خلاصة:
ترجمة شعر به دلیل ظرافت‌های زبانی و ادبی ویژة آن، همواره از حساسیت بالایی برخوردار بوده است. در این میان، شعر معاصر فارسی که از لحاظ شکل، قالب و مضمون با شعر سنتی مغایرت دارد، تجربههای بسیار متفاوتی را هنگام ترجمه از سر گذرانیده است. افزون بر مترجمان عرب که دهههاست به برگردان اشعار شاعران ایرانی اهتمام ورزیدهاند، مترجمان ایرانی نیز در این مجال طبع‌آزمایی کرده‌اند. حاصل این برگردان و طبعآزماییها در بیشتر موارد، ارائه ترجمهای نثرگونه از شعر معاصر بوده است؛ بیآنکه به سبک شاعر و ویژگیهای شعری او توجهی شود. در پژوهش حاضر با تکیه بر نظریۀ وینی و داربلنه، شعر «مهتاب» نیما یوشیج در ترجمه‌های موسی بیدج، عارف زغلول و حیان محمدحسن مورد ارزیابی قرار گرفته است. نتایج حاصل از آن نشان میدهد که دو مترجم عرب با گرایش به ترجمة غیرمستقیم کوشیدهاند تا با نهایت استفاده از رویة جابه‌جایی و تعدیل و تعادل، تصاویر شعری نیما را برای مخاطب عرب‌زبان بازآفرینی کنند، اما در مقابل، مترجم ایرانی کوشیده است با ارائۀ ترجمهای لغوی از شعر مهتاب، به سبک نیما در انتخاب واژگان و تصاویر پایبند بماند.
Because of its linguistic and literary precision, the translation of poem has atracted human's sensibility. Among them, in temporary poem, the translation of modern poem was experienced differently, since its form, stile and purporst are different from classic poem Mahtab Nima Yoshij's poetry, like many of her free and complete verses, is devoid of similes and poetic images in the ancient style and is formed in the form of codes and metaphors without parallels. In terms of content, the poem is very delicate and beautiful. It shows the poet's doubt, anxiety, worry, longing and sorrow at the threshold of the path he is hesitant to take or not, and in front of a collapsed palace and a sleepy and sad people give Undoubtedly, the translation of such poems will be successful if it is examined according to the context and intellectual atmosphere of the poet. beside of arab translators who tried to render persian poems into Arabic since recent decades, Persian translators have worked on this survey as well. The purpose of this research is to measure the performance of Arab and Iranian translators in the face of new poetry and its translation through the direct and indirect translation strategy of Vinny and Darbelneh. These strategies have seven procedures, the procedures of borrowing, extracting, and literal translation are related to direct translation, and the strategy of indirect translation covers the four procedures of displacement, balance, and modification. Following each of these procedures in the mentioned translations will determine the performance of the translators in providing an audience-oriented or text-oriented translation. The resultant of these endeavours is almost similar to prosaic texts, without paying attention to the poet's stylistics and his/her poems features. In this research, Mahtab poem of Nima Yooshij in Moosa Bidaj's translation Dr. Aref Alzoghlool and Hyyan Muhammad Alhasan have been investigated based on the theory of Viney & Darbelent. Results indicate that both arab translators tried to recreate poetic pictures of Nima for arab audience, by using substitution, regulation and balance processes in indirect translation. in contorary, the iranian translator presented a literal translation of Mahtab, tried to remain in Nima's style of using words and etc. By using the technique of lexical translation and, as a result, source-oriented translation, she tried to stick to Nima's style as much as possible in repeating certain words and inventing new ironies, and she turned to conceptual translation only when necessary. It seems that the translation of Nima's poems requires the use of both direct and indirect strategies in order to preserve his poetic style and to witness a translation that is suitable for the audience and worthy of the name with appropriate equivalence and not just expressing the meaning
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