Problematic Account

Besides the crucial title, the censored proper noun "Sh " (line 15) is challenging.

The Arabic translation of the title is understandably of paramount importance, since the whole poetic
work of Mac Flecknoe that is special and vitally requires prior contextual understanding cannot be read
without an introduction that informs the recipient of the satirical motive of the author behind the lines.
Specifically, the titular character of the poem "Mac Flecknoe" will require an Arabic equivalent indicative
of the fact that Mac in English signify son. Although the expression "true-blue protestant" has Arabic
equivalence (Ba'labki, p. 926, p. 1261), the culturally bound political implication intended by the
publisher will be a challenge for the translator to render into Arabic. As for the lines of Mac Flecknoe, it
is interesting to see how the translator will deal with the removed letters of the proper noun Shadwell.

Still, a more problematic task is a highly likely lack of knowledge among Arabs about the English author
Thomas Shadwell. The Arab audience may not recognize Shadwell until his work psyche is referred to for
the first time (line 54). Arabised as "‫"ﺑﺴﯿﺸﺔ‬, the Arabic word refers in general to the story of Cupid-
arabised as "‫"ﻛﯿﻮﺑﯿﺪ‬- and Psyche, but not contextually to Shadwell's operatic work premised on such story.
In this sense, it is not safe to introduce Shadwell as the author of the Greek myth, and the proper noun
Shadwell is in this case a problematic culturally bound term.

Moreover, not being informed of the motive behind authoring a special poem that is foreign to the Arab
reader- Mock-heroic poetry in general and Mac Flecknoe in particular, will be a detriment to the
understanding and ultimately appreciation of the poem. In this regard, if the fact that Flecknoe has been a
Catholic priest and never a talented writer has been introduced to the Arab reader, then finding Arabic
equivalent to the co-primary, recurring figure of the poem will be considerably easier. It should in
addition be noted that the two human referents "Flecknoe" and "Shadwell" are highly significant and each
will be the pivot on which the poem rests, hence the respective Arabic equivalents that the translator will
provide will be the most important and burdensome task of the literary work.

4.3.2 Thematic Account

From line 16 to line 30, the monarch extols the distinct virtues of Shadwell on which he based his
selection; he is the only son who never pretends the slightest of sense and lets no logic into his writings.
Fortunately, Shadwell's corpulent body befits a royal inconsiderate and supine soul, and, in a prophetic,
Biblical fashion, even the out-of-fashion playwrights Thomas Heywood and James Shirley have
prefigured the advent of Shadwell as the last great advocate of nonsense, similar to Solomon's prefiguring
of Christ.

Problematic Account

Apart from the problematic image that extends from line 21 to line 24 (Some beams of wit on other souls
may fall/ Strike through, and make a lucid interval/ But Sh 's genuine night admits no ray/ His rising fogs
prevail upon the day), the lines comprise a metaphorical image (Thoughtless as monarch oaks that shade
the plain/ And, spread in solemn state, supinely reign; line 27 and line 28 respectively) and
Bible-influenced allusion to two English playwrights, Heywood and Shirley (line 29 and line 30).

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