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The paper posits that Urdu is a naturally heteroglossic or polyphonic language which was invariably exploited by its white colonizers to suit different administrative and political purposes. A historical overview of Urdu is thus taken to explore its debatable status as an indigenous language, its multiple roles and titles during its long history and its exploitive use during the British Raj. Bakhtin's linguistic theory of Heteroglossia is used as a framework for analyzing data taken from two sources: The "Glossary of the British Raj" and "Kipling's glossary of Hindustani-Urdu-Hindi words". The sample consisted of words chosen to reflect three identities of Urdu during the British rule: postcolonial, functional, and oriental. The findings revealed Urdu's natural tendency to adapt to roles that are diverse in their range and import, for which reason it (Urdu) cannot be restricted to a regional identity. A similar approach is used in analyzing the language's status during the British Raj, a period in which its versatility is best expressed through the diverse uses the colonizers employed it for: a lingua franca, a functional language, the language of the subaltern and last but not the least, the alluring language of the Orient. The paper offers new perspectives for rediscovering a linguistic phenomenon: the Urdu language. [ABSTRACT FROM AUTHOR]

The paper posits that Poetry Translation is an unimpeded and uninhibited genre of Translation Studies which allows immense freedom to the translator to perceive and project the source text according to her social, cultural, and moral sensibilities and above all her aesthetic tendencies. This stance is supported through a diachronic and synchronic evaluation of diverse translations of selected passages of Homeric epics: the Iliad and the Odyssey. The research draws upon Eugene Nida's sociolinguistic approach to translation and his concept of Dynamic Equivalence for the interpretation and analysis of the Homeric texts. In doing so, the researcher highlighted the various literary techniques and approaches used by three renowned translators of Homeric epics: George Chapman, Alexander Pope, and Robert Fitzgerald, through a stylistic analysis and explored the socio-cultural factors behind their choice of translation strategies. The findings reiterated the viewpoint that poetry translators over the centuries have adopted fluid approaches to translating poetry in keeping with their individual perceptions regarding the principles that govern the craft of literary translation. [ABSTRACT FROM AUTHOR]