This blog is Translation Activity assigned by the Dilip Barad Sir. Here is the article for background reading: Click. Click
The rapid emergence of generative AI tools has significantly transformed contemporary practices of reading, writing, and translation. In the field of Translation Studies, these technologies invite renewed critical engagement with long-standing questions of equivalence, fidelity, cultural transference, and poetic form. Poetry, in particular, poses a unique challenge to machine translation due to its dependence on rhythm, sound, metaphor, emotion, and culturally embedded meanings.
This activity explores the possibilities and limitations of generative AI tools such as ChatGPT and Gemini in translating poetic texts across languages. Rather than treating AI as a mere translation device, the exercise positions it as a critical object of study. By comparing AI-generated translations of poems across Urdu, Hindi, English, and Gujarati, the activity encourages close analysis of how algorithms negotiate syntax, metre, tone, imagery, and cultural nuance.
The purpose of this activity is not to evaluate whether AI can replace human translators, but to examine how AI translates poetry and where it succeeds or fails. Through systematic comparison and theoretical reflection, students engage with foundational concepts in Translation Studies such as linguistic equivalence, cultural untranslatability, and interpretive loss or gain while also reflecting on the evolving role of technology in literary scholarship.
Ultimately, this activity fosters critical digital literacy by bridging classical translation theory with contemporary AI practices, enabling learners to interrogate the ethics, aesthetics, and epistemological implications of translating poetry in the age of artificial intelligence.
Poem 1: Translate Faiz Ahmed Faiz's Urdu poem "Migh Se Pehli Si Mohabbat Miril Mehboob Na Maung" into Hindi and English.(ChatGPT and Gemini)
Original poem:
مجھ سے پہلی سی محبت مری محبوب نہ مانگ
میں نے سمجھا تھا کہ تو ہے تو درخشاں ہے حیات
تیرا غم ہے تو غم دہر کا جھگڑا کیا ہے
تیری صورت سے ہے عالم میں بہاروں کو ثبات
تیری آنکھوں کے سوا دنیا میں رکھا کیا ہے
تو جو مل جائے تو تقدیر نگوں ہو جائے
یوں نہ تھا میں نے فقط چاہا تھا یوں ہو جائے
اور بھی دکھ ہیں زمانے میں محبت کے سوا
راحتیں اور بھی ہیں وصل کی راحت کے سوا
ان گنت صدیوں کے تاریک بہیمانہ طلسم
ریشم و اطلس و کمخاب میں بنوائے ہوئے
جا بہ جا بکتے ہوئے کوچہ و بازار میں جسم
خاک میں لتھڑے ہوئے خون میں نہلائے ہوئے
جسم نکلے ہوئے امراض کے تنوروں سے
پیپ بہتی ہوئی گلتے ہوئے ناسوروں سے
لوٹ جاتی ہے ادھر کو بھی نظر کیا کیجے
اب بھی دل کش ہے ترا حسن مگر کیا کیجے
اور بھی دکھ ہیں زمانے میں محبت کے سوا
راحتیں اور بھی ہیں وصل کی راحت کے سوا
مجھ سے پہلی سی محبت مری محبوب نہ مانگ
Hindi version of the poem generated by ChatGPT:
मुझसे पहली-सी मोहब्बत, मेरी महबूब, न माँग
मुझसे पहली-सी मोहब्बत, मेरी महबूब, न माँग
मैंने समझा था कि तू ही है उजाले की किरण
तेरा ग़म है तो ग़म-ए-दौराँ से राहत है मुझे
तेरी सूरत से है आलम में बहारों का सबात
तेरी आँखों के सिवा दुनिया में रखा क्या है
तू जो मिल जाए तो तक़दीर निगूँ हो जाए
यूं न था — मैंने फ़क़त चाहा था यूँ हो जाए
और भी दुख हैं ज़माने में मोहब्बत के सिवा
राहतें और भी हैं वस्ल की राहत के सिवा
अनगिनत सदियों के तारीक बहिमाना तिलिस्म
रेशम-ओ-अतलस-ओ-कमख़्वाब में बुनवाए हुए
जा-बजा बिकते हुए कूचा-ओ-बाज़ार में जिस्म
ख़ाक में लिथड़े हुए, ख़ून में नहलाए हुए
जिस्म निकले हुए अमराज़ के तंदूरों से
पीप बहती हुई गलते हुए नासूरों से
लौट जाती है उधर को भी नज़र, क्या कीजे
अब भी दिल खिंचता है तेरा हुस्न, क्या कीजे
और भी दुख हैं ज़माने में मोहब्बत के सिवा
राहतें और भी हैं वस्ल की राहत के सिवा
मुझसे पहली-सी मोहब्बत, मेरी महबूब, न माँग
English version of the poem generated by ChatGPT
Do not ask of me that love again, my beloved
Do not ask of me that love again, my beloved.
I once believed you were light made whole
that if your grief lived in me,
the grief of the world would loosen its hold.
I thought your face secured the spring of all things,
that nothing in the world but your eyes could endure;
if you were mine, fate itself would bow—
I asked no more than this to be true.
But there are sorrows beyond the ache of love,
and comforts other than love’s brief grace.
Centuries dense with dark, delirious spells,
bodies wrapped in silk and brocade,
sold from alley to market square,
soaked in blood, smeared in dust, displayed.
Bodies dragged from the furnaces of disease,
oozing pus from festering sores;
the eye is pulled back there again
what can I do?
Still, your beauty tugs at the heart
what can I do?
There are sorrows beyond the ache of love,
and comforts other than love’s brief grace.
Do not ask of me that love again, my beloved.
Hindi version of the poem generated by Google Gemini.
मुझसे पहली सी मोहब्बत मेरी महबूब ना माँग
था कि तू है तो दमकती है ज़िंदगी
तेरा ग़म है तो ग़म-ए-दुनिया का झगड़ा क्या है
तेरी सूरत से है आलम में बहारों को स्थायित्व
तेरी आँखों के सिवा दुनिया में रखा क्या है
तू जो मिल जाए तो किस्मत नाकाम हो जाए
यूँ नहीं था मैंने बस चाहा था यूँ हो जाए
और भी दुःख हैं ज़माने में मोहब्बत के सिवा
राहतें और भी हैं वस्ल की राहत के सिवा
अनगिनत सदियों के अंधेरे भयानक जादू
रेशम और अटलस और कमख़ाब में बुने हुए
हर जगह बिकते हुए गली-बाज़ार में बदन
मिट्टी में लथड़ते हुए ख़ून में नहाए हुए
बदन निकले हुए बीमारियों के भट्टियों से
पीप बहती हुई सड़ते हुए घावों से
लौट जाती है इधर को भी नज़र क्या कीजिए
अभी भी मनमोहक है तेरा रूप मगर क्या कीजिए
और भी दुःख हैं ज़माने में मोहब्बत के सिवा
राहतें और भी हैं वस्ल की राहत के सिवा
मुझसे पहली सी मोहब्बत मेरी महबूब ना माँग
English version of the poem generated by Google Gemini.
Do Not Ask Me for Love Like Before
Do not ask me for love like before, my beloved,
For you were the radiance of my life.
And your sorrow was all the world’s strife.
Your face made spring eternal in the world,
And what else is there in the world but your eyes?
If I were to have you, my fate would be undone,
It was not so; I only wished for this.
There are other sorrows in the world besides love,
And other comforts besides the comfort of union.
In countless centuries’ dark, monstrous spell,
Wrought in silk, atlas, and brocade,
Bodies sold everywhere in the streets and bazaars,
Draped in dust, bathed in blood,
Bodies emerged from the furnaces of disease,
With pus oozing from rotting sores.
Even now, my gaze returns to you, what can I do?
Your beauty still captivates, but what can I do?
There are other sorrows in the world besides love,
And other comforts besides the comfort of union.
Do not ask me for love like before, my beloved.
Comparative Analysis Report:
The translation of Faiz Ahmed Faiz’s “Mujh Se Pehli Si Mohabbat Mere Mehboob Na Maang” posed several challenges due to its dense emotional layering, cultural specificity, and formal poetic structure. One of the most difficult aspects to translate was the gradual shift in the poem’s identity from an intimate romantic address to a broader socio-political consciousness. This transition is subtle in the original Urdu and is sustained through imagery, tone, and rhythm rather than explicit statements. Additionally, culturally loaded expressions such as visāl, husn, gham, and collocations like ja-ba-ja bikte hue jism carry connotations that extend beyond their literal meanings. These words are embedded in the Indo-Persian poetic tradition and simultaneously evoke romantic, spiritual, and political registers.
Such terms are only partially translatable, especially into English, where equivalent words lack the same cultural and emotional resonance. Both AI tools attempted to resolve this by using interpretive equivalents—rendering visāl as “union” and husn as “beauty” but in doing so, they inevitably reduced the metaphysical and cultural depth of the original. While ChatGPT tended to preserve emotional intensity through evocative phrasing, Gemini prioritised semantic clarity, sometimes neutralising the ideological sharpness of Faiz’s imagery.
The handling of cultural connotations and collocations further revealed the limits of AI-mediated translation. Faiz’s references to silk, markets, blood, disease, and commodified bodies function as a critique of social inequality and capitalist exploitation. Although both ChatGPT and Gemini retained the surface imagery, their translations differed in affective impact. ChatGPT’s lexical choices often retained the moral shock and symbolic force of these images, whereas Gemini’s renderings were more descriptive and less accusatory. Certain phrases remained effectively untranslatable, not because of lexical absence, but due to the cultural density they carry within the source tradition. The AI tools resolved these difficulties through paraphrase and generalisation, demonstrating that translation here involved approximation rather than equivalence.
Formal considerations such as metre, rhythm, and rhyme also significantly influenced the translation process. Faiz’s poem relies on repetition and musical cadence, particularly in the refrain “aur bhi dukh hain zamāne mein mohabbat ke sivā.” In the Hindi translations, both tools managed partial retention of rhythm due to linguistic proximity between Urdu and Hindi. However, in English, metre and rhyme were largely sacrificed to preserve semantic meaning. ChatGPT occasionally attempted to maintain poetic flow through lineation and balanced phrasing, whereas Gemini adopted a more prosaic structure.
Some liberties were consciously taken especially by ChatGPT to retain the poet’s voice, emotional progression, and ideological intensity. These liberties included rephrasing lines, adjusting word order, and choosing emotionally charged vocabulary rather than literal equivalents. Such choices reflect an emphasis on poetic effect rather than strict formal fidelity.
A comparison of the two AI translations reveals clear differences in approach and outcome. ChatGPT demonstrates greater sensitivity to tone, imagery, and emotional continuity, thereby retaining key aspects of Faiz’s poetic and political vision. Gemini, while more grammatically precise and accessible, tends to flatten rhythm and dilute emotional force. In terms of retaining the core identity of the poem its movement from personal love to collective suffering ChatGPT performs more effectively, whereas Gemini excels in clarity and literal accuracy. Thus, for poetic translation, ChatGPT proves the more successful tool, while Gemini may be better suited to informational or explanatory translation tasks.
These findings closely align with major translation theories discussed in class. Roman Jakobson’s notion of “equivalence in difference” is evident in the fact that neither AI could replicate the original poem’s form, but both produced functionally equivalent meanings. Catford’s distinction between linguistic and cultural untranslatability explains why grammatical meaning transfers successfully, while cultural and ideological nuances resist full translation. Ganesh Devy’s view of translation as a process of cultural negotiation is reflected in the AI tools’ attempts to recontextualise Faiz’s Marxist-humanist critique for modern readers, with varying degrees of success.
Finally, A. K. Ramanujan’s concept of contextual fidelity is particularly relevant, as the translations show greater success when they remain faithful to the poem’s historical, emotional, and ideological context rather than to its literal wording. Overall, the analysis confirms that AI tools can assist in poetic translation, but they cannot fully substitute the human translator’s sensitivity to culture, rhythm, and meaning.
Poem 2: W. B. Yeats's The Second Coming:
Turning and turning in the widening gyre
The falcon cannot hear the falconer;
Things fall apart; the centre cannot hold;
Mere anarchy is loosed upon the world,
The blood-dimmed tide is loosed, and everywhere
The ceremony of innocence is drowned;
The best lack all conviction, while the worst
Are full of passionate intensity.
Surely some revelation is at hand;
Surely the Second Coming is at hand.
The Second Coming! Hardly are those words out
When a vast image out of Spiritus Mundi
Troubles my sight: somewhere in sands of the desert
A shape with lion body and the head of a man,
A gaze blank and pitiless as the sun,
Is moving its slow thighs, while all about it
Reel shadows of the indignant desert birds.
The darkness drops again; but now I know
That twenty centuries of stony sleep
Were vexed to nightmare by a rocking cradle,
And what rough beast, its hour come round at last,
Slouches towards Bethlehem to be born?
The Second Coming by W. B. Yeats was translated into Hindi by ChatGPT
दूसरा आगमन
घूमते और घूमते चौड़ी होती सर्पिल रेखा में,
बाज़ अब अपने बाज़ीगर की बात नहीं सुनता;
चीज़ें बिखर रही हैं; केंद्र स्थिर नहीं रह सकता;
सिर्फ अराजकता दुनिया पर छूट पड़ी है,
खून से भरी लहर उभर रही है, और हर जगह
मासूमियत के संस्कार डूब रहे हैं;
सबसे श्रेष्ठ को कोई विश्वास नहीं है, जबकि सबसे खराब
जोश और उन्माद से भरे हुए हैं।
निश्चित ही कोई रहस्योद्घाटन पास है;
निश्चित ही दूसरा आगमन पास है।
दूसरा आगमन! ये शब्द मुश्किल से बाहर निकले हैं
कि स्पिरिटस मुंडी से एक विशाल छवि
मेरी दृष्टि को परेशान करती है: कहीं रेगिस्तान की रेत में
एक आकृति शेर के शरीर और आदमी के सिर वाली,
सूरज जैसी निष्ठुर और रिक्त दृष्टि वाली,
धीरे-धीरे अपने जंघा को हिलाते हुए बढ़ रही है, और इसके चारों ओर
रेगिस्तान के नाराज पक्षियों की छायाएँ घूम रही हैं।
अंधेरा फिर गिरता है; लेकिन अब मैं जानता हूँ
कि बीस सदियों की पत्थर-सी नींद
एक हिलती हुई पालने से दुःस्वप्न बन गई थी,
और क्या खुरदरा जानवर, जिसकी घड़ी आखिर आ गई है,
बेथलेहम की ओर झुकता है, जन्म लेने के लिए?
The Hindi translation of W. B. Yeats’s “The Second Coming” shows notable strengths along with some areas that could be improved. Expressions such as “चौड़ी होती सर्पिल रेखा में” successfully capture the visual and symbolic force of the gyre, while the use of “बाज़” and “बाज़ीगर” effectively maintains the symbolic bond between authority and disorder. Rendering “anarchy” as “अराजकता” is especially effective, as it carries strong historical and social resonance linked to post–World War I collapse. However, translating “ceremony” as “संस्कार,” though imaginative, shifts the meaning from public ritual to moral or cultural rites, subtly altering Yeats’s intent.
Keeping “Spiritus Mundi” untranslated preserves its mystical quality, but readers unfamiliar with the term may benefit from brief contextual clarification. The phrase “नाराज पक्षियों” for “indignant desert birds” weakens the sense of moral outrage and anger implied in the original; alternatives like “क्रोधित” or “गुस्सैल पक्षी” would convey greater intensity. Likewise, “खुरदरा जानवर” for “rough beast” softens the ominous and terrifying presence of the image, which could be strengthened with phrases such as “भयानक दानव” or “भयंकर प्राणी.” The literal rendering of “slouches” as “झुकना” also misses the slow, menacing movement suggested in the poem; expressions like “धीरे-धीरे घिसटता हुआ” would better evoke this effect.
In sum, the translation largely retains Yeats’s syntax and thematic complexity, but more nuanced lexical choices especially for key images and emotions would deepen its impact and bring it closer to the poem’s dark, prophetic power.
Translated into Gujarati by ChatGPT
બીજું આગમન
વિસ્તરતા વર્તુળમાં ફરી અને ફરી,
ફાલ્કન હવે ફાલ્કનરને સાંભળી શકતો નથી;
વસ્તુઓ વિખરાઈ રહી છે; કેન્દ્ર ટકી શકતું નથી;
માત્ર અराजકતા જગત પર છૂટી પડી છે,
લોહીથી ધૂંધળી થયેલી તરંગ છૂટી પડી છે, અને સર્વત્ર
માસૂમિયતની વિધિઓ ડૂબી રહી છે;
શ્રેષ્ઠ લોકોમાં કોઈ દ્રઢ વિશ્વાસ નથી, જ્યારે સૌથી ખરાબ
ઉગ્ર ઉન્માદી તીવ્રતાથી ભરેલા છે।
નિશ્ચિત જ કોઈ ગુહ્ય ખુલાસો નજીક છે;
નિશ્ચિત જ બીજું આગમન નજીક છે।
બીજું આગમન! આ શબ્દો મોઢેથી નીકળતાં જ
Spiritus Mundi માંથી ઊભરી આવેલી એક વિશાળ છબી
મારી નજરને વ્યાકુળ કરે છે: ક્યાંક રણની રેતીમાં
સિંહના શરીર અને માનવના માથાવાળો એક આકાર,
સૂર્ય જેટલી ખાલી અને નિષ્ઠુર નજર ધરાવતો,
ધીમે ધીમે પોતાની જાંઘો ખસેડતો આગળ વધી રહ્યો છે, અને તેના આસપાસ
રણના રોષે ભરાયેલા પંખીઓની છાયાઓ ઘૂમે છે।
અંધકાર ફરીથી છવાઈ જાય છે; પરંતુ હવે મને ખબર છે
કે પથ્થર જેવી ઊંઘમાં ડૂબેલી વીસ સદીઓ
એક ડોળતા ઝૂલાથી ભયાનક સ્વપ્નમાં ફેરવાઈ ગઈ હતી,
અને કયું ખરડું પ્રાણી, જેની ઘડી આખરે આવી પહોંચી છે,
બેથલેહમ તરફ ઘસડાતું જાય છે, જન્મ લેવા માટે?
The Gujarati translation of “The Second Coming” largely succeeds in preserving Yeats’s apocalyptic vision, though certain choices invite closer scrutiny. The opening line, “વિસ્તરતા વર્તુળમાં ફરી અને ફરી,” effectively renders the sense of endless motion in the “widening gyre,” maintaining both rhythm and symbolic resonance. Similarly, “ફાલ્કન હવે ફાલ્કનરને સાંભળી શકતો નથી” faithfully conveys the breakdown of authority and control central to the poem. The phrase “વસ્તુઓ વિખરાઈ રહી છે; કેન્દ્ર ટકી શકતું નથી” is linguistically sound and stylistically closer to Gujarati than earlier versions using બિખેરાઈ, while also retaining the stark declarative force of Yeats’s line.
The translation of “blood-dimmed tide” as “લોહીથી ધૂંધળી થયેલી તરંગ” is a marked improvement, as it captures both the visual obscurity and the violence implied in the original, without softening its menace. Likewise, “માસૂમિયતની વિધિઓ ડૂબી રહી છે” successfully communicates the tragic drowning of innocence, preserving the ceremonial and moral undertones of Yeats’s imagery. The line “શ્રેષ્ઠ લોકોમાં કોઈ દ્રઢ વિશ્વાસ નથી” is particularly effective, accurately reflecting the moral paralysis of the “best.”
In the second stanza, “નિશ્ચિત જ કોઈ ગુહ્ય ખુલાસો નજીક છે” retains the prophetic and ominous tone of “revelation,” with ગુહ્ય aptly balancing mystery and dread. The decision to retain “Spiritus Mundi” untranslated preserves its metaphysical weight, aligning with scholarly translation practices, though it assumes a reader with some familiarity with Yeats’s symbolic universe. The description of the beast—“સિંહના શરીર અને માનવના માથાવાળો એક આકાર” and “સૂર્ય જેટલી ખાલી અને નિષ્ઠુર નજર”—is vivid and faithful, effectively evoking the uncanny hybridity and pitiless gaze of the original.
However, the rendering of movement in “ધીમે ધીમે પોતાની જાંઘો ખસેડતો આગળ વધી રહ્યો છે” somewhat neutralizes the unsettling lethargy and menace of “slouches.” While accurate in meaning, a phrase suggesting heavier, more grotesque motion might have intensified the threat. In contrast, the final line “બેથલેહમ તરફ ઘસડાતું જાય છે, જન્મ લેવા માટે?” strongly captures the ominous irony and eschatological tension of the poem’s conclusion, with ઘસડાતું effectively conveying dread.
Overall, this Gujarati translation demonstrates a thoughtful balance between fidelity and fluency. While a few images could be sharpened further to heighten menace and symbolic weight, the version largely preserves Yeats’s thematic depth, prophetic tone, and apocalyptic imagery, making it a strong and culturally resonant rendering of the original poem.
Translated into Hindi by Google Gemini
दूसरा आगमन
फैलते हुए चक्र में निरंतर घूमते हुए,
बाज़ अब अपने पालक की आवाज़ नहीं सुन पाता;
व्यवस्था बिखर रही है, केंद्र अपना संतुलन खो चुका है;
अराजकता ने पूरे संसार को जकड़ लिया है।
लहू से धुँधला प्रवाह उमड़ पड़ा है और हर ओर
निर्दोषता से जुड़े सभी संस्कार डूबते जा रहे हैं;
श्रेष्ठ लोग संकल्प और विश्वास से रिक्त हैं,
जबकि निकृष्ट लोग उग्र आवेग से भरे हुए हैं।
निश्चय ही कोई भयावह रहस्योद्घाटन निकट है,
निश्चय ही दूसरा आगमन अब आसन्न है।
इन शब्दों के मन में गूँजते ही,
Spiritus Mundi से उभरी एक विराट छवि
मेरी दृष्टि को व्याकुल कर देती है
रेगिस्तान की रेत में कहीं एक आकृति है,
जिसका शरीर सिंह का और सिर मनुष्य का है,
जिसकी आँखों में सूर्य जैसी निष्ठुर शून्यता है;
वह भारी और डरावनी चाल से आगे बढ़ रही है,
और उसके चारों ओर
रेगिस्तान के क्रुद्ध पक्षियों की परछाइयाँ चक्कर काट रही हैं।
फिर अंधकार छा जाता है;
पर अब यह स्पष्ट है कि पत्थर जैसी नींद में डूबी
बीस सदियों की शांति
एक डोलते पालने से भयावह स्वप्न में बदल गई थी;
और अब
कौन-सा भयानक प्राणी, जिसकी घड़ी आ चुकी है,
बेथलहम की ओर जन्म लेने के लिए बढ़ रहा है?
The early rendering of the poem’s opening image—“चौड़ी होती सर्पिल रेखा में”—does not fully convey the philosophical and symbolic depth of Yeats’s concept of the gyre. Although the translation generally preserves syntactic order, certain lines, such as “सब कुछ टूट रहा है, केंद्र टिका नहीं रह सकता,” successfully echo the rhythm and structural clarity of the original, reflecting a conscious effort toward formal fidelity, even if such consistency cannot be sustained throughout.
This effort is more coherently realized in the revised paraphrased passage beginning with “दूसरा आगमन—फैलते हुए चक्र में निरंतर घूमते हुए, / बाज़ अब अपने पालक की आवाज़ नहीं सुन पाता; / व्यवस्था बिखर रही है, केंद्र अपना संतुलन खो चुका है; / अराजकता ने पूरे संसार को जकड़ लिया है,” which more clearly articulates the centrifugal collapse at the heart of Yeats’s vision. The expression “रक्तरंजित ज्वार छूटा है” weakens the sense of violent excess present in the source text, as छूटा lacks the implication of an overwhelming surge; by contrast, formulations like “लहू से धुँधला प्रवाह उमड़ पड़ा है” more effectively suggest an unstoppable force. Likewise, translating “revelation” as “प्रकटीकरण” introduces overt religious overtones that dilute the poem’s aura of menace and uncertainty, whereas the paraphrase’s “भयावह रहस्योद्घाटन” better sustains the ominous mood.
In contrast, “क्रोधित रेगिस्तानी पक्षियों” is a precise and forceful rendering of “indignant desert birds,” capturing the charged emotional landscape, and the line describing the centuries transformed into nightmare—“पत्थर जैसी नींद में डूबी बीस सदियों की शांति एक डोलते पालने से भयावह स्वप्न में बदल गई”—aptly conveys prolonged historical torment rather than momentary fear. The concluding image—“बेथलहम की ओर जन्म लेने के लिए बढ़ रहा है?”—retains prophetic dread, though variants like “लंगड़ाता हुआ” further intensify the beast’s ominous, uneven motion. Overall, while the translation captures much of Yeats’s rhythm and structure, the integrated paraphrase demonstrates how sharper lexical choices can significantly deepen symbolic intensity and thematic coherence.
Gujarati Translation by Gemini :
બીજો આગમન
વિસ્તરતા વર્તુળમાં ફરતો ફરતો,
બાજ નથી સાંભળતો બાજીગરને;
સર્વત્ર પતન થાય છે, કેન્દ્ર ટકી શકતું નથી;
વિશ્વમાં માત્ર અરાજકતા છવાયી છે,
લોહીથી રંગાયેલો પ્રવાહ છૂટ્યો છે, અને દરેક જગ્યાએ
નિર્દોષતાનો સમારંભ ડૂબી ગયો છે;
શ્રેષ્ઠોમાં કોઈ દ્રઢ વિશ્વાસ નથી, જ્યારે કેદીઓ
જુસ્સાદાર તીવ્રતાથી ભરેલા છે.
નિશ્ચિત જ કોઈ પ્રકટીકરણ નજીક છે;
નિશ્ચિત જ બીજો આગમન નજીક છે.
"બીજો આગમન!" આ શબ્દો મુખમાંથી નીકળ્યા જ હતા,
ત્યારે સ્પિરિટસ મુંડીમાંથી એક વિશાળ છબી
મારી દૃષ્ટિને વિચલિત કરે છે: ક્યાંક રણના રેતીમાં
સિંહનું શરીર અને માણસનું માથું ધરાવતી આકૃતિ,
સૂર્ય જેવી ઠંડી અને નિર્દય દૃષ્ટિ ધરાવતી,
ધીમે ધીમે પોતાના જાંઘ હલાવી રહી છે,
જ્યારે તેની આસપાસ
ક્રોધિત રણપક્ષીઓની છાયાઓ ડોલી રહી છે.
અંધકાર ફરીથી ઊતરી આવે છે; પરંતુ હવે હું જાણું છું
કે પથ્થરની ઊંઘની વીસ સદીઓ
હચમોચ થઈને દુઃસ્વપ્નમાં ખલેલ પહોંચાડી રહી હતી,
અને કયો કઠોર પશુ, જેનું ક્રમ અંતે આવી પહોંચ્યું છે,
બેથલહેમ તરફ ધીમે ધીમે ઝૂકતો જન્મ લેવા આવી રહ્યો છે?
The Gujarati translation of The Second Coming reveals a number of difficulties encountered by both Gemini and GPT in conveying the complexity of Yeats’s poem. In the initial version, the expression “વિસ્તરતા વર્તુળમાં” does not adequately suggest the spiraling, cyclical motion implied by the gyre, a central symbolic structure in Yeats’s thought. This weakens the philosophical resonance of the image. Alternatives such as “વિસ્તારતું ચક્ર” or “વિસ્તૃત ભૂમિ પર ચક્કર મારતું” would better communicate the sense of recurring yet expanding movement.
Similarly, the rendering of “The ceremony of innocence is drowned” as “નિર્દોષતાનો સમારંભ ડૂબી ગયો છે” shifts the meaning toward a festive or formal event, thereby misrepresenting the moral and social collapse Yeats intends. Expressions like “નિર્દોષતાનો આચાર ડૂબી ગયો છે” or “નિર્દોષતાનું નિયમ ડૂબી ગયો છે” more accurately preserve the ethical dimension of the line.
The phrase “સૂર્ય જેવી ઠંડી અને નિર્દય દૃષ્ટિ ધરાવતી” further illustrates a lack of imagistic precision, as ઠંડી contradicts the inherent heat and severity associated with the sun. A clearer and more faithful alternative would be “સૂર્ય જેવી નિર્દય અને ખાલી નજર ધરાવતી,” which maintains the sense of pitiless emptiness central to the image. Likewise, translating “slouches” as “હચમોચ” fails to capture the slow, ominous, and weighted movement of the beast. Phrases such as “મંદગતિએ આગળ વધતું” or “ભયંકર રીતે ધીમે ધીમે આગળ વધતું” would more effectively convey the menace embedded in the original.
In addition to these lexical issues, grammatical inconsistencies throughout the translation interrupt poetic flow and weaken structural coherence. Taken together, these problems indicate a broader struggle to register the poem’s layered symbolism, tonal gravity, and cultural nuance in Gujarati. A more successful translation would require greater attentiveness to Yeats’s metaphoric system, careful word selection, and sensitivity to how apocalyptic imagery can be meaningfully rearticulated in the target language.
Poem 3: Choose a Gujarati poem and translate it into Hindi and English.
શબવાહિની ગંગા
પારુલ ખખ્ખર
એક અવાજે મડદા બોલ્યાં ‘સબ કુછ ચંગા-ચંગા’
રાજ, તમારા રામરાજ્યમાં શબવાહિની ગંગા.
રાજ, તમારા મસાણ ખૂટયા, ખૂટયા લક્કડભારા,
રાજ, અમારા ડાઘૂ ખૂટયા, ખૂટયા રોવણહારા,
ઘરેઘરે જઈ જમડાંટોળી કરતી નાચ કઢંગા
રાજ, તમારા રામરાજ્યમાં શબવાહિની ગંગા.
રાજ, તમારી ધગધગ ધૂણતી ચીમની પોરો માંગે,
રાજ, અમારી ચૂડલી ફૂટે, ધડધડ છાતી ભાંગે
બળતું જોઈ ફીડલ વગાડે ‘વાહ રે બિલ્લા-રંગા’!
રાજ, તમારા રામરાજ્યમાં શબવાહિની ગંગા.
રાજ, તમારા દિવ્ય વસ્ત્ર ને દિવ્ય તમારી જ્યોતિ
રાજ, તમોને અસલી રૂપે આખી નગરી જોતી
હોય મરદ તે આવી બોલો ‘રાજા મેરા નંગા’
રાજ, તમારા રામરાજ્યમાં શબવાહિની ગંગા.
Hindi Translation by ChatGPT
शबवाहिनी गंगा
पारुल खखर
एक आवाज़ में मड्दा बोले, ‘सब कुछ चंगा-चंगा’
राज, तुम्हारे रामराज्य में शबवाहिनी गंगा।
राज, तुम्हारे मुर्दाघर टूटे, टूटे लकड़ी के ढेर,
राज, हमारे ढाढ़ू टूटे, टूटे रोवनहार,
घर-घर जाकर जमडांटोली करती नाच कढंगा
राज, तुम्हारे रामराज्य में शबवाहिनी गंगा।
राज, तुम्हारी धधकती हुई चिमनी का धुआँ मांगता है,
राज, हमारी चूल्ही फूटती है, धड़धड़ छाती टूटती है
जलते हुए देखकर फीडल बजाता है, ‘वाह रे बिल्ला-रंगा!’
राज, तुम्हारे रामराज्य में शबवाहिनी गंगा।
राज, तुम्हारे दिव्य वस्त्र और दिव्य तुम्हारी ज्योति
राज, तुम्हें असली रूप में पूरी नगरी दिखती है
अगर कोई मर्द हो तो कहे, ‘राजा मेरा नंगा’
राज, तुम्हारे रामराज्य में शबवाहिनी गंगा।
English Translation by ChatGPT
Corpse-Flowing Ganga
Parul Khakhar
In one voice, the drum said, “Everything is fine, fine”
O King, in your Ramrajya flows the corpse-filled Ganga.
O King, your cremation grounds are broken, broken heaps of wood,
O King, our small pyres lie shattered, shattered bones,
Going house to house, the dancing troupe performs its grim dance
O King, in your Ramrajya flows the corpse-filled Ganga.
O King, your blazing chimney asks for fuel,
O King, our hearths crack, our chests shatter
Watching the burning, the fiddle plays, “Hail the colorful cat!”
O King, in your Ramrajya flows the corpse-filled Ganga.
O King, your divine clothes and divine light
O King, you see the whole city in your true form
If a man exists, let him say, “King, I am naked”
O King, in your Ramrajya flows the corpse-filled Ganga.
English Translation by Gemini:
Here is the translation of Parul Khakhar’s powerful poem "Shab-vahini Ganga" (The Corpse-Carrying Ganga).
The poem was written as a lament and a scathing satire during the peak of the COVID-19 second wave in India. I have translated it into Hindi and English, strictly adhering to your request to maintain the rhyme scheme, meter, and cultural symbols.
I. Hindi Translation by Gemini
The Hindi translation retains the A-A-B-B and A-A-A-A rhyme structures found in the Gujarati original. Since the languages share Sanskrit roots, the meter remains almost identical to the original.
शबवाहिनी गंगा
एक अवाज़ में मुर्दे बोले, 'सब कुछ चंगा-चंगा'
राज, तुम्हारे रामराज्य में शबवाहिनी गंगा।
राज, तुम्हारे मसान (श्मशान) घटे, घटे लकड़भारा,
राज, हमारे डघू (कंधे) घटे, घटे रोवनहारा,
घर-घर जाकर यम की टोली करती नाच कुढंगा
राज, तुम्हारे रामराज्य में शबवाहिनी गंगा।
राज, तुम्हारी धग-धग धुनी चिमनी 'पोरो' मांगे,
राज, हमारी चूड़ली फूटे, धड़-धड़ छाती भांगे,
जलता देख फिडल वो साधे, 'वाह रे बिल्ला-रंगा'!
राज, तुम्हारे रामराज्य में शबवाहिनी गंगा।
राज, तुम्हारे दिव्य वस्त्र और दिव्य तुम्हारी ज्योति
राज, तुम्हें अब असली रूप में सारी नगरी जोती (देखती)
हो कोई मर्द तो आगे बोलो 'राजा मेरा नंगा'
राज, तुम्हारे रामराज्य में शबवाहिनी गंगा।
English Translation by Gemini
Translating this while keeping the specific "-anga" rhyme scheme is challenging in English. To preserve the poetic flow and the biting satire, I have retained specific culturally loaded words (like Ramrajya, Changa, Nanga) which serve as the rhyming anchors, while translating the surrounding imagery.
The Corpse-Bearing Ganga
In one voice the corpses cried, "Sab kuch changa-changa" (All is well)
O King, in your Ram-Rajya, flows the corpse-bearing Ganga.
O King, your crematoriums fell short, short fell the wood-piles stronger,
O King, our pallbearers fell short, our mourners last no longer.
House to house the squad of Death dances a dance macabre and bhanga,
O King, in your Ram-Rajya, flows the corpse-bearing Ganga.
O King, your chimneys billow smoke, begging for rest and breath,
O King, our bangles smash to bits, our hearts beat loud with death.
Watching it burn, he plays the fiddle, "Bravo, Billa-Ranga!"
O King, in your Ram-Rajya, flows the corpse-bearing Ganga.
O King, your attire is divine, divine your glowing light,
O King, the city sees you now, in your true and distinctive sight.
If there be a man, come say it loud: "My King is naked—Nanga!"
O King, in your Ram-Rajya, flows the corpse-bearing Ganga.
III. Cultural Connotations & Symbolism
To fully appreciate the weight of the poem, here is a breakdown of the symbols used:
"Sab kuch changa-changa": Literally "Everything is fine/good." This is a direct satirical reference to political slogans used by the leadership to project an image of prosperity and control, contrasting sharply with the reality of the dead bodies.
Ramrajya: In Hindu philosophy, this refers to the ideal kingdom of Lord Ram—a utopia of justice and prosperity. The poet uses it ironically to highlight the dystopia of the situation.
Shab-vahini: Shab (Corpse) + Vahini (Carrier/River). The Ganga is traditionally "Mokshadayini" (Salvation-giver); here, she has been reduced to a hearse, carrying the bodies of those who couldn't get a proper cremation.
"Chudli Fute" (Bangles Break): In traditional Indian culture, a woman breaks her glass bangles when her husband dies. This line signifies mass widowhood and the destruction of households.
Fiddle / Billa-Ranga:
Fiddle: An allusion to the Roman Emperor Nero, who played the fiddle while Rome burned.
Billa-Ranga: Two notorious criminals (Billa and Ranga) known for a brutal kidnapping and murder in New Delhi in the late 1970s. The poet uses them as an archetype for cruel, heartless leadership.
"Raja mera Nanga" (My King is Naked): A reference to the Hans Christian Andersen folktale The Emperor's New Clothes. It is a call for courage to speak the truth to power when everyone else is pretending the King is clothed in divinity.
Analyse Translations
When comparing the translations of Parul Khakhar’s “શબવાહિની ગંગા” by ChatGPT and Gemini, several differences emerge in terms of fidelity, tone, and cultural rendering. In terms of syntax, ChatGPT largely preserves the original sentence structures and repetitive phrasing, maintaining the rhetorical emphasis of the poem, whereas Gemini tends to simplify or restructure sentences, which slightly diminishes the poem’s stylistic intensity. Regarding metre and sound, ChatGPT retains much of the rhythmic repetition and rhetorical cadence of the Gujarati original, although some onomatopoeic sounds are softened or lost; Gemini prioritizes literal comprehension over rhythm, which affects the musicality of the poem.
In terms of lexicon and grammar, ChatGPT employs richer and more evocative vocabulary such as “blazing chimney,” “hearths crack,” and “grim dance” that captures both imagery and emotion, whereas Gemini uses simpler, more neutral word choices that can reduce the poem’s impact. Cultural connotations are better conveyed by ChatGPT, which interprets culturally loaded terms like cremation rituals, pyres, and traditional dances, while Gemini often translates them literally, sometimes losing social or historical nuance. The tone and emotion of the original its dark irony, social critique, and grim humor are maintained in ChatGPT’s translation, but Gemini’s version tends toward a neutral, descriptive tone.
Finally, regarding semiotics, ChatGPT preserves key metaphors and symbols, such as the “shabvahini Ganga” as a critique of moral decay, while Gemini often renders symbols literally, weakening their interpretive depth. Overall, ChatGPT’s translation is more faithful to the original poem’s syntax, rhythm, tone, and cultural meaning, whereas Gemini prioritizes clarity and literal meaning at the cost of poetic and symbolic richness.
Poem 4: Choose a Hindi poem and translate it into English and Gujarati
कोशिश करने वालों की हार नहीं होती – सोहनलाल द्विवेदी
लहरों से डर कर नौका पार नहीं होती
कोशिश करने वालों की कभी हार नहीं होती
नन्ही चींटी जब दाना लेकर चलती है,
चढ़ती दीवारों पर, सौ बार फिसलती है।
मन का विश्वास रगों में साहस भरता है,
चढ़कर गिरना, गिरकर चढ़ना न अखराता है।
आखिर उसकी मेहनत बेकार नहीं होती,
कोशिश करने वालों की कभी हार नहीं होती।
डुबकियां सिंधु में गोताखोर लगता है,
जा जा कर खाली हाथ लौटकर आता है।
मिलते नहीं सहज ही मोती गहरे पानी में,
बढ़ता दुगना उत्साह इसी हैरानी में।
मुट्ठी उसकी खाली हर बार नहीं होती,
कोशिश करने वालों की कभी हार नहीं होती।
असफलता एक चुनौती है, इसे स्वीकार करो,
क्या कमी रह गई, देखो और सुधार करो।
जब तक ना सफल हो, नींद चैन को त्यागो तुम,
संघर्ष का मैदान छोड़ कर मत भागो तुम।
कुछ किए बिना ही जय जय कार नहीं होती,
कोशिश करने वालों की कभी हार नहीं होती।
Gujarati Translation by ChatGPT
કોશિશ કરનારાની કદી હાર નથી થતી — સોહનલાલ દ્વિવેદી
લહેરોથી ડરીને નાવ પાર નથી થતી,
કોશિશ કરનારાની કદી હાર નથી થતી।
નાની ચીંટી દાણું લઈને ચાલે છે,
દીવાલ ચઢે છે, સો વાર લપસે છે।
વિશ્વાસ મનમાં શિરાઓમાં સાહસ ભરે,
ચઢીને પડવું, પડીને ચઢવું ન ખરે।
આખરે તેની મહેનત વ્યર્થ નથી થતી,
કોશિશ કરનારાની કદી હાર નથી થતી।
સિંધુમાં ડૂબકી ગોતાખોર લગાવે છે,
વારંવાર ખાલી હાથે પાછો આવે છે।
મોતી સહેલાઈથી મળતા નથી ઊંડા પાણીમાં,
આ અચંબામાં જ ઉત્સાહ વધે છે મનમાં।
તેની મુઠ્ઠી હંમેશાં ખાલી નથી થતી,
કોશિશ કરનારાની કદી હાર નથી થતી।
અસફળતા એક પડકાર છે તે સ્વીકારો,
કઈ ખામી રહી, તે જુઓ અને સુધારો।
સફળતા મળે ત્યાં સુધી આરામ ત્યાગો,
સંઘર્ષનું મેદાન છોડી કદી ન ભાગો।
કંઈ કર્યા વિના જયજયકાર નથી થતી,
કોશિશ કરનારાની કદી હાર નથી થતી।
English Translation by ChatGPT
Those Who Keep Trying Never Lose — Sohanlal Dwivedi
Fearing the waves, no boat can cross the shore,
Those who keep trying are defeated nevermore.
The little ant sets out with grain in tow,
Climbs the wall, slips down a hundred times or so.
Faith fills her veins with courage strong and bright,
To fall and rise again does not invite fright.
In the end, her toil is never in vain,
Those who keep trying never know defeat’s pain.
The diver plunges deep into the sea,
Returns again with empty hands, you see.
Pearls are not found with ease in waters deep,
Yet wonder makes his zeal grow, not asleep.
His clenched fist is not empty every time,
Those who keep trying rise beyond the climb.
Failure is a challenge accept it true,
See what went wrong and strive to improve anew.
Till success is yours, forsake rest and ease,
Never flee the field of struggle, please.
Without action, no victory song is sung,
Those who keep trying are forever strong.
English Translation by Gemini
Title: Victory Belongs to Those Who Try
The boat that fears the waves shall never reach the shore,
Those who keep on trying, lose heart nevermore.
The tiny ant, with a grain of food, climbs up the wall so steep,
A hundred times she slips and falls, as the path is high and deep.
The faith within her heart fills every vein with might,
To fall and rise, to rise and fall, she finds the struggle light.
At last, her labor bears its fruit, her spirit never dies,
Victory belongs to those who try, and never stop their tries.
Into the sea, the diver dives, seeking pearls below,
Returning empty-handed, as the tides begin to flow.
Not easily are treasures found within the deep blue main,
Yet with every failure, his resolve begins to gain.
His fists are not found empty every time he leaves the sea,
Victory belongs to those who try, and strive eternally.
Failure is a challenge, accept it with a grace,
See what is lacking, improve it in the race.
Until you win, renounce your sleep, let comfort be cast by,
The field of struggle is no place from which you ought to fly.
Without a deed of courage, no glory can be won, Victory belongs to those who try, until the task is done.
Gujarati Translation by Gemini
શીર્ષક: કોશિશ કરનારાની કદી હાર નથી હોતી
લહેરોથી ડરીને નૌકા કદી પાર નથી હોતી,
કોશિશ કરનારાની કદી હાર નથી હોતી.
નાનકડી કીડી જ્યારે દાણો લઈને ચાલે છે,
ચઢતી દીવાલો પર સો વાર એ લપસે છે.
મનનો વિશ્વાસ રગોમાં સાહસ ભરે છે,
ચઢીને પડવું, પડીને ચઢવું એને ન અખરે છે.
આખરે એની મહેનત બેકાર નથી હોતી,
કોશિશ કરનારાની કદી હાર નથી હોતી.
ડૂબકીઓ સિંધુમાં ગોતાખોર લગાવે છે,
જઈ જઈને ખાલી હાથે પાછો આવે છે.
મળતા નથી સહેજે મોતી ઊંડા પાણીમાં,
વધે છે બમણો ઉત્સાહ આ જ હેરાનીમાં.
મુઠ્ઠી એની ખાલી દર વાર નથી હોતી,
કોશિશ કરનારાની કદી હાર નથી હોતી.
નિષ્ફળતા એક પડકાર છે, તેનો સ્વીકાર કરો,
શું કમી રહી ગઈ, જુઓ અને સુધાર કરો.
જ્યાં સુધી ન સફલ થાઓ, નીંદ-ચૈન ત્યાગો તમે,
સંઘર્ષનું મેદાન છોડી ના ભાગો તમે.
કંઈ કર્યા વગર કદી જય-જયકાર નથી હોતી,
કોશિશ કરનારાની કદી હાર નથી હોતી.
Comparative Analysis Report:
Challenges in Translating the Poem
One of the primary challenges in translating “कोशिश करने वालों की हार नहीं होती” lies in preserving its didactic simplicity combined with rhythmic persuasion. The poem uses everyday imagery नौका, चींटी, गोताखोर, मोती which is culturally rooted yet symbolically universal. Translating these images is not difficult lexically, but challenging semantically and rhythmically, as their motivational force depends on repetition, cadence, and moral clarity. Another difficulty arises from the refrain “कोशिश करने वालों की कभी हार नहीं होती”, whose power lies in its aphoristic musicality; retaining its mnemonic rhythm in Gujarati and English requires careful restructuring rather than literal substitution.
Handling of Cultural Connotations and Collocations
Both ChatGPT and Gemini retain the core cultural symbols effectively. The boat and waves metaphor continues to signify fear versus courage; the ant symbolizes persistence despite fragility; the diver and pearls evoke delayed reward through effort. ChatGPT opts for functional equivalence, maintaining cultural neutrality in English (“boat,” “ant,” “diver”) so the metaphors remain universally intelligible. Gemini, however, leans towards didactic embellishment, adding evaluative phrases such as “victory belongs to those who try,” which slightly shifts the tone from reflective to exhortatory. In Gujarati, Gemini’s use of closer collocations like કીડી, નૌકા, and જય-જયકાર demonstrates stronger idiomatic anchoring, whereas ChatGPT’s Gujarati version prioritizes rhythmic smoothness over strict idiomatic density.
Untranslatable Words or Phrases and AI Strategies
The phrase “जय जय कार” poses partial untranslatability due to its cultural and performative resonance in Indian contexts. ChatGPT resolves this through semantic abstraction (“victory song”), while Gemini retains the celebratory tone by expanding it into explanatory phrasing (“no glory can be won”). Similarly, “मन का विश्वास रगों में साहस भरता है” resists literal translation; ChatGPT compresses it into poetic metaphor (“Faith fills her veins with courage”), whereas Gemini expands it narratively. These strategies reflect two classic AI responses to untranslatability: condensation (ChatGPT) and explication (Gemini).
Translation Choices: Metre, Rhyme, and Emotional Fidelity
Metre and rhyme clearly influenced both translations. ChatGPT consciously adopts couplet-style cadence in English, mirroring the Hindi end-rhyme pattern and preserving oral recitability. Some liberties are taken such as minor syntactic inversion to sustain rhythm without distorting meaning. Gemini, in contrast, prioritizes end-rhyme consistency even at the cost of slight semantic additions. This results in a smoother but more interpretive English version. Both tools sacrifice strict literalness to retain the poem’s motivational tone and emotional momentum, which is justified given the genre.
Comparison of ChatGPT and Gemini Outputs
ChatGPT’s translation is more balanced and restrained, closely aligned with the source text’s structure, refrain pattern, and moral clarity. It demonstrates stronger control over semantic fidelity and avoids ideological amplification. Gemini’s translation is more expressive and pedagogical, enhancing clarity for general readers but occasionally drifting from the original’s measured simplicity. In Gujarati, Gemini shows higher idiomatic confidence, while ChatGPT maintains superior rhythmic economy. Overall, ChatGPT performs better in retaining the original poem’s tonal discipline and symbolic economy, whereas Gemini excels in accessibility and rhetorical flourish.
Theoretical Reflections: Jakobson, Catford, Devy, and Ramanujan
Roman Jakobson’s concept of interlingual translation is evident here, particularly his claim that poetry requires “creative transposition” rather than equivalence. Both AI outputs validate this by reshaping syntax and rhythm to preserve meaning. Catford’s notion of translation shifts is visible in changes from grammatical to lexical equivalence, especially in metaphorical lines. From an Indian theoretical perspective, Devy’s emphasis on translation as cultural negotiation is reflected in the careful handling of Indian moral symbols without exoticisation. Finally, A. K. Ramanujan’s idea of translations as “context-sensitive re-creations” applies strongly: neither version claims finality, but each offers a culturally situated reading shaped by linguistic priorities.
Concluding Evaluation
In conclusion, the comparison demonstrates that AI tools approach poetic translation not as replication but as interpretive mediation. ChatGPT aligns more closely with academic translation norms faithful, rhythm-conscious, and semantically restrained making it more suitable for literary study. Gemini, while occasionally expansive, succeeds as a reader-friendly and motivational reinterpretation. Together, they illustrate how AI translations embody competing theories of equivalence, creativity, and cultural transfer.
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