From line 21 to line 24, Dryden creates an extended hyperbolic image that portray the sense and reason as

a beam of light that penetrates the minds of everyone but Shadwell whose daylight is reduced to night,
courtesy of rising fogs. The problem hence for the translator is to create as effective an Arabic image as
that of the SL and make efforts to prompt the mind of the Arab reader to imagine as similar an image as
that of Dryden's. In fact, the image proceed from the preceding lines where Dryden depicts Shadwell as
the author that stands in firm favour of stupidity while others can claim the slightest of meaningfulness in
his writing, but he is never mistaken for sense. Still, the said subsequent hyperbolic image is more
delicate and challenging image for the translator to convey to Arab reader.

It should be noted that the translator should pay heedful attention to the expression "genuine night" while
transferring the problematic image. "Genuine night" is figurative and satiric and indeed only wittily
suggest that Shadwell lives a day that is more of a night due to his lack of sense or the lack of the light of
sense that the extended image prescribes, and this night, darkness or lack of sense is truly authentic and
cannot be a replica from any other author. Together with "fog", "night" has figurative or poetic meaning
that consequently leads to the problematic extended ST image.

Moreover, a prerequisite to the conveyance of the image that line 27 and line 28 portray is to examine the
the words "monarch oak" and "supinely". The monarch oak or royal oak is the English oak tree within
which the future King Charles II of England hid to escape the Roundheads following the Battle of
Worcester in 1651. Scientifically named "Quercus robur" , the Arabic equivalent is "‫اﻟﺒﻠﻮط اﻟﻘﻮي‬/‫ "اﻟﺴﻨﺪﯾﺎن‬but
is referring only to the scientific word and lexical meaning and not the variation "monarch/ royal oak"
underlain by the English story, and for this reason monarch oak lacks Arabic equivalent. ("Royal Oak, "
2021).

Furthermore, though the adjectival lexeme "supine" has Arabic equivalent, the adverb "supinely" does not
(Ba'labki, 2016, p.1181; Doniach, 1972, p. 1228). According to Merriam Webster's online dictionary,
supinely has the archaic meaning of sloping or leaning backwards, the state often seen in a monarch oak,
and the word in this sense effectively collocates with reign to evoke a subtle visual image. To illustrate,
Dryden metaphorically likens Shadwell's ludicrous claim for writing comedy parallel to that of Ben
Jonson (i.e. thoughtlessness) to a monarch oak. The monarch oak is contextually perfect for the
monarchical status of the heir apparent Shadwell, then the monarch oak is personified to solemnly spreads
branches and supinely reign; reign bearing figurative meaning. In essence, the words "monarch oak",
"solemn", "supinely" and "reign" weave the fabric of the ST image and therefore are the starting points
and later the yardstick of success of rendition for the translator to produce a parallel, similarly esthetic
Arabic image.

Nonetheless, a more problematic task is the burden of conveying the embedded Biblical allusion of line
29 and line 30 using the reference to foreign English playwrights. The ST allusion is about the idea that
the two dramatists Thomas Heywood and James Shirley prefigure the advent of Shadwell as the last
"final" great prophet of tautology in the same way Solomon prefigures the advent of Christ. As for the
culturally bound proper nouns, Shirley has Arabic equivalent (Ba'labki, p. 266) but Heywood does not
and consequently poses a problem.

4.3.3 Thematic Account

From line 31 to line 43, Flecknoe claims that he is even more renowned dunce than Heywood and Shirley

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