms and Loan words
Source Text: Page 36 Targeted Text: Page 22 Machine Translation
Hamlet: ...., with which she ‫ تو نیوبی کی طرح آنسو‬،.... :‫ جس کے ساتھ اس نے ہیملیٹ‬،.... :‫ہیملیٹ‬
followed my father's body like ‫میرے والد کے جسم کے پیچھے بہاتی ہوئی میرے باپ کےجنازے کے‬
Niobe, all tears. ‫ساتھ گئی تھی‬ ‫نیوبی کی طرح آنسو بہائے۔‬
Hamlet: …, tu Niobe ki tarha
ansu bahati mere baap k
janazy k sath gayi thi
Some specific terms which do not have proper translation available translator use them as it is.
3.2.7 Distinguish between the physical and interpersonal views.
Source Text : Page 25 Targeted Text: Page 04 Machine Translation
Barnardo: Who's there? ‫ (نیم بلند آواز میں) کون ہے؟‬:‫ وہاں کون ہے؟ برنارڈو‬:‫برنارڈو‬
Barnardo: ( neem buland awaz
main) kon hai?
Translators adapt content to align with the target audience's worldview and values.
3.2.8 Variation in conveying message.
Source Text: Page 25 Targeted Text: Page 04 Machine Translation
Francisco: Nay answer me. ‫ ٹھہرو۔ تم کون ہو؟‬:‫فرانسسکو‬ ‫ نہیں مجھے جواب دو۔‬:‫فرانسسکو‬
Stand and unfold yourself. Francisco: Thero tum kon ho? ‫کھڑے ہو کر اپنے آپ کو کھولیں۔‬

Source Text: Page 51 Targeted Text: Page 44 Machine Translation

Hamlet: ..., oh fie: hold my ‫ یہ کام کتنا قابل نفرت اور‬،... :‫ میرا دل پکڑو۔ ہیملیٹ‬:‫ اوہ فائی‬،... :‫ہیملیٹ‬
heart. ‫بدترین ہے۔ کہیں میرے دل کی‬
‫دیواریں ٹوٹ نہ جائیں‬
Hamlet: Yeh kaam kitna qabil
e nafrat aur badtareen hai.
Kahin mere dil ki deewarein
toot na jain.
The translator altered meanings based on cultural interpretations, implementing the Skopos
technique of variation in conveying the message.
3.2.9 Forms Change
Source Text: Page 45 Targeted Text: Page 36 Machine Translation
Hamlet: The king doth wake ‫ بادشاہ آدھی رات کو اٹھ کر‬:‫ اور ہیملیٹ‬،‫ بادشاہ آج رات جاگتا ہے‬:‫ہیملیٹ‬
to-night, and takes his rouse, ،‫جشن منا رہا ہے‬ ،‫جاگتا ہے‬
Hamlet: Badsha adhi raat ko
uth kar jashan mana raha hai,
To fulfilling the targeted audience need translator changed the form of verb in the targeted text.
3.2.10 Dissimilarity in the frequency and intent behind the utilization of particular
terms.
Source Text: Page 47 Targeted Text: Page 39 Machine Translation
Hamlet: Hold off your hands. ‫ اپنے ہاتھ کو الگ رکھو‬:‫ اپنے ہاتھ روکو۔ ہیملیٹ‬:‫ہیملیٹ‬
‫مارسلس‬
Hamlet: apny hath aalag rakho

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Marcellus.
Translator modified the specific terms according to targeted language.
4. Findings
A researcher randomly selected 27 examples from Act One of the source text and applied Vinay
and Darbelnet's Model of Translation and Skopos Theory. Only three examples were purely
related to the faithfulness of the text, involving borrowing, calque, and literal translation
techniques, while the remaining 24 examples were related to modifying the text to make it more
familiar to the targeted culture.

5. Discussion
The Urdu translation of Shakespeare's Hamlet was examined to assess its faithfulness to the
original text in terms of linguistic adaptations, including vocabulary and syntax. The analysis
found that, in certain instances, the Urdu translation maintained a high degree of fidelity to the
original text, ensuring that linguistic adaptations aligned with the source material. Nevertheless,
at times, there were deviations from the original text to accommodate the nuances and linguistic
characteristics of the Urdu language.
During the evaluation of the Urdu translation of Shakespeare's Hamlet, several notable linguistic
challenges were identified. These challenges included the preservation of Shakespeare's poetic
and archaic language, the capture of intricate wordplay and puns, and the conveyance of the
depth of emotion and subtext found in the original text. Additionally, finding equivalent
expressions and idiomatic phrases in Urdu that could convey the same meaning and impact as in
English posed a significant challenge.
Translators addressed these linguistic challenges by employing various techniques to maintain
faithfulness to the source text. They used strategies such as selecting Urdu words and phrases
carefully to closely match the vocabulary and syntax of the original text, all while ensuring that
the essence and emotional resonance of the source material were retained. Translators also
employed creative methods to convey the wordplay, puns, and poetic elements in Urdu.
Furthermore, they utilized cultural adaptation and contextualization to make the text more
relatable to the Urdu-speaking audience while staying true to the thematic and emotional core of
Shakespeare's Hamlet.

6. Conclusion
This study investigated the various translation strategies employed by a translator in the process
of translating William Shakespeare's "Hamlet" from English into Urdu, based on Vinay and
Darbelnet's model of translational shift (2000) and guided by the Skopos Theory of Translation
by Vermeer. Through a combination of convenience and random sampling techniques, we
meticulously examined the translation at the word, phrase, and sentence levels, shedding light on
the intricacies of the translator's decision-making process. Our findings revealed that while some
instances in the translation process focused on faithfulness to the source text, employing
techniques such as borrowing, calque, and literal translation, the majority of examples involved
adaptation and alteration to enhance cultural familiarity for the target audience. This research has
provided valuable insights into the dynamic and multifaceted nature of translation, especially
when dealing with classical texts like Shakespeare's works. The analysis presented in this study
contributes to the field of translation studies and comparative literature by highlighting the
importance of linguistic adaptations in the process of translating renowned literary works. It
serves as a foundation for future research in this domain, encouraging further exploration of the

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strategies and techniques employed in translating classical texts, ultimately enriching our
understanding of the complex art of translation. As we reflect on this study, it becomes evident
that translation is not merely a mechanical task but a nuanced and culturally significant
endeavor, and this research has illuminated the path for continued scholarship in this fascinating
field.

7. Recommendations
This analysis paves the way for future research in translation studies and comparative literature.
Potential studies could delve deeper into specific linguistic adaptation techniques used in
translating classical or archaic texts like Shakespeare's works, assessing their effectiveness and
impact on target audiences. Comparative analyses of multiple Urdu translations of Shakespeare's
Hamlet could shed light on diverse translation approaches. Exploring how Urdu-speaking
audiences receive and interpret these translations would provide a comprehensive view of
linguistic adaptations. Additionally, studying the broader applicability of these techniques in
cross-cultural literary adaptation and their relevance to other classical works would enrich the
field of translation studies.
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