2024-01-02 20:31:19
In his beautiful story “An Ordinary Woman,” Italian writer Alberto Moravia discusses the ambiguous relationship between the simple and the complex. The “ordinary” woman, according to her description of herself, says while talking regarding herself: “The problem is that when I am at my saddest, I am happy with my unhappiness. I am complicated, aren’t I?” But the woman soon asks herself, and others, the following question: “I would like to know who is and what is not complicated?” At school I learned that there are organisms that have one cell, so they are called unicellular organisms, and I am ready to swear that if I gave these organisms the right to speak, they would scream in public: “We are complex, terribly complex.”
I do not know if there are similarities between this approach to the relationship between the “ordinary” and the “complex,” and what we call in writing “the easy but impossible,” from the following angle: If even the ordinary is complex, then not everything that appears easy is devoid of depth. In our Arabic literature, the most reliable example of “The Impossible Plain” is Taha Hussein, who combined depth of content with smoothness of expression, which made reading his books not only carrying the cognitive benefit alone, but also for the pleasure of receiving, but “The Impossible Plain” is not a private matter. In our Arabic literature alone, and the translator of “The Mobile Banquet” into Arabic, which we mentioned two days ago, gives us the name of Ernest Hemingway as an example of the “easy and impossible” in literature written in the English language, because he moved in English writing “from the stage of elegant expression to simple, humble expression.” What made him an inspiring writer for other writers who came following him.
For example, Gabriel García Márquez says that he learned from Ernest Hemingway, whom he considers, by the way, not a great novelist but an excellent story writer, a valuable lesson that “narrative writing is like an iceberg, it must be supported by the invisible part, which is summed up in all the ideas, studies, and materials.” collected.” As for our late Syrian writer Hanna Minna, who, according to him, believes in the ancient Greek philosophical saying: “Nothing comes out of nothing,” he points out that he was influenced, at least in his beginnings, by the novels of Naguib Mahfouz, Tawfiq al-Hakim, and Radwan al-Shahhal, among writers. Arabs. He also loved Dickens and Balzac, but he believes that Hemingway is one of two people whom he finds closest to him. The second is Maxim Gorky.
The “impossible plain” of Hemingway’s style does not make it easier to translate his literature into Arabic, but rather makes it difficult, according to the translator of “The Moving Banquet.” If it is very easy for the translator to understand Hemingway’s writing, it is not easy to formulate what he read from his simple phrases with the same simplicity in our language.
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