Translate the two highlighted paragraphs

of the following text into Arabic.

Affliction of translation
Mezouar Al-Idrisi
June 9, 2017

Criticism is generally defined as a descriptive language

or, in more technical terms, meta-language; In the sense
that it is a language that takes another language as its
subject, so that it makes sure that it is speech over speech,
so that it is similarWith translation Which its practitioners,
theorists, and even its readers will not disagree with is
that it is speech based on speech, because its basis is a
first text around which it is formulated another text which
is another linguistic form of it or a copy.
And beingTranslationWords, they are the other, this means
that they fell within the magical statement that Abu
Uthman sought refuge fromBigeyeTwice; The first in his
book “Al-Bayan and Al-Tabiyyin” by saying “O God, we
seek refuge in You from the temptation of speech”, and
the second in “The Book of Animals” when he said: “We
seek refuge with God from the trial and error of speech.”
But how can translation be a sedition, when its original
goal is mediation to achieve understanding and
understanding?
It is known that translation is a creative act that
recreates the original text by doubling its emotional,
stylistic, pictorial and interpretive energy. It is certain
that through this diligence it expresses its fascination
with the original, that is, it has its own, and it has a
meaning from the meanings of the word "sedition"
which the dictionary tells us that it has different
meanings and we see it. To certify the translation
according to the direction and interpretation to which
the word is subject.
However, let us agree at the outset that pleasure
drives the act of reading, and that the reader enjoys
reading the text in its original source because it
guarantees pleasure for him, and when it is difficult for
him to read in a foreign language, he is forced a lot to
read creative works in the world translated into his own
language, and that the translator is also seeking to bring
about pleasure The same that the author used to create in
his reader in the original language of the work, so the
strife here will be infatuation.
The dictionary tells us that a child is a trial like money,
and the translation teaches us that the translator
introduces the translated text whilst he is perfecting it
with love, that is, he is so fascinated by him even as he is
a child of his own, and seeks to be attributed to him, and
boast that he is the one who embraces it.
But those involved in translation, both in theory and
practice, know that the greatest ambition of every
translation is to burn the original, to fascinate the reader
from it, that is, to divert it from it, to cancel it and destroy
it, and to refer only to itself.
Was not Ibn al-Muqaffa’s act in “Kalila wa Dimna” a
burning of the Indo-Persian origin, and a literal
application of one of the meanings of “Fate”َNَWhere is
the origin of “Kalila wa Dimna” in India and Persia? And
what did it end up with? And to whom is the book
attributed now?
There is no doubt that translation is similar to fire also
in terms of sorting and distinction. It distinguishes
good texts from bad ones, just as fire charms silver
and gold by melting them to distinguish the bad from
the good in them.
It seems that Al-Jahiz, when he invoked Arabic poetry
and its value in the context of his talk about translation,
was aware that translation is a metaphorical fire for the
original poetic test in Arabic poetry, when he
acknowledges that Arabic poetry [all] “cannot be
translated, nor is it permissible to transmit it, and when it
is converted. His rhythms were severed, his weight was
lost, his goodness was gone, and the position of the
exclamation fell, not like a scattered speech.
He is certain that Al-Jahiz was right, as many poems
failed to travel to the other banks, including the
commentator of the Qais, while a commentary on a joke
succeeded in gaining the admiration and appreciation of
the readers in the languages to which it was translated.
Perhaps the inability to translate the components referred
to by Al-Jahiz was the reason for the weakness of the first
poem in translation, and for the emergence of the strength
and depth of the existential experience of Tarfa’s poem,
but it is also certain that the fire of translation was the
charm of the prize.