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The Koran In English Biography

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Three modern and recommended English translations from the 21th century are the ones by Ali Quli Qara’i, Abdel Haleem* and Ahmad Zaki Hammad*.
In the following year, a Jew of Iraqi origin and a translator by profession Niseem Joseph Dawood, produces his translation, The Koran in 1956 (5th revised ed., Harmondsworth: Penguin Books 1990, further revised 1995). Compared with many available translations at the time, he somehow succeeded his stated aim to make the language modern and readable. However, he ignored much of Arberry’s insight and attempted the quranic text in a much relaxed contemporary idiom and future rearranging its chapters by the fairly meaningless pattern of size (shortest to longest; in the 1980s he or the publishers reverted back to the standard textual order in a revised edition). Dawood’s translation was seen to take too many liberties with the text of the Qur’an and to contain many inaccuracies. Even though Dawood’s work have been among the most widely available translation of the Qur’an (mostly due to the publisher), his work contains many inaccuracies and mistranslation as pointed out by reviewers.The Egyptian engineer Rashad Khalifa published The Quran: The Final Scripture (Authorized English Version) Arizona, 1978. Fascinated by what he came to see as the prime divine “unknown” underlying all religious mystery, Khalifa began to explicate all things in accordance with the number 19. In his attempts to defend his “miracle of 19”, Khalifa claimed that the two verses 9:128-129 were apocryphal. Although it is to some degree promoted by his supporters, this translation has never gained much scholarly attention.The second Jewish translator of the Qur’an was undertaken by Aharon Ben Shemesh*, The Noble Quran, Massada Press 1971. The translation is scattered with polemical reinterpretations that seek to locate the Quran in Old Testament origins. The translation has never gained much support outside of polemical circles.Of the few other non-Muslim translations that have appeared in the last two decades, the one by Thomas Cleary*, The Qur’an, Starlatch Press 2004, should be mentioned. The style is somewhat uneven, shifting abruptly between exceedingly ordinary language and glaring poetic flights – sometimes even mixed within a given verse. Furthermore there exists some bizarre in the italic styles used by Cleary to differentiate between the Speech of the Divine and peculiar English word choices for Arabic (e.g. “Those who disbelieve” (alladhīna kafarū) as “The Atheistic”).

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