the translation strategy of figurative language in a...
TRANSCRIPT
THE TRANSLATION STRATEGY OF FIGURATIVE LANGUAGE
IN A SONG OF THE SEA BY HSU CHIH MO’S POETRY
A Thesis
Submitted to Letters and Humanities Faculty in Partial Fulfillment
of the Requirement for the Degree of Strata One
RIMA FAUZIAH
NIM: 1110026000103
ENGLISH LETTERS DEPARTMENT
LETTERS AND HUMANITIES FACULTY
STATE ISLAMIC UNIVERSITY “SYARIF HIDAYATULLAH”
JAKARTA
2017
i
ABSTRACT
Rima Fauziah, The Translation Strategy of Figurative Language in A Song of the
Sea a Poetry by Hsu Chih Mo. Thesis: English Letters Department, Letters and
Humanities Faculty, State Islamic University “Syarif Hidayatullah” Jakarta,
August 2017.
The purpose of the research was to analyze the figurative language in
poetry translation and the strategy used by the translator of A Song of The Sea
written by Hsu Chih Mo which is translated under title Hilang Dara Datang Dara
by Chairil Anwar. This research was done by used qualitative method with
Pierini‟s theory about figurative language translation strategy, it also employed
the writer herself as the instrument to collected data by reading the poetry and its
translation, analyzed and justified for the research problems. The results of this
research were; eight from ten data were classified into personification of
figurative language, one datum was classified into hyperbole was shifted to
personification in translation poetry, and the other one was classified as
personification of figurative language was shifted into hyperbole, and the rest of
the data was classified as the allusion of figurative language. From the strategy
used analysis its founds, the translator did the translated with replacement strategy
on seven data; five of seven data were replaced with a different vehicle, and the
two others was classified as replacement with a gloss. Two from ten data were
used a literal translation strategy; the data number one and eight. At the rest of
datum, was classified as reduction translation strategy used by translator that
appear on twenty first line. By using these strategies, the translator succeeded in
translating the figurative language of source poetry into translation poetry. Which
was the translator maintained the intended meaning of the source figurative
language or the author‟s intentions. However at the aesthetic values, this
translation was delivered the meaning successfully of the sense and the sensations
in the translation poetry to the target reader.
Keywords: Translation, Poetry, Translating Strategy, Figurative Language,
Aesthetic values, A Song of the Sea
iv
DECLARATION
I hereby declare that this submission is my own work and that, to the best of my
knowledge and belief, it contains no material previously published or written by
another person nor material which to a substantial extent has been accepted for
the award of any other degree or diploma of the university or other institute of
higher learning, except where due acknowledgement has been made in the text.
Jakarta, August 2017
(Rima Fauziah)
v
ACKNOWLEDGEMENT
Bismillahirrahmanirrahim.
In the name of Allah, the most Gracious, the most Merciful, and the most
Beneficent
Praise is only for Allah SWT, Lord of the world. The writer is deeply
grateful to Him who gives her His blessing, guidance, healthy, ability, and
opportunity to accomplish this thesis. Blessing and salutation is upon to the most
honorable prophet and messenger our beloved prophet Muhammad SAW and all
of His followers.
This paper is presented to English Letters Department of Letters and
Humanities faculty UIN of Syarif Hidayatullah Jakarta as partial fulfillment of the
requirement for strata one degree. This thesis could not be complete without a
great deal of help from many people. Therefore, the writer would like to express
the highest gratitude and dedicated this thesis for her lovely mom Nilawati as the
best mom ever in this world and her lovely dad Madalih who always pray,
encourage, gives love and compassion, gives material that her need, working
hard, always trying to do the best, to accompany her the day by day, support her
all the time and gives a smile and happiness in her life. Sisters; Nurmila and
Maryana, and brothers; Jamal Lutfi, Muhammad Ilham, and Muhammad Wahda
Al-hadi who are giving spirit and passion every single day that makes the writer
strong. May Allah bless and give the greatest award for them.
The writer does not ever forget to mention her advisors; M. Agus Suriadi,
M.Hum and Rima Muryantina, S.Hum., M.Ling for their great patients, helps,
times, advices, contributions, and their guidance helped the writer in all the time
of research and writing of this thesis. May Allah SWT bless them and their
family. The writer also would like to convey her sincere gratitude particularly to:
1. Prof. Dr. Syukron Kamil, MA., the Dean of Adab and Humanities Faculty,
State Islamic University Syarif Hidayatullah Jakarta.
vi
2. Dr. H. Muhammad Farkhan, M.Pd, the assistant of Dean of Adab and
Humanities Faculty, State Islamic University Syarif Hidayatullah Jakarta.
3. Drs. Saefudin, M.Pd., the Head of English Letters Department.
4. Elve Oktafiyani, M.Hum., the Secretary of English Letters Department.
5. All lectures of English Letters Department for their all encouragement.
6. The big family of H.Ali and H. Jama who always care of the thesis and asking
it progress which causes boring with their questions.
7. To all the members of Translation Class, for providing a good atmosphere in
our department and for useful discussions.
8. To all members of „D Class‟ and her beloved friends of English Letters
Department who cannot mentioned one by one, thank you so much for
togetherness, for all the things that we shared. The writer will never forget
them.
9. Special thanks to; Angela Dewi Utami, Iin Utama Jayanti, Nuryatul
Ismaliyah, and Maulida Rizki Nurani thank you for loves, supports, kindness
and madness that are making a laugh all day long. That is so much loves for
you guys.
10. To Sumantri, Andre Ilham, and Dewi Elvia Muthiarini thank you for
happiness, kindness and madness that are give big supports.
11. To all of the RNJ team who are giving many experiences and happiness.
Thank you for your supports.
12. To members of KKN Merah Putih who are giving many experiences and
happiness. Thank you for your supports.
May Allah SWT always be with them, blesses, protects, and gives them His
light to guide them into His jannah. Hopefully, this paper will be useful for all
people who read it.
Jakarta, August 2017
(The Writer)
vii
TABLE OF CONTENTS
ABSTRACT ....................................................................................................... i
APPROVAL SHEET ....................................................................................... ii
LEGALIZATION ............................................................................................ iii
DECLARATION .............................................................................................. iv
ACKNOWLEDGMENT ................................................................................. v
TABLE OF CONTENTS ................................................................................ vii
LIST OF FIGURES .......................................................................................... ix
LIST OF TABLES ............................................................................................ x
CHAPTER I INTRODUCTION .................................................................. 1
A. Background of the Research ................................................. 1
B. Focus of Research ................................................................. 5
C. Research Questions .............................................................. 5
D. Significance of the Research ............................................... 5
E. Research Methodology ........................................................ 6
1. Objectives of the Research ............................................... 6
2. Methods of the Research .................................................. 6
3. Research Instrument ......................................................... 7
4. Unit of Analysis ............................................................... 7
5. Technique of Data Collection and Analysis .................... 7
CHAPTER II THEORETICAL FRAMEWORK ........................................ 8
A. Previous Research ................................................................ 8
B. Translation ........................................................................... 10
1. Definition of Transalation ................................................ 10
2. Process of Translation ...................................................... 11
3. Types of Translation ......................................................... 13
C. Poetry ................................................................................... 14
viii
1. Definition of Poetry ......................................................... 14
2. Elements of Poetry ........................................................... 15
D. Figurative Language ............................................................ 17
1. Types of Figurative Language ......................................... 18
2. Strategies of Figurative Language ................................... 21
F. Poetry Translation ................................................................ 25
CHAPTER III RESEARCH FINDINGS ..................................................... 29
A. Data Description ............................................................... 29
B. Data Analysis .................................................................... 31
CHAPTER IV CONCLUSIONS AND SUGGESTIONS ............................. 34
A. Conclusions ........................................................................ 42
B. Suggestions ......................................................................... 44
BIBLIOGRAPHY ............................................................................................ 45
APPENDICES .................................................................................................. 47
ix
LIST OF FIGURES
Figure 1: The Process of Translation by Mildred L. Larson .............................. 11
Figure 2: The Process of Translation by Nida and Taber .............................. 12
x
LIST OF TABLES
Table 1: The data of Figurative Language
and its Translation Strategy ............................................................................. 29-30
1
CHAPTER I
INTRODUCTION
A. Background of the Research
Language is the most important thing in the world for communication in
any era. As we know, language is the communication tools used by people in the
world by verbal or nonverbal language. Kridalaksana says that language is the one
of important things in human’s life. Language is arbitrary sound symbol system
used by human for communication and interaction each other.1 As that statement
language is something that arranged as structural and grammatical words. When
we talk about language, it definitely relates to language abilities such as listening,
talking, reading and writing.
One of the most important think of language is coming in translation. The
translation is the process of transferring the idea from one language to other
languages without changing the meaning of the source language (SL). Many
things cause translation process; different cultures of the different languages and
the readers of the translated text.
Translating a language to another language is not simple, the translator has
to have a lot of knowledge about both languages along with its cultures. This is
because when translator do the translation; he or she has to switch the language as
close as possible from the source language into the target language in the meaning
1 Harimurti Kridalaksana. “Bahasa dan Linguistik” in Kushartanti, Untung Yuwono and
RMT Lauder (Ed). Pesona Bahasa: Langkah Awal Memahami Linguistik.(Jakarta: Gramedia
Pustaka Utama, 2005), p. 3
2
and in the language style. In general, the translation activity means to transfer the
message from SL into TL.
The literary text such as novels, short stories, essays, articles, and even
poetry are the favorites of people. However, in the translation case of poetry is
known as one of the literary works that are difficult to translate. Some people
consider it is impossible to translate since poetry contains specific aspects like a;
rhyme, rhythm, beats, figure of speech, and diction which are problematic to be
matched between SL and TL. The literary translation is about the transferring of
the cultural language from the source to the target, which sometimes become a
kind of problem to translating. As Venuti says that; translation is a process by
which the chain of signifiers that constitutes the SL text is replaced by a chain of
signifier in the TL which the translator provides on the strength of an
interpretation. That is why translating poetry requires hard effort and when
stringing the words or stringing the sentences of poetry also require sensitivity of
poetic languages in writing.2
Translation process gives the major influence on the language culture,
because every language is bound to the culture. Poetry is a complex literary works
with various aesthetic elements that complement each other and containing in the
different meanings interlocked. In understanding poetry it is not just about the
grammar, but also about the knowledge of literature and culture.
Therefore, based on the things that were described above, there are many
things that can be analyzed or developed in the poetry. One of the problems is the
2 Venuti L. The Translator’s Invisibility. A History of Translation. (London: Routledge,
1995), p.17
3
figurative language of the poetry. In the process of transferring poetry from SL
into TL, of course there must be many changes. The transformation includes many
aspects; both in terms of language style, diction, and equivalences. Since this is
about literature terms, then this research try to find the changes that occur in
figurative language contained in the poetry. Edward Sapir in the Susan Bassnett’s
book states that; there is no two languages are ever sufficiently similar to be
considered as representing the same social reality. The worlds in which different
societies live are distinct worlds, not merely the same world with different labels
attached.3 From the statement, it can be concluded that translation process has
many terms that will be changed and it will provides many effect both of the
source poetry and the translation poetry, and both of the source reader and the
target reader also.
Among the English-language poetry translated by Chairil Anwar, A Song
of the Sea by Hsu Chih Mo is the most interested things to do in this research.
There are differences of the results of the translation. As in the title, the source
text is a poetry written by Hsu Chih Mo entitled A Song of the Sea which is
interpreted by Chairil Anwar to Datang Dara Hilang Dara. The changes also
occurred in the translation of the figurative language in the source poetry. For
example:
SL TL
No, I won’t go!
Let the evening wind blow
Tidak, aku tidak mau!
Biar angin malam menderu
3 Susan Bassenett, Translation Studies (London and New York: Routltdge Taylor and
Francis Group ,2002), p.21.
4
On the sands, in the glow.
My hair is combed bay the winds,
As I wander to and fro.”
Menyapu pasir, menyapu
gelombang
Dan sejenak pula halus menyisir
rambutku,
Aku mengembara sampai menemu.
In the second stanza, a sentence my hair is combed bay the winds is a
figurative language and classified as personification, because the sentence
indicated that the wind combed the girl hair as if it was alive. Personification
means giving the attributes of human being to the other object. The translator used
literal strategy of translation to representing the figurative language in the target
language. However, the meaning of the source poetry is successfully substituted
in the target language because the translator maintained well the figurative
language. The figurative language on this stanza, also translated into the
personification of figurative language, there are ….. sejenak pula halus menyisir
rambutku but the subject who used verb menyisir was mentioned in different line
which is in the second line. The figurative language sentences in this target
language are classified as personification too, because there are likened unhuman
object as a human being.
The other interested topic to do this research is the aesthetics values of
poetry translation. Aesthetics means a research of emotions and the mind in
relation to their sense of beauty in literature and other fine arts, but separately
from moral, social, political, practical, or economic considerations. The aesthetics
5
of poetry determined by intrinsic elements, like an imagery, sound and rhythm
(rhyme, meter and tone), figurative language, and diction.
B. Focus of the Research
Based on the background of the research above, in order to get specific
explanation, this research focuses on the figurative language contained in the
poetry of A Song of the Sea written by Hsu Chih Mo and its translation result
translated by Chairil anwar under title Datang Dara Hilang Dara.
C. Research Question
According to explanation above, this research tries to find the answer of
the research questions below:
1. What kinds of figurative language strategy does the translator use in
translating the poetry A Song of the Sea written by Hsu Chih Mo?
2. How are the translation strategy applied by translating the poetry A Song of
the Sea written by Hsu Chih Mo contribute to aesthetics values of the target
poetry?
D. Significance of the Research
The result of this research is expected to give significant contribution in
the research of translation and literature, especially literary works such as poetry.
This research also discusses about one kind of intrinsic terms of poetry, figurative
language, which might not be described in the previous studies. Above all, this
research is expected to gives additional sources and some advantages for other
researchers who are interested in poetry translation and understanding in literary
6
translation analysis. In addition, this research will describe the Strategy of
translation which both of them will analyze as the kind of effect to aesthetic
values poetry.
E. Research Methodology
1. Objectives of the Research
Based on the research question above, the objectives of this research
are to identify the kind of figurative language that found in the poetry A Song
of the Sea written by Hsu Chih Mo and to analyze the represent meaning in
the translation poetry. Then, to analyze the strategy of the figurative language
translation used by the translator in A Song of the Sea into Hilang Dara
Datang Dara. Besides that, the aim of this research is to know how both of the
figurative language translation and the strategy used to translate is effected to
aesthetic values of the translation.
2. Methods of the Research
This research used qualitative method which relies on verbal data and
non-numerical in the same manner as the basic of analyzing and creative
problem solving of the research.4 The research data are studied related to the
affective aspect, used by descriptive analysis in terms of giving information
and taking conclusions to present the data. This method has purpose to expose
the figurative language and the strategy on the poetry translation which cause
the aesthetic values of the poetry translation under title Datang Dara Hilang
4 Muhammad Farhan, Proposal Penelitian Bahasa dan Sastra. (Jakarta: Cella, 2007), p.8.
7
Dara translated by Chairil Anwar from the source poetry entitled A Song of
the Sea written by Chih Hsu Mo.
3. Research Instrument
This qualitative research utilize the researcher as an instrument of
collecting the data and justifying for the research problems. The instrument is
obtaining the qualitative data to analyzing the contribution of figurative
language of the poetry translation.
4. The Unit of Analysis
As a unit of Analysis, this research uses English poetry entitled A Song
Of The Sea written by Chih Hsu Mo in the title of book Contemporary
Chinese Poetry published by Routledge-London, and the translated version
under title Datang Dara Hilang Dara translated by Chairil Anwar in the title
of book Chairil Anwar: Pelopor Angkatan ’45 by H.B. Jassin that published
by Gunung Agung-Jakarta.
5. Technique of Analysis
The writer uses descriptive analysis technique which is supported by
relevant theories. To analyze the data, the steps by; reading the poetry,
identifying the types of figurative language in the source and translation
poetry, comparing the both to analyze the strategy of translator used to
translate the figurative language, and determine the effect to aesthetic on the
target poetry .
8
CHAPTER II
THEORETICAL FRAMEWORK
A. Previous Research
There are some previous researches which related to this research from
theses and journals. The first is the research about poetry translation entitled A
Translation Analysis in English into Indonesian of Walt Whitman’s Poem (2011)
by Kartika Damayanti.5 The differences of Kartika‟s research between this
researches is, Kartika‟s research focused on the types of procedure translation and
the translator reason in using mimetic form translation approach. Meanwhile, this
research focuses on the rhyme and meters shift of poetry.
The second is the Dissertation about figurative language translation on
English news by Rima Radio as the object under title Distortion of Meaning in
Translating Figurative Language: A Case Study of Rima Radio Sokoto News
Transaltion (2010) by Sajo Mohammad Aliyu.6 The differences between this
research and Sajo‟s research are on the object and the focus of the research. His
research object is radio news script and the focused to find out the distortion of a
meaning in figurative language translation.
The third is a thesis under title Analisis Terjemahan Puisi the Rubaiyat of
Omar Khayyam Explained; Based on the First Translation by Edward Fitzgeradl
5 Kartika Damayanti, A Tranlation Analysis In English into Indonesian of Walt
Whitman’s Poems, (State Islamic University: Jakarta. 2011). 6 Sajo Mohammad Aliyu, Distortion of Meaning in Translating Figurative Language: A
Case Study of Rima Radio Sokoto News Transaltion, (Usmanu Danfodiyo University: Sokoto.
2010).
9
ke dalam Bahasa Indonesia (2009) by Elza Maisinur.7 Her thesis focused on study
of rhyme, meters and figure of speech shifting, and the effect of translation
quality. The differences of Elza‟s thesis and this research are the object to analyze
and the effect of shift which investigates. In her thesis, Elza investigated about the
effect for translation quality from the shifting process. Meanwhile, this research
investigates the effect of aesthetics value of the poetry from the shifting process.
The fourth is the journal of the impact rhyme and meters on aesthetics
values, entitled Aesthetics and Emotional Effects of Meter and Rhyme in Poetry
(2013) by Christian Obermeier, Winfried Menninghaus, Martin von Koppenfels,
Tim Raettig, Maren Schmidt-Kassow, Sascha Otterbein and Sonja A. Kotz.8 The
differences of this research are on the method research, this journal studied the
influence of the Rhyme and Meters to emotional perception, so it is indeed needed
participants to approve the study.
7Elza Maisinur, Analisis Terjemahan Puisi the Rubaiyat of Omar Khayyam Explained;
Based on the First Translation by Edward Fitzgeradl ke dalam Bahasa Indonesia, (Sebelas Maret
University; Surakarta, 2009) 8 Christian Obermeier, Winfried Menninghaus, Martin von Koppenfels, Tim Raettig,
Maren Schmidt-Kassow, Sascha Otterbein and Sonja A. Kotz. 2013. Aesthetics and Emotional
Effects of Meter and Rhyme in Poetry. Front Psychol. 2013; 4: 10.
10
B. Translation
1. Definition of Translation
There are so many definitions about the meaning of translation.
Some expert had a different definition about translation, but mostly all of
them had a similar definition. There are some definitions of translation
taken according to some expert.
Venuti describes that translation is a process by which the chain of
signifiers that constitutes the SL text is replaced by a chain of signifiers in
the TL which the translator provides on the strength of an interpretation.9
In another case, Nida and Taber says that translating consists in
reproducing in the receptor language the closest natural equivalent of the
source language message, first in terms of meaning and secondly in terms
of style.10
According to Bassenett, translation involves the rendering of the
source language (SL) into the target language (TL) so as to ensure, that
the surface meaning of the two will be approximately and the structure of
the SL will be preserved as closely as possible, but no so closely that the
SL structure will be seriously distorted.11
It can be concluded that, translation is a process to reproducing and
rendering the source language (SL) to the target language (TL) as close as
natural equivalent of the structure, message, and the meaning also. This
9 L. Venuti, The Translator’s Invisibility-A History of Translation (London:Routledge,
1995), p.17. 10
E.A Nida dan Charles R. Taber, The theory and practice of translation (Leiden: E.J.
Brill, 1982), p.12. 11
Susan Bassnett (2002), Op.cit. p. 2
11
is, made the target audience get the same message and feelings as the
source audience.
2. Process of Translation
The process of translation is the extremely a complex one,
especially for a complex text like poetry. There are some processes of
translation according to some expert:
SOURCE LANGUAGE RECEPTOR LANGUAGE
Figure 1: The Process Translation Mildred L. Larson12
In the picture above, Larson described translation consisted of
three steps, (1) studying the lexicon, grammatical structure,
communication situation, and cultural context of the source language text;
(2) analyzing the source language text to determine the meaning; and (3)
re-constructing the same meaning by using the lexicon and grammatical
structure which are suitable in the receptor language and its cultural
context.13
12
Mildred L. Larson, Meaning Based Translation: A Guide to Cross-Language
Equivalence, Second Ed. (New York: University Press of America, 1984) p.4 13
Mildred L. Larson, (1984), Op.cit. p.4-5
Text to be
translated Translation
Discover the
meaning Re-express
the meaning
MEANING
12
According to Larson figure of translation process, it concluded that
the translation must be started with discovering the meaning and re-
expressing the meaning after getting the meaning. The process of
discovering and re-expressing of the meaning, expected to get the
translation as naturally as it can.
In the another case, Nida and Taber described the process of
translation in three steps there are; (a) Analysis, in this step, a translator
explore the meaning and the grammatical relationship of source language
word or compound word; (b) Transfer, the transfer of the sense which is
in the mind of translator from language A to language B; (c)
Restructuring, the sense that has been transferred is restructured in order
to make the final message fully acceptable in the receptor language.14
SOURCE LANGUAGE RECEPTOR LANGUAGE
Figure 2: the process translation by Nida and Taber15
The figure describing how the translation process which started by
analysis the source language, next transferring the language into
restructuring process before its being the receptor language or target
language. Restructuring process is a process to making the equivalences
14
E.A. Nida and C. Taber. (1982), Op.cit p.33. 15
Ibid., p.33
Analysis
Transfer
Restructuring
13
sense of the translation text into the target text, this process create the text
is feels naturally for the target readers.
3. Types of Translation
There are four types of translation categorized by Brislin based on
the purposes of translation, namely:
1. Aesthetic-Poetic Translation. This refers to translation in which the
translator takes into account of the affect, emotion, and feelings of an
original agnate version. The aesthetic form used by the original author,
as well as any information in the message. The examples of this type
are the translation of sonnet, rhyme, heroic couplet, dramatic dialogue,
and novel.
2. Ethnographic Translation. The purpose of the ethnographic translation
is to explicate the cultural context of the source and TL versions. The
translators have to be sensitive to the way words are used and must
know how the words fit into cultures.
3. Linguistic translation. This is concerned with equivalent meanings of
the constituent morphemes of the source language and grammatical
form. For example is a computer program and machine translation.16
Catford introduces three types of translation in terms of three
criteria; the extents of translation (full translation vs. partial translation),
the grammatical rank at which the translation equivalence is established
16
Choliludin, The Technique of Making Idiomatic Translation (Jakarta: Kesaint Blanc,
2005), p. 26-29.
14
(rank-bound translation vs. unbound translation), and the level of language
involved in translation (total translation vs. restricted translation).17
It can
be concluded from those statements above that, the types of translation can
be based on the purposes of the translation and the process of translation.
C. Poetry
1. Definition of Poetry
Poetry is the one of literature subjects which exists in the world for
a long time ago. Poetry is the arranged text with important meaning in
every word that causes to understanding poetry harder than understanding
article or another science texts. Newmark stated that poetry is the most
personal and concentrated of the four forms, no redundancy, where, as a
unit, the word has greater importance than is any other type of text. And
again, if the word is the first unit of meaning, the second is not the
sentence or the opposition, but usually the line to demonstrate a unique
double concentration of units.18
There are some steps to understanding poetry: first, read the poem
more than once. Second, keep a dictionary by you and use it. Third, read
so as to hear the sounds of the words in your mind. Fourth, always pay
17
Hossein V. Dastjerdi, Haadi Hakimshafaaii, dan Zahra Jannesaari, “Translation of
poetry: Towards a practical model for translation analysis and assessment of poetic discourse,”
Journal of Language and Translation, Vol.9-1, No. 7-40, (March 2008). Accessed on November
20th
2013., p. 34-37 18
Newmark, 1988. A Text Book of Translaton Studies: Theories and Application.
(London and New York:Routledge). p. 163
15
careful attention to what the poem is saying. And fifth, practice reading
poems aloud.19
The steps above is stressing in the understanding every words to
reading the poetry, because the words in the poetry having many diction
usually.
2. Elements of Poetry
To understanding poetry, people have to know the elements of the
poetry. According to Di-Yanni, the elements of poetry is included a
speaker whose voice in;20
a. Voice: Speaker and Tone
The speaker and tone is the way how people catch the feelings of the
poetry and the use of meter and rhyme by the speaker voice and the
tone in poetry.
b. Diction
Diction is chosen words to get the effect when reading or hearing the
poem. Diction is divided into two, they are; denotation or dictionary
meaning and connotation or associations both personal and public.
c. Imagery
Imagery is a concrete representation of a sense impression, feeling, or
idea. Imagery may be visual (something seen), aural (something
19
Perrine L and Thomas R. ARP, Sound and Sense an Introduction to Poetry, (United
States: Harcourt Brace Company,1992), p. 20 20
DiYanni R, Literature-Approaches to Fiction, Poetry, and Drama (New york: Mc
Graw-Hill, 2002), p.686
16
heard), tactile (something felt), olfactory (something smelled), or
gustatory (something tasted).
d. Figure of Speech: Simile and Metaphor
Figurative language – language using figures of speech – is language
that cannot be taken literally (or should not be taken literally only).21
They are; hyperbole or exaggeration, synecdoche, metonymy, and
personification. Metaphor and simile are both used as means of
comparing things that are essentially unlike.
e. Symbolism and Allegory
Symbol is any object or action that represents something beyond
itself. Allegory is a form of narrative in which people, place and
happenings have hidden or symbolic meaning.
f. Syntax
Syntax as arranged of words in sentences, phrase, or clause. Syntax is
referred to the grammatical structure of words in sentences, and the
deployment of sentences in longer units throughout the poem.
g. Sound: Rhyme, Alliteration, Assonance
Rhyme can be defined as the matching of final vowel or consonant
sound in two or more words.
Alliteration is the repetition of consonant sounds at the beginning of
words, and assonance or repetition of vowel sounds.
21
Perrine L and Thomas R. ARP (1992), Op.cit.p. 61.
17
h. Rhythm and Meter
Rhythm is referred to the regular recurrence of the accent or stress in
poem or song. It is the pulse or the beat people feel in a phrase of
music or line of poetry.
Meter is the rhythmical pattern of stressed and unstressed syllables in
verse. The stressed syllables signed with („) and the unstressed
syllables signed with (ᵕ).
i. Structure: Closed form and Open form
Closed form or called as fixed form is the form with shapes of their
stanzas and the patterns of their lines length arranged structurally,
such as; sonnet, sestina, and villanelle by their patterns of rhyme,
meter and repetition.
j. Theme
Theme is an idea or intellectually apprehensible meaning inherent and
implicit in a work.
D. Figurative Language
Figurative language is any figure of speech which depends on a non-literal
meaning of some or all of the words used. Most of people express their idea or
feeling does not use direct statement. They prefer using non literal meaning, and
it‟s happened in the poetry words.
18
Morner and Rausch mention that, figurative language is language that uses
words or expressions with a meaning that is different from literal interpretation.
When the writer uses literal language, it is simply stating the fact as they are. 22
Figurative language is a language that contains figures of speech. Figure of
speech or rhetorical figure is figurative language in the form of single word or
phrase. It can be a special repetition, arrangement, or omission of word with a
specialized meaning not based on the literal meaning of words.
1. Types of Figurative Language
According to Perrine‟s theory, figurative languages are another way
of adding extra dimension to language. In the other way, we can say that,
using the language by the style and effect to their words. There are the
classifications of figurative language by Perrine,23
they are:
Metaphor, the implied comparison. In usual using to comparing the
things that are essentially unlike.
Your diamond eyes amaze me
Simile, the backwards of metaphor that establishes the comparison
explicitly with the words like or as
The woman moves as though she were as weightless
Personification, giving the attributes of human being to the other
object, idea, animal, or the abstract thinks. It is figure the inanimate
being as they can act like human being.
July is dress up and playing her tune
22
Morner, Katlhen & Ralph Rausch, NTC‟s Dictionary of Literary Terms, (USA: NIC
Publishing Group, 1991) p.83 23
Perrine. L, (1992). Op.cit p.61
19
Synecdoche, using part of something to signify the whole detail
I didn’t see your nose for a year
Apostrophe, which consists in addressing someone absent or
something nonhuman as if that person or thing were present and alive.
Beautiful music
Metonymy, using of something closely related for the thing actually
means or itself.
Step on the gas
Symbol, may be roughly defined as something that means more than
what it is. It means that any object or action that represents something
beyond itself.
He write the letter with red ink.
In this sentences, red ink symbolize as the anger.
Allegory, a narrative or description that has a second meaning
beneath the surface. Allegory differs from symbolism in establishing
a strict system.
All animals are equal but a few are more equal than others
(“Animal Farm” by George Orwell)
In this sentence, the animal on the farm represent different sections of
Russian society after the revolution.
Allusion, is a brief and indirect reference to a person, place, thing, or
idea or historical, cultural, literary, or political significance.
Don’t act like a Romeo in front of her!
20
“Romeo” is a reference to Shakespeare‟s Romeo, a passionate lover
of Juliet in “Romeo and Juliet.”
Paradox, an apparent contradiction that is nevertheless somehow true.
It may be either a situation or a statement.
I fear and hope, I burn and freeze like ice
Hyperbole/Overstatement, a simply exaggeration, but the
exaggeration in the service of truth.
I give my right arm for a piece of pizza
Understatement/Litotes, saying less than one means, the opposite of
overstatement. Just say it in ordinary way.
Please come to my hut.
“Hut” is understatement which means the palace or kingdom by the
king.
Irony, saying the opposite of what one means
What a great idea.
In situation a man is chuckling at the misfortune.
21
2. Strategies to translate Figurative Language
This research applied by Pierini‟s theory who states about strategy in
translating figure of speech in particular. They are: 24
Literal Translation (Retention of the same vehicle).
As a Pierrini focuses the point of the analysis on vehicle, thus the
understanding of literal translation in term of translating figure of
speech is by retaining the vehicle belonging to the source text. This
technic is employed by considering the same grammatical and cultural
system of source language and target language.
SL: The boy is like a diamond for his family.
TL: Anak lelaki itu seperti berlian bagi keluarganya
Since the sentence is grammatically correct and culturally familiar for
the target reader, the translator keeps the message of the sentence well
by retaining the vehicle.
Replacement of the vehicle with a different vehicle.
This technique is often employed when the source text is culturally
bounded in the process of delivering the message. For that reason, it is
not possible to translate the source text literally. Pierrini states that, in
several cases the two cultural equivalents can be found.25
For that
reason, it is not possible to translate the source text literally.
SL: The girl is white as snow
24
Patrizia. Pierini. Simile in English: From Description to Translation. Universidad
Complutense de madrid. 2007; vol. 29, p. 21-43. 25 Partizia, Pierrini (2007), Op.cit.p. 33
22
TL: Gadis itu seputih kapas
As seen in the example, the vehicle of the words snow in the SL in
replaced into kapas. The possible consideration why the translator
replaces this vehicle, because the word snow will probably cause a
problem. In Bahasa, there is no snow even though it has the literal
meaning as salju. For that reason there is replacement of the vehicle
snow into kapas as the most familiar one, in this case kapas can
represent snow since it has the traits which are white and smooth.
Reduction of the figurative speech; if idiomatic to its sense.
Pierrini‟s implies that this technique can be employed when the
expression of the SL contains an idiomatic expression. The idiomatic
expression, in this case, is culturally bounded. Therefore, the translator
might translate the figurative language into literal expression by
reducing the sense of figurative language. The following is example of
English which is translated into Italian.
SL: …… to stick out like a sore thumb
TL: …… farsi notare (to attract attention)
As seen in the example above, a sore thumb appears as an English
idiom. The meaning of sore thumb in Cambridge dictionary is – if
someone or something stand, to make people notice – the translator
cannot translated a sore thumb literally into Italian since the idiom is
not commonly used.
23
Retention of the same vehicle plus explication of similarity feature(s).
This technique can be employed when there is a possibility of
ambiguity resulted by literal translation. To make the intended meaning
of the text clearer, the translator can add explicit words in the sentences
SL: he runs like a horse
TL: dia berlari sangat cepat seperti kuda
As seen in the example, the translator adds the words sangat cepat as
the explicit word. In this case, the possible consideration the translator
adds the explicit word because there is an ambiguity about horse
whether it strong and quick.
Replacement of the vehicle with a gloss.
This is a technique to replace the vehicle and to add a gloss in the
sentence. Pierrini points out that the choice of this strategy can depend
on the status of source text.26
Hence, one of the considerations why the
translator employs this technique is related to what and who is
translation for.
SL: The sail was patched with flour sacks and, furled. It looked the flag
of permanent defeat
TL: Layar itu diambil dengan karung tepung dan dlam keadaan
tergulung nampak seperti bendera kalah perang.
As obviously seen in the SL, the vehicle of SL is the flag of permanent
defeat. The translator replaces it with bendera kalah perang. By
26
Ibid., p.35
24
employing this technique, the translator might result a familiar
expression for the target reader.
Omission of the figure of speech
This technique means that the translator omit the comparison word in
the target text such as seperti, laksana, bagaikan and others. It result
nonfigurative sentences. The following is the example of the technique
application.
SL: It was firm and juicy, like meat, but it was not read.
TL: Daging yang padat dan berlemak sapi tidak merah.
The word it in the example above refers to a fish it can be seen that
there is no comparison word to indicate figurative language in the TL.
The translator even replaces the position of the meat to be a subject.
The translator also provides the different point of view that in Bahasa is
called fish already.
Based on his research, Samuel and Frank proposed principle in
translating figurative language as; 27
first, translating with awareness of both
form and meaning and relative importance of each in particular source
language text and with understanding of the forms available in the receptor
language, second, consider whether the topic, image and/or point of similarity
of a figurative language needs to be made explicit in order to be understood or
27
Samuel, Peter & Frank, David. Translating Poetry and Figurative Laguage. A Paper of the Summer Institute of Linguistics in St. Lucia. 2000; Vol. 10, P. 1-18
25
needs to be adjusted completely, recognized and evaluate to be reduced to a
more literal meaning.
E. Poetry Translation
According to Suryawinata, there are three problems in translating a poem
or poetry:28
1. Linguistic Problems. This is about the syntaxes and how the translator found
the equivalent of words, phrase, and sentence from SL into TL. At least,
there are two points to consider this problem; collocation and obscured.
Example: Run a meeting translated into Mulai rapatnya.
2. Literary or Aesthetic Problems. This problem is conveyed in word order and
sound, as well as in cognitive sense (logic). The aesthetic values have no
independent meaning, but they are correlative with the various types of
meaning in the text.
a. Poetic Structure, the structure meaning here is the plan of the poem as a
whole, the shape and the balance of individual sentences or of each line.
SL: This time there no one’s looking for love
betwen the sheds, old houses, in the make-believe
of poles and ropes. A boat, a prau without water
puff and blows, thinking there’s something it can catch
(Burton Raffel, in kasbolah 1990:12)
TL: ini kali tidak ada yang mencari
28
Suryawinata, Z. Terjemahan: Pengantar Teori dan Praktek. (Jakarta: Pernebit
Kanisius, 1989) p. 21-22
26
Diantara gudang, rumah tua, pada cerita
Tiang serta temali, kapal, perahu tidak berlaut,
Menghembus diri dalam mempercaya maut berpaut
(Chairil Anwar, Senja dipelabuhan Kecil)
b. Metaphorical Expressions, this is how to expressing one thing in terms
normally denoting another by constructions evoking visual, sounds,
touch, and taste images.
SL: Taman Jepang, Honolulu
Inikah ketentraman? Sebuah hutan kecil;
Jalan setapak yang berbelit, matahari
Yang berteduh dibawah bunga-bunga, ricik air
Yang, membuat setiap jawaban tertunda
(Sapardi Djoko Darmono)
TL: Japanese Garden, Honolulu
Is the peace? A small glen;
A winding footpath, the sun
Resting beneath the flowers, rippling water
Postponing each and every answer
(H. McGlynn)
c. Sound, the last aesthetic factors is sound, which is sound including
rhyme, rhythm, assonance, onomatopoeia, alliteration and meter. Sound
is so difficult and artificial enough too translated, but the translator
must be balance where the beauty of poem really lies. Hence, the
27
beauty of literary text on the sound rather on the meaning, the translator
cannot ignore the sound factor.
SL: dalam tubuhmu kucari kepastian
Tapi yang tertinggal hanya kenangan
Bisiskan-bisiskan segera fana
Tak sedikit pun tercatat, meski hanya kata-kata
(Rosidi, 1993:200)
TL: In your body, I searched for certainty
But what’s left was only memory
Whispers soon faded away
Nothing’s noted, even words only
3. Socio-Cultural Problems
This problem exists in phrases, clauses, or sentences which containing
words related to the cultural categories. Like in other expressions, a
translator may take the right words to get the equivalence from the SL into
TL.
Newmark states three elements of poetry translation.29
First is Structure
for the translation, the plan of the text as a whole and the shape and balance of the
individual sentence. The second is metaphor which the visual images that may
also evoke sound, touch (including temperature and climate), smell and taste. The
last is sound which is including alliteration, assonance, rhythm, onomatopoeia,
and meter and rhyme.
29
Newmark, Op.cit.. p. 65.
28
According to As-Safi, an aesthetic dynamic translation must aspire to
occupy a position in the target literature as any other original work art. In his book
entitled “Translation Theories, Strategies and Basic Theoretical Issue” he states
seven principles for producing an aesthetic, communicative and dynamic
translation. The translation must be:30
a. Be dynamic rather than static
b. Be creative and aesthetically informative or communicative
c. Be natural and free from translation
d. Be acceptable to the target audience or literary readership
e. Be appropriate, fit the context of the message
Literary composition, be original translated, is a dynamic texture about
expressive and emotive of the text. In order to produce the aesthetic, natural and
dynamic translation of literary text has approach the specific nature of translated
literature not only on the level process and product, but also on the level of
transferring the codes (culture, sense, sensations, feelings, etc.)
30
As-safi, A.B. Translation Theories, Strategies, and Basic Theoretical Issues. (Amman: Dar Amwaj. 2011), p. 3
29
CHAPTER III
RESEARCH FINDINGS
A. Data Description
As the writer mentioned before, this research focuses on analysis of the
figurative language in the poetry translation The Song of The Blue Sea by Hsu
Chih Mo and its translation strategy used by Chairil Anwar under title Hilang
Dara Datang Dara. Thus in data description, the writer tabulates the data of
figurative language along with its translation strategy. The selected data is
tabulated data as follows.
Table 1:
The Data of Figurative Language and its Translation Strategy
No. SL TL Translation
Strategy
Figurative
Language
1
My hair is
combed by the
winds
(8th
line)
…dan sejenak
pula halus
menyisir
rambutku
(8th
Line)
Literal
Translation Personification
2
Let me, wild sea
who sings to me
(15th
line)
Biar aku berlagu,
laut dingin juga
berlagu
(15th
Line)
Replacement
with a
different
vehicle
Personification
3
Dark clouds are
coming over the
sea’s edge
(19th
Line)
Awan hitam
mendung mau
datang menutup
(20th
Line)
Replacement
with a gloss Personification
30
4
Soon there will be
fierce clouds
(21th
Line)
Nanti semua
gelap, kau hilang
jalan (22
th Line)
Reduction
Translation
Personification
into Hyperbole
5
Look, I am
dancing in the
air
(22th
Line)
Heeyaa! Lihat
aku menari di
muka laut
(23th
Line)
Replacement
with a
different
vehicle
Hyperbole into
Personification
6
I am seagull
dancing among
waves
(23th
line)
Aku jadi elang
sekarang,
menbelah-belah
gelombang
(24th
line)
Replacement
with a
different
vehicle
Allusion
7
Look, the waves
are fierce beast
(29th
line)
Lihat, gelombang
membuas
berkejaran
(30th
line)
Replacement
with a gloss Personification
8
The wave will
not eat me
(31th
line)
Gelombang tak
mau menelan
aku
(32th
line)
Literal
Translation Personification
9 I am like tossing
of the wild sea
(32th
line)
aku sendiri
getaran yang
jadikan
gelombang
(33th
line)
Replacement
with a
different
vehicle
Allusion
10
The dark night
eats up all the
stars
(40th
line)
Malam kelam
mencat hitam
bintang-bintang
(40th
line)
Replacement
with a
different
vehicle
Personification
31
B. Data Analysis
From the tabulated data above, in this research the writer analyzes the
figurative language that had been found. It is doing by compares them along with
its translation and find out the translation strategy that the translator used by
relevant theory, then describes the aesthetic values of the poetry and the
translation to know how the figurative language effect as the translation result.
Datum 1
SL: My hair is combed by the winds
TL: …dan sejenak pula halus menyisir rambutku (Angin)
From the datum above, this sentence is classified as personification of
figurative language. Combed by the winds, its sentence is described the winds
that seems like human who could comb the hair. However, in oxford
dictionary meaning winds is – the air that moves quickly as a result of natural
force – so it is impossible for the winds to comb something, because this verb
only capable used by human. This sentence is translated into …. menyisir
rambutku which is the translation word of winds had translated on the
previous line in the same stanza as angin, which in Bahasa, winds literally
means angin. According that, this translation sentence is classify as
personification of figurative language that appears on.
According to description above, the strategy that the translator used to
translate this datum is literal translation. As we know, all the words indeed
were translated literary as denotative meaning of each word. Even though this
32
datum is translated literally, the sense of source poetry is described well into
the translation poetry. From the source poetry, we get the imagination how the
winds combed the girl’s hairs and also get the same imagination from
translation poetry. This is role in the aesthetic values, that the translation is
considered as good as translation because the reader of translation poetry gets
the same sense and feelings like a reader of source poetry since the meaning of
the translation result did not distorted and considered as success transferred.
Datum 2
SL: Let me, wild sea who sings to me
TL: Biar aku berlagu, laut dingin juga berlagu
The datum above is an expression of figurative language and is
classified as personification. It can be seen in the source sentence wild sea
who sings to me. This sentence is represented how the wild sea as alive as
human who can sing to the girl. In the oxford dictionary the meaning of the
sea is – the salt water that covers more of the earth – so it is impossible for the
sea to sing. This is translated to laut dingin juga berlagu and as its source
poetry; this sentence is personification also. Hence this sentence represent the
laut as the something that can sing or in this translation poetry is translated as
berlagu. It is the same like the source poetry; this translation poetry is
classified as personification because the word of laut cannot sing.
Furthermore, this poetry was translated in Replacement with a
different vehicle strategy by the translator. The translation is spelled out as;
33
wild sea translated into laut dingin is not a denotative meaning, yet this words
will be laut liar as according by dictionary meaning. So, this word replaced as
laut dingin the word wild translated to be cold. It consider why the translator
replaces this vehicle because in Bahasa, the word wild which is translated
literally as liar will unmatched on this poetry. Thus how, the translator carry
on the feeling of this sentence yet not changed too much in the target poetry.
Moreover, this translation poetry is gotten addition word, berlagu this is a
repetition words used to get dramatic effect of this sentence.
However this translation is used replacement with a different vehicle
strategy. The sense and sensation of the source poetry is still felt as the
aesthetic values, since the translation poetry could have the reader get the
same sense and same feelings like a reader of source poetry. This translation is
considered as good translation, because the translation result did not distorted
from its original meaning. According that, the aesthetic value of this figurative
language translation on this translation is transferred successfully to the
translation text.
Datum 3
SL: Dark clouds are coming over the sea’s edge
TL: Awan hitam mendung mau datang menutup
At this datum, the figurative language that was found is classified into
personification presented on sentence on the line numbers nineteen of source
poetry. Dark clouds are coming over the sea’s edge; the bold sentence is
34
classify of personification, that made a dark seems like a human or anything
alive coming as its verb. According to oxford dictionary, dark is an adjective
word which means – with no or very little light – its mean that impossible for
dark to had a verb. The personification on the sentence is translated into
Bahasa as Awan hitam mendung mau datang menutup, it is also
personification too because the word of dark was translated into gelap which
has the same level as the adjective word.
The strategy that translator used replacement with a gloss strategy to
translated this sentence of figurative language because all the words was
translated as the same as the source poetry. Like Pierrini states before, the
choice of this strategy can depend on the status of source text. From that
statement, the source poetry is analyzes and compares with the translation
poetry that replacement with a gloss strategy used by translator to translate
this sentence. The gloss does by adding word mendung on the translation
poetry, which is in the source poetry doesn’t exist. The word mendung add
because, to make a dramatic effect of this sentence.
As the aesthetic values, the translation result is turned out to be fine
because the reader of the translation version of the poetry could get the same
sense and feelings as the reader of original poetry by this figurative language
translation. As the description that aesthetic language is the expressive and
emotive on the poetry. This sentence translation is did it by giving the
dramatic effect from adding of word.
35
Datum 4
SL: Soon there will be fierce clouds
TL: Nanti semua gelap, kau hilang jalan
In this datum, the figurative language of source sentence is
personification which translated into hyperbole; fierce clouds in this sentence
the author wan to giving the imagination of the clouds is had an emotion as
can being fierce. But in the translation sentence kau hilang jalan it is
considering as the hyperbole, because the translator wan to describing how
dark the situation with words kau hilang jalan.
This figurative language translated by used reduction translation by the
translator. It is appear on there is no one word describing about fierce word
from the source text into the target text. The translation poetry of this line is
being apart by two sentences, which the second sentence described the
sentence before.
According the strategy to translate used by translator, this translated
text is successfully to give the same effect from the source text which is the
effect want to appears is how danger and scary when the dark clouds comes.
Hence, the aesthetic value of this source sentence is transferred successfully to
the target reader.
36
Datum 5
SL: Look, I am dancing in the air
TL: Heeyaa! Lihat aku menari di muka laut
In the datum five above, the figurative language of this sentence is
dancing in the air classify as hyperbole. This figurative language of the
sentence describing how the girl (subject in the poetry) has no weight, while
dancing in the air. This figurative language of the sentence is translated into
aku menari di muka laut, this words is not classified as hyperbole, but it is
translated into another figurative language which is personification. In this
sentence, the personification words found on muka laut because the word laut
is described as a human being that has a face or in the target text is muka.
According to KBBI, muka means – bagian depan kepala, dari dahi atas
sampai ke dagu dan antara telinga yang satu dan telinga yang lain. – From
the explanations, it is impossible for laut to have a face because laut does not
has any parts of face.
As for the analysis, the writer compares the source poetry and
translation poetry. The translator used the replacement with a different vehicle
strategy to translate this datum. As the description before, the replacement
with a different vehicle strategy is occurs when the source text is culturally
bounded in the process of delivering the message. From the statement, it is
concluded that the translator was replaced the word in the air into di muka laut
to make all the words of this poetry consistent from first stanza till the end
which giving the sea (laut) as the visual imagery of this poetry.
37
Thus in this research process gets the opinion; for the aesthetic value,
this translation is considered as good because as the reader of the translated
version of the poetry could get the same sense and the same feelings like a
reader of source poetry.
Datum 6
SL: I am seagull dancing among waves
TL: Aku jadi elang sekarang, membelah-belah gelombang
The figurative language on this datum is classified into allusion which
means references to something that people know, with direct or indirect ways.
At the source poetry, the allusion words that contained in the poetry is I am
seagull. The sentence is translated to Bahasa into aku jadi elang which means
the girl as the subject of this poetry imagined herself as a seagull which is
translated to be elang. The figurative language of the source language is
translated into the same type in the translation poetry, that is allusion of
figurative language.
After comparing the source poetry and translation poetry, the writer
found that the translator does the translation of this datum by replacement with
a different vehicle strategy. It can be seen from the replacing the word seagull
which as a literal will translated as burung camar in Bahasa as denotative
meaning, but this translation was translated as elang. The translator replaced
the types of bird on this poetry, to making an accuracy with the sentence after
it; membelah-belah gelombang. The word membelah-belah gelombang,
38
expected less accurate to seagull that is why the translator prefer used elang to
replaces. The word dancing on the source poetry is not translated into
translation poetry, and replaced it with the word membelah-belah.
On the view of aesthetic values, this translation result is successful
because the translator succeeded in substituting the figurative language to the
target language. This aesthetic good transferred without changing the whole
original meaning, but still acceptable and feels natural to target reader.
Datum 7
SL: Look, the waves are fierce beast
TL: Lihat, gelombang membuas berkejaran
From the datum above, the figurative language is found in the sentence
the waves are fierce beast which is classified as personification in source
poetry and is translated into gelombang membuas berkejaran as he
personification of the figurative language. It is classified as that figurative
language, because the author of source poetry visualizes this datum as the
waves had a feeling with its adjective word (fierce.) At the translation poetry,
the personification can be seen clearly at words gelombang that also has
visualization like a human with adjective and verb for itself (membuas.)
This poetry is translated with replacement with a gloss translation
strategy. The translator added word as a glossing; berkejaran to get the
dramatic effect of the poetry. In the source poetry, as a literal, there is no word
will translated as berkejaran. This translation also replaced the words fierce
39
beast into the word buas. This word feels enough by the translator to
describing the two words where replaced. Moreover, as the aesthetic values,
this translation is considered as good translation because the reader of the
translated poetry could get same sense and feelings like a reader of the source
poetry.
Datum 8
SL: The wave will not eat me
TL: Gelombang tak mau menelan aku
The figurative language at this datum is classified into personification.
It is approved by the author of this poetry who gave the visualization for the
word wave as human being with the verb eat. The personification word is
translated as the same figurative language on gelombang tak mau menelan
aku. From the translation result, it can be seen clearly that the personification
gelombang like a human being that can eat or in Bahasa called as makan.
This datum is clearly translated in literal translation, as Pierrini states
that literal translation in term of translating figure of speech is by retaining the
vehicle belonging to the source text which considering the same grammatical
and cultural system of source and target language. From that statement, the
writer analyzes the source poetry and compares to the translation poetry, it is
concluded that the translator used literal translation strategy. Every each word
contained in the source poetry is translated as literal as possible to the
translation poetry. As the aesthetic values, the translator maintained the
40
original author’s intention of the figurative language thus can be concluded
that the translation has a good result.
Datum 9
SL: I am like tossing of the wild sea
TL: aku sendiri getaran yang jadikan gelombang
In this datum found the figurative language in both of poetry which
classify as the allusion of figurative language. Like describe before, that
allusion is a brief and indirect reference to a person, place, thing, or idea or
historical, cultural, literary, or political significance. The source poetry,
briefing the word on I am like tossing which describing that the girl (subject of
the poetry) is a tossing of the wild sea. On the translation poetry, the translator
also translated this words as aku sendiri getaran which means that the girl is a
part of the sea that is called as gelombang.
This figurative language sentence is translated used replacement with a
different vehicle strategy by the translator. The replacement stated on word
tossing which replaced as getaran, in English getaran is vibrate but, the
translator replaced this word to give the accuracy arrangement with the word
after that. This translation also had a good score on the aesthetic value,
because the translator safe the sense and sensation of the source poetry into
the translation poetry. This translation poetry is so naturally, as feels like the
original poetry.
41
Datum 10
SL: The dark night eats up all the stars
TL: Malam kelam mencat hitam bintang-bintang
The figurative language at this datum is classified as personification
and it is approved by the author of this poetry who gives the word the dark
night a verb. That the reader visualized it as a human with eats up as the verb.
The personification word is translated as the same figurative language on the
target sentence Malam kelam mencat hitam. It can be seen clearly that the
personification in the target sentence malam kelam is as a human by the
following word mencat as its verb.
This datum is translated in replacement with a different vehicle
strategy because rather than used the word eats up in the source sentence is
replaced into mencat or paint to the target sentence. However, the translation
result is a good translation because the meaning and the author’s intention is
well substituted by the translator of the target language.
42
CHAPTER IV
CONCLUSIONS AND SUGGESTIONS
A. Conclusions
After analyzing the Hsu Chih Mo’s poem in English into
Indonesian translation, which is the analysis divided into three points; the
figurative language contained in the poetry, the strategy used by translator
to translating, and the aesthetic of translation that appear on this translation
poetry. In translating the figurative language of the poetry, the translator as
a bridge of both languages must be have to put extra efforts and must be
understood and familiar with cultures to distinguish the kind of the
expression.
Based on the research finding, there are ten data with figurative
language in the poetry A Song of The Sea written by Hsu Chih Mo. Eight
from ten data were classified into personification of figurative language,
one datum was classified into hyperbole was shifted to personification in
translation poetry, and the other one was classified as personification of
figurative language was shifted into hyperbole, and the rest of the data was
classified as the allusion of figurative language.
From the strategy used analysis its founds, the translator did the
translated with replacement strategy on seven data; five of seven data were
replaced with a different vehicle, and the two others was classified as
43
replacement with a gloss. Two from ten data were used a literal translation
strategy; the data number one and eight. At the rest of datum, was
classified as reduction translation strategy used by translator that appear on
twenty first lines.
By using these strategies, the translator succeeded in translating the
figurative language of source poetry into translation poetry. Which was the
translator maintained the intended meaning of the source figurative
language or the author’s intentions. However at the aesthetic values, this
translation was delivered the meaning successfully of the sense and the
sensations in the translation poetry to the target reader. According this
analysis, the good translation in aesthetic did it by unilateral and even
literal strategy. Therefore, the translator of the poetry was kept hard to safe
the senses, sensations, feelings of the source poetry in the translation
poetry. The aesthetic values of source poetry was represented to the target
readers of poetry getting the same feelings, senses, sensations, and the
message also that the author want to shared.
B. Suggestions
For the translator in translating figurative language of the poetry, it
is better to give more attention about adding or deleting words. It is risky
because, can affect the reader feelings and disrupt the message transfered.
For the next researchers are interested to translation research especially in
poetry translation, has not yet understanding on the translation theories but
also about the literary text to get the sense on the analysis of poetry
44
translation’s process. It should be noted also that the student who will
research about this topic, has to understanding the cultural words of both
language. As this thesis is still far from perfection, hopes this research can
be useful for the readers especially for the students at college interest in
translation studies.
45
BIBLIOGRAPHY
Books:
As-safi, A.B. (2011) Translation Theories, Strategies, and Basic Theoretical Issues.
Amman: Dar Amwaj.
Choliludin, (2005) The Technique of Making Idiomatic Translation. Jakarta: Kesaint
Blanc.
DiYanni R, (2002) Literature-Approaches to Fiction, Poetry, and Drama. New York:
Mc Graw-Hill.
E.A. Nida & Charles. R. Taber, (1974) The Theory and Practice of Translation.
Leiden: E.J. Brill.
Elza Maisinur, (2009) Analisis Terjemahan Puisi the Rubaiyat of Omar Khayyam
Explained; Based on the First Translation by Edward Fitzgeradl ke dalam
Bahasa Indonesia. Sebelas Maret University; Surakarta.
Harimurti Kridalaksana. (2005) Bahasa dan Linguistik: Kushartanti, Untung Yuwono
and RMT Lauder (Ed). Pesona Bahasa: Langkah Awal Memahami Linguistik.
Jakarta: Gramedia Pustaka Utama.
Kartika Damayanti. (2011) A Tranlation Analysis In English into Indonesian of Walt
Whitman’s Poems. State Islamic University: Jakarta.
Mildred L. Larson, (1984) Meaning Based Translation: A Guide to Cross-Language
Equivalence, Second Ed. New York: University Press of America.
Morner, Katlhen & Ralph Rausch, (1991) NTC’s Dictionary of Literary Terms. USA:
NIC Publishing Group.
Muhammad Farhan. (2007) Proposal Penelitian Bahasa dan Sastra. Jakarta: Cella.
Newmark, (1988) A Text Book of Translaton Studies: Theories and Application.
London and New York: Routledge.
46
Perrine L and Thomas R. ARP, (1992) Sound and Sense an Introduction to Poetry.
United States: Harcourt Brace Company.
Sajo Mohammad Aliyu. (2010) Distortion of Meaning in Translating Figurative
Language: A Case Study of Rima Radio Sokoto News Transaltion. Usmanu
Danfodiyo University: Sokoto.
Suryawinata, Z, (1989) Terjemahan: Pengantar Teori dan Praktek. Jakarta: Pernebit
Kanisius.
Susan Bassenett, (2002) Translation Studies. London and New York: Routltdge
Taylor and Francis Group.
Venuti L. (1995) The Translator’s Invisibility: A History of Translation. London:
Routledge.
Journals:
Christian Obermeier, Winfried Menninghaus, Martin von Koppenfels, Tim Raettig,
Maren Schmidt-Kassow, Sascha Otterbein and Sonja A. Kotz. 2013.
Aesthetics and Emotional Effects of Meter and Rhyme in Poetry. Front
Psychol. 2013; 4: 10.
Hossein V. Dastjerdi, Haadi Hakimshafaaii, dan Zahra Jannesaari, “Translation of
poetry: Towards a practical model for translation analysis and assessment of
poetic discourse,” Journal of Language and Translation, Vol.9-1, No. 7-40,
(March 2008). Accessed on November 20th
2013.
Patrizia. Pierini. Simile in English: From Description to Translation. Universidad
Complutense de madrid. 2007; vol. 29, p. 21-43.
Samuel, Peter & Frank, David. Translating Poetry and Figurative Laguage. A Paper
of the Summer Institute of Linguistics in St. Lucia. 2000; Vol. 10, P. 1-18
47
APENDICES
Source Poetry:
A SONG OF THE SEA
I
“Girl, girl alone,
Why do you wander
The twilight shore?
Girl, go home, girl!”
“No, I won’t go!
Let the evening wind blow
on the sands, in the glow.
My hair is combed bay the winds,
as I wander to and fro.”
II
“Girl, with the hair uncombed,
Why do you stay
by the cold silent sea?
Girl, go home girl!”
48
“No, let me sing,
Let me sing, wild sea who sings to me
Under the starlight, into the cool winds
A girl’s voice singing free”
III
“Girl, daring girl
Dark clouds are coming over the sea’s edge
Soon there will be fierce clouds
Girl, go home, girl!”
“Look, I am dancing in the air,
I am seagull dancing among waves,
In the evening tide, in the sands,
Swiftly hovering, gracefully,
Back and forth, back and forth.”
IV
“Hark, the wild rages of the wild sea!
Girl, go home, go!
Look, the waves are fierce beasts.
49
Girl, go home, girl!”
“The waves will not eat me,
I am like the tossing of the wild sea
In the tide’s song, in the wave’s light
I hurry amidst the sea-foam,
Tumbling-tumbling!”
V
“Girl, where are you girl?
Where is your song?
Where is your graceful body?
Where is you, daring one?”
“The dark night eats up all the stars
There is no more light on the sea,
No more girl on the beach,
No more girl – no –
50
Translation Poetry:
DATANG DARA, HILANG DARA
“Dara, dara yang sendiri
Berani mengembara
Mencari dipantai senja,
Dara, ayo pulang saja, dara!”
“Tidak, aku tidak mau!
Biar angina malam menderu
Menyapu pasir, menyapu gelombang
Dan sejenak pula halus menyisir rambutku
Aku mengembara sampai menemu.”
Dara, rambutmu lepas terurai
Apa yang kau cari
Di laut dingin diasing pantai
Dara, pulang! Pulamg!”
“Tidak, aku ridak mau!
Biar aku berlagu, laut dingin juga berlagu
Padaku sampai ke kalbu
51
Turut bintang-bintang, turut serta bayu,
Bernyayi dara dengan kebebasan lagu.”
“Dara, dara anak berani
Awan hitam mendung mau dating menutuo
Nanti semua gelap, kau hilang jalan
Ayo pulang, pulang, pulang”
“Heeyaa! Lihat aku menari dimuka laut
Aku jadi elang sekarang, membelah-belah gelombang
Ketika senja pasang, ketika pantai hilang
Aku melenggang ke kiri ke kanan
Ke kiri, ke kanan, aku melenggang”
“Dengarlah, laut mau mengamuk
Ayo pulang! Pulang dara,
Lihat, gelombang membuas berkejaran
Ayo pulang! Ayo pulang”
“Gelombang tidak mau menelan aku
Aku sendiri getaran yang jadikan gelombang
52
Kedasyatan air pasang, ketenangan air tenang
Atap kepala ku hilang dibawah busah & lumut”
“Dara, dimana kau dara
Mana, mana lagumu?
Mana, mana kekaburan ramping tubuhmu?
Mana, mana daraku berani?”
“Malam kelam mencat hitam bintang-bintang
Tidak ada sinar, laut tidak ada cahaya
Di pantai, di senja tidak ada dara
Tidak ada dara, tidak ada – tidak –
(Diterjemahkan dari puisi Hsu Chih Mo, A Song of The Sea)