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The Holy Quran has been translated to very diverse languages from the distant past and through this, has found opportunities to transfer its sublime teachings to people with different languages and distinctive cultures. In addition to translating the Holy Quran in and of itself, these efforts have caused various works on theoretical and practical issues of the translation of the Holy Quran, and its principles and methodology have been discussed. In continuation of the same effort, this study would like to introduce "the etymology of roots" as an effective method in finding equivalents, and to apply it in a matter of the root "LBS". Muslim scholars have mentioned different analyses, and occasionally incoherent ones about this Arabic root in their exegetical and linguistic works, which is also manifested in translations of the Holy Quran. Applying "the etymology of roots", this study tried for the first time to investigate the root "LBS" in all branches of Semitic languages, and understand its original meaning, and then probe its semantic changes up to the age of the revelation of the Holy Quran. Moreover this study discussed strong and weak points of the equivalents proposed in Persian and English translations of the Holy Quran.

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Study and recognition and comparison of the divine names, plays an important role in understanding, translation and interpreting the Qur'an. In this research by using descriptive and analytical method, the eight divine names in the field of creation are examined. Based on Arabic poetry and prose, words of linguists and commentators, linguistic contexts, and succession relations, their exact meaning and their use in different verses should be revealed. "Sanee" means who create with precision, science and power. "Sanee" translated to "Maker". "Khaliq" means who create on the basis of size and creativity. The word "Khaliq" in Qur'an is associated with two names: "Rabb" (The Lord) and Razegh" (The Provider). "Khaliq" translated to "Creator"."Fatir" means who fission the inexistence and signifies God's power and greatness. "Fatir" translated to "Bringer". "Mobde", according to its antonyms [Moiid], means who began the creation. "Mobde" translated to "Producer". "Monshe" means the creator who exalt the creations. "Monshe" translated to "Establisher". "Badiee" implies that the Creator's innovation and his needless from former matter and form "Badiee" translated to "Originator". "Bare" means the Creator who himself and His creations are isolated from all flaws. "Bare" translated to "Shaper". "Zare" means the creator that his creations are vast, wide, and dispersed. "Zare" translated to "Multiplier". Without questioning it must consider the conceptual difference between these names in the translation, interpretation and cite of the verses.

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The translation of "Ambiguity", especially in the Holy Quran, is one of the most challenging topic in linguistics. A variety of techniques have been proposed to eliminate it, including the Garces technique. This model using Newmark's views, examines "the amount of positive and negative attributes that indicate adequacy and acceptability of the T.T". The study with a counter-analytical approach, examined translations of Mojtabavi and Saffarzadeh from the part 30 of the Qur'an to improve the quality of translated text, especially in the challenges of linguistic ambiguity, based on a scientific theory and model. And based on statistics, the quantities of these techniques have been compared. And the adequacy and acceptability of each translation is outlined in the first six Surah. The result showed that according to Garcés model, Mojtaba's translation with ambiguous and virtual words has a higher adequacy and acceptance than Saffarzadeh. Saffarzadeh, with unambiguous text, has undergone creative and complex additions to transparency; Especially in virtual vocabulary. On the other hand, in cases that need to be "explained", such as Qur'anic allusions, Mojtabavi's translation is less adequacy and acceptable than Saffarzadeh. Generally, Mojtabavi techniques have a higher level of adequacy and acceptability in disambiguation.
 

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Sentence:  ﴿وَ لمَّا سُقِطَ فیِ أَیْدِیهِم﴾has been considered by Quranic commentators and Arab writers. There is a wide difference in the literary analysis of this sentence and its meaning. Most scholars have considered this interpretation as an allusion or metaphor of regret. And they have tried to make a connection between the apparent meaning of the words of this sentence and the meaning of regret. The result of this effort is fourteen different words in the literary-rhetorical analysis of this sentence. And some commentators think that sentence a means to face something sudden, distasteful and scary, and regret may follow such an encounter. The accuracy of verse 149 of Surah A'raf, the study of the sayings of the commentators, and the search for earlier and contemporary Arabic texts reinforce this view. The translators of the Holy Quran used different ways to translate this sentence. Most translators, following the commentators, have considered this sentence to mean regret. Some translators have translated it word for word: It fell into their hands / It was thrown into their hands. Some translators have translated this sentence: They found that they had believed in the wrong. The best option for translating this interpretation into English seems to be: "When the matter was dropped in their hands" (Translation of the Qur'an By T. B. Irving).

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Since Quran has been revealed in Arabic, a precise perception and translation of its words has always been of special importance for non-Arabic speakers. Paying attention to the precise meaning of words is seen as the most essential step in offering a precise translation and staying faithful to the text. Here, the word 'asaver', which has been used four times in the Quran and introduced as one of the gifts from heaven, is especially important. Using a descriptive-analytic method, the current research examines the meanings of the word 'asaver' and analyzes the Persian translations of this term stage by stage. At first, the meaning of the word 'asaver' was analyzed lexically, stylistically and using the opinions of the interpreters and historians. The results of the examinations at this stage showed that 'asaver' is the plural form of 'sevar' meaning any kind of ornament related to the hand and worn like a ring. At next stage, the Persian translations of the Quran were investigated. The results at this later stage reveal that all translators have been affected by the result of the first stage. What matters is that none of the lexicologists, interpreters and translators have heeded the otherworldly nature of the concept of asaver, treating it as synonymous with the word 'asverah' that has been used once in an Ayah and refers to the worldly ornamentation.
 

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The present paper is an attempt to reveal the typical difficulties to which are confronted translators of every sacred text. So, the authors of this research paper try to precise the meaning-form relations which arise from a corpus of the eighteen final surahs of the holy Quran. For this purpose, two translations of the holy book (those of Jacques Berque and Hamidullah), the most attested and credible, have been chosen and studied in this research to determine the tendencies which deform the source text while translating and which leads to different outputs. By this way, the present work will show the impact of the moderation to find out the right way between the fidelity to the form and the loyalty to the meaning.