Question 1

How does the "not only... but also" structure work in this sentence?

Accepted Answer

Farsi uses na tanhâ for "not only" in the first clause. To create the "but also" half, it starts the second clause with balke (but/rather) and includes ham (also/too) after the subject of that second clause. Together, this creates the pattern na tanhâ ... balke ... ham.

Question 2

How does the phrase tarrâh-e raghs translate to "choreographer"?

Accepted Answer

This is an ezâfe construction linking tarrâh (designer, planner, or architect) and raghs (dance). A choreographer in Farsi is quite literally referred to as a "designer of dance".

Question 3

Why does the Farsi use majzub shod (became fascinated) when the English translation says "was fascinated"?

Accepted Answer

While English frequently uses the static "was" for emotional states, Farsi often prefers the dynamic verb shodan (to become) for psychological reactions triggered by a specific event. Using shod emphasizes the action of falling into that state—the choreographer became fascinated by what they saw.

Question 4

Why is ham placed immediately after tamâshâgarân?

Accepted Answer

The word ham (also) typically follows the exact word it modifies. Because the sentence is drawing a parallel between the two groups of people (the choreographer and the audience), placing ham directly after tamâshâgarân emphasizes that the audience too liked the dance.

نه تنها طراح رقص مجذوب شد، بلکه تماشاگران هم رقص را دوست داشتند.

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