Idk man

Through an observation of Said's flawed morality and objectively skewed sense of justice, Mahfouz isolates the irrationality of emotion so as to indicate humanity's inherently irrational behavior.

I hate sonnets, they're mean to syllables

From the prison of Egypt walked Mahran,
Death Incarnate, legend, man convicted.
Strong his hatred of a man and woman,
Nabawiyya. Ilish. Soon evicted.

Dear Sana, o sana, blessed daughter,
Love me anew, once rid of snake Rauf.
Melodies 'pon the wind, children's laughter,
Life on the hoof, beware their bark and woof.

The dogs, the hounds, run away little thief,
Murder, theft, crimes against humanity,
Of pitiful few, your passing shall grief,
The end is nigh, halt to insanity.

Revolutionary, were you ever?
Or opportunist, thought himself clever?

An Analysis of the Narrative Structure of J. R. R. Tolkien's Snow White and the Seven Dwarves

Within the boundaries of the physical world, humanity is confined to forming opinions of their contemporaries based solely on their observed behaviors; the contrasting corollary to this is that we judge ourselves through our intentions. However, by judging others simply by what they've done, we limit ourselves to narrow viewpoints that often fail to fully encompass the entirety of situations. Writers of literature, fictional or otherwise, provide an avenue of enhanced understanding through exposure of their characters' innermost thoughts, feelings, and emotions. By utilizing this method of narrative, the reader is able to observe unfolding events in a unique perspective and a better immersive experience.

And what about my wife and my fortune, you mangy dogs! I'll show you. Just

wait. How I'd like to see now the look you'll have in your eyes. It would give me respect

for beetles, scorpions, and worms, you vermin. Damn the man who lets himself be

carried away by the melodious voice of woman. But Said nodded in agreement.

One of the sycophants said, "Your daughter is in safe hands with her mother.

According to the law a six- year-old girl should stay with her mother. If you like, I could

bring her to visit you every week."

Egyptian author Naguib Mahfouz's "Thief and the Dogs" (  اللص والكلاب ) is written in the narrative mode of streams of consciousness, the first of its kind encountered in Arabic literature, wherein the speaker's thought processes are depicted within the text. Drifting between internal monologuing, soliloquys, and a third person view, we bear witness not only to the travails and hardships being physically undergone, but also to main character Said Mahran's raging inner conflict, turmoil, and hateful conviction as he attempts to revenge himself upon those he perceived to have done him wrong. Employing literary techniques that saves "Thief and the Dogs" from fading into obscurity, Mahfouz skilfully fleshes out the otherwise one-dimensional plot line and characters into an existentialist piece that actively provokes independent thought from its readers.

"There'll be terror, now, he told himself, in the middle of pleasure, and joy will

suddenly vanish but it's no fault of yours: chaos and confusion envelop us all like the

vault of the sky. Didn't Rauf Ilwan used to say that our intentions were good, but we

lacked order or discipline?" 

Naguib's characterization of Said is only possible through the narrative alternating between third person viewpoints and his interior monologues. Writing in this manner is an effective way to see what is going through our protagonist's head, what makes him tick, and grants license to form a connection with his personality whilst simultaneously providing insight into his humanity, or lack thereof. As such, at least in regards to his character or his plight, we are better able to sympathize, empathize, or detest him altogether.

Although highly effective when appropriately utilized, a piece written using streams of consciousness is vulnerable to certain flaws. The vivid descriptions of Said's mannerisms, thought processes, and moral character all paint a detailed portrait of the man, but the entirety of the novel is perceived through the eyes of Said, and no other; thus, most of the information is presented with his bias, rather than from unprejudiced sources that would provide an alternative view of events. The plot is also prone to possible incomprehensibility, stemming from the rapid alternating between reality and monologue blurring the message originally meant by Naguib. Furthermore, the lack of variability in viewpoints prevents the reader from forming an informed conclusion based on an analysis of the broader picture. 

PERDITVS IN INTREPRETATIO

Literature, be it modern or antiquated, encompasses such a broad expanse of ideas that multiple lifetimes would yet prove insufficient were one to attempt to immerse ones self in the various diversities inherent among the written works presently in existence.


The English language is a fickle thing; non-native speakers find it understandably difficult to fully comprehend certain intricacies, such as the meaning of a word changing based on the words preceding or succeeding it, and then being entirely different depending on context. This allows a certain liberty in the forming of sentences, but leads to difficulties in accurately transcribing texts of other dialects. Just as English has its own special set of rules, other languages subscribe to wholly dissimilar breeds of structure. In fact, there exists a multitude of words unable to be properly translated at all; succinct in nature, many bypass this by providing a description the word, yet still lacking the true essence of the original.


Through reading, we are given the unique ability to bear witness to the thoughts, actions, history, and cultures of characters and locations fictional and genuine alike; Hephzibah, in one of the provided class articles, mentions the thrill often experienced in a taste of the unfamiliar. However, Feng Tang's situation touches upon some of the pitfalls an attempted translation must frequently surpass; die-hard fans of the original text are oftentimes in denial of the authenticity of the transliterated, due to inconsistencies in structure, absent cultural references, contextual in-congruence, word choice, or the integrating of the interpreter's personal style. In their original form, an extract could be as profound as an Asimov, or its author comical and witty enough to be dubbed an Oriental Pratchett; the conversion process, however, could result in the oft-occurring loss of the narrative's true spirit. Thus, rather than a piece transcending the mundane, being reduced to a homogeneous substance, unrecognizable as a work of art among the relatively standard sharers of shelf space.


Nonetheless, these limits, though far from inconsequential, are not reasonable enough excuses to completely abandon pursuit of a study in translated works. There is a Japanese term, 'Kintsugi', which refers to repairing broken pottery with gold and silver; as a philosophy, it treats breakage and repair as part of the object's history, adding on to it rather than deducting from its value. Through this lens, translated projects are important works in their own right; yes, perhaps a loss of original content occurs in the process. However, it allows for a reading otherwise impossible unless mastery of other tongues were achieved.