Both these approaches work well; they capture something of the hypnotic music of the original. Jones’s translation strikes me as slightly superior in this regard; in the Arabic, the verses dealing with inheritance or divorce are as seamlessly musical as the more rapturous passages. The “light verses” just quoted come in the midst of prescriptions covering matters as diverse as the manumission of slaves and the penalties for false witness, but even these are enlivened by homely and vivid touches, as when (in 24:31) women are enjoined not to stamp their feet to make the trinkets hidden beneath their garments tinkle coquettishly. Jones’s version preserves such grace notes. With Khalidi, there is the temptation to skip from one lyrical pinnacle to the next.
Still, Khalidi’s translation reads very well and often majestically. He alternates high-flown diction with more colloquial usages, and this lends immediacy to his version. His choices aren’t always successful; to describe God’s forgiveness as “Ever-Ready” makes it sound oddly rechargeable (but then again, perhaps it is). He also has a tendency to favour abstractions and Latinate terms, which give a somewhat misleading impression. The Arabic of the Koran is almost always direct and quite pungently physical. But these are small faults. In general, Khalidi realises in English that “harmony of expression” that George Sale singled out more than two centuries ago as the dominant feature of the original Arabic.
Khalidi’s translation gives us the Koran neat; it is unaccompanied by commentary or even by those terse explanatory footnotes previous translations include. But the Koran is not only a hard book to read; it is a hard book to know how to read. To confront the scripture head on is to risk stumbling into a veritable thicket of perplexity. In many ways, it was as hard for early Muslims to understand as it is for Muslims today (let alone non-Muslims).


















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