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A Translation Analysis In English into Indonesian of Walt Whitman’s Poems
A Thesis
Submitted to the Faculty of Adab and Humanities
As a Partial Fulfillment of the Requirement for the Degree of Sarjana Sastra (SS)
By:
Kartika Damayanti 106026000998
ENGLISH LETTERS DEPARTMENT FACULTY OF ADAB AND HUMANITIES
SYARIF HIDAYATULLAH STATE ISLAMIC UNIVERSITY JAKARTA
2011
ABSTRACT
KARTIKA DAMAYANTI, REG: 106026000998, “A Translation Analysis In English into Indonesian of Walt Whitman’s Poems”. A Thesis. English Letters Departement Faculty of Adab and Humanities, State Islamic University Syarif Hidayatullah Jakarta, 2011.
The research concerns on the translation study. In this research, the writer focuses the analysis literary translation, especially poem translation. The object of research, she chooses Walt Whitman’s poems in English translated into Indonesian by Taufiq Ismail.
The writer uses qualitative method. She analyzes the translation by reading the source language and than comparing to the target language to find the type procedures of translation in these poem translations.
The goals of research are find the types of procedure translation and the reason of translator used mimetic form translation approach which is appear in translation of Walt Whitman’s poems. The translator used mimetic form approach translation in these poems to translating the words, the context, and the culture from source language which is appropriate into target language. This study is expected to help the readers understand the type procedures of translation and form translation approaches in the poem translation such as in Walt Whitman’s poems which is translated by Taufiq Ismail.
APPROVEMENT
A Translation Analysis In English into Indonesian of Walt Whitman’s Poems
A Thesis
Submitted to the Faculty of Adab and Humanities
As a Partial Fulfillment of the Requirement for the Degree of Sarjana Sastra (SS)
By:
Kartika Damayanti 106026000998
Approved by Advisor
Dr. Frans Sayogie, M.Pd, S.H NIP. 19700310 2000 03 1 002
ENGLISH LETTERS DEPARTMENT FACULTY OF ADAB AND HUMANITIES
SYARIF HIDAYATULLAH STATE ISLAMIC UNIVERSITY JAKARTA
2011
LEGALIZATION
Name : Kartika Damayanti Reg : 106026000998 Title : A Translation Analysis in English into Indonesian of Walt Whitman’s Poems
This paper has been defended before the Examination Committee of Adab and Humanities Faculty on February 09, 2011. It has been accepted as a partial fulfillment of the requirements for the Degree of Strata One (S1).
Jakarta, February 09, 2011
The Examination Committee
Signature Date
1. Drs. Asep Saefuddin, M.Pd (Chair Person) _________ ________ 19640710 199303 1 006
2. Elve Oktafiyani, M.Hum (Secretary) _________ ________ 19781003 200112 2 002
3. Dr.Frans Sayogie, M.Pd, SH (Advisor) _________ ________ 19700310 200003 1 002
4. Dr.H.M. Farkhan, M.Pd (Examiner I) _________ ________ 19650919 200003 1 002
5. Dra.Danti Pudjianti, M.Hum (Examiner II) _________ ________ 19731220 199903 2 004
DECLARATION
I hereby declare that this submission is my own work and that, to the best 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 acknowledgment has been made in the text.
Jakarta, January 17 2011
Kartika Damayanti
ACKNOWLEDGEMENT
In the name of Allah SWT, the most Gracious, the most Merciful.
All praises be to Allah, who has bestowed upon the writer in completing this
thesis. Peace and salutation be upon to the greatest prophet Muhammad SAW, her
family, companions, and adherents.
In writing this thesis, the writer wants to say many thanks to her advisor,
Dr. Frans Sayogie, M.Pd., S.H As her advisor, who has been sincerely and resentfully
guiding the writing to accomplish her thesis.
The writer absolutely realizes that this thesis would not finish without help from
some people around her materially, morally, scientifically, and spiritually. Therefore,
she would like to express her sincere gratitude to those who have been given a valuable
advice and guidance to finish this thesis.
She would like to say her trustworthy gratitude to the following noble persons:
1. Dr. Abd. Wahid Hasyim, M.Ag, the Dean of the Faculty of Adab and Humanities,
Syarif Hidayatullah State Islamic University.
2. Drs. Asep Saefuddin, M.Pd, the Head of English Department, and Elve
Oktafiyani, M.Hum, the secretary of English Department.
3. All lectures, they have taught and educated the writer during her study at Syarif
Hidayatullah State Islamic University.
4. The writer’s beloved mother and father, they always help her materially, morally,
and spiritually.
5. The writer’s family members, they always give her dedication, help, and love.
6. To all friends, they always support her.
7. The last but not least, to all her best friends, they had been learning together in the
class. The writer always wishes them luck and success.
May Allah bless all of them, Amin. Finally, the writer hopes this thesis
will be useful for the writer herself and for those who are interesting with the literary
translation research.
Jakarta, January 17 2011
The writer
TABLE OF CONTENTS
ABSTRACT…………………………………………………………………………… i
APPROVEMENT….…………………………………………………………………...ii
LEGALIZATION……………………………………………………………………...iii
DECLARATION……………………………………………………………………....iv
ACKNOWLEDGMENT……………………………………………………………….v
TABLE OF CONTENTS…………………………………………………………......vii
CHAPTER I INTRODUCTION
A. Background of Study……………………………………………1
B. Focus of the Study ………………………………………………6
C. Research Question ………………………………………………7
D. Significance of the Study ……………………………………….7
E. Research Methodology ………………………………………….7
1. Research Objective …………………………………………..7
2. Methods of Research …………………………………………8
3. The Unit of Analysis …………………………………………8
4. Research Instrument …………………………………………9
5. Data Analysis Technique …………………………………….9
CHAPTER II THEORETICAL FRAMEWORK
1. Definition of Translation …………………………………..10
2. Types of Translation ……………………………………….11
3. Methods of Translation ……………………………………13
4. The Principles of Translation ………………………………16
5. Procedures of Translation …………………………………17
6. Poetry Translation Approaches………………………………22
CHAPTER III RESEARCH FINDINGS
A. Data Description………………………………………………26
B. Data Analysis …………………………………………………27
1. I Hear America Singing ……………………………………31
2. To A President ……………………………………………..34
3. A Child Said, What is The Grass …………………………..36
4. A Persian Lesson…………………………………………...39
5. When I Heard the Learn’d Astronomer ……………………42
C. Discussion …………………………………………………….43
CHAPTER IV CONCLUSION AND SUGGESTION
A. Conclusion ……………………………………………………46
B. Suggestion ……………………………………………………47
BIBLIOGRAPHY …………………………………………………………………...48
APPENDIX …………………………………………………………………………50
CHAPTER I
INTRODUCTION
A. Background of the Study
Toward the globalization era, science, technology, and language have
increasing in this world. When we talk about language skills we normally refer to
listening, speaking, reading, and writing. However, there is another important skill in
language, learning that we seem to neglect, namely translation. Translation is an
activity of enormous importance in modern world and it is a subject of interest not
only to linguists, professional, amateur translator, and language teachers, but also to
engineers, and mathematician, and so forth.1
Translation is not only changing Source Language (SL) text into Target
Language (TL) text but also keeping and considering the meaning and message
rendered. According to Peter Newmark in his book Approaches To translation, 1988,
“Translation is a craft consisting in the attempt to replace a written message and/or
statement in one language by the same message and/or statement in another
language.”2 In translating text, the translator should use some theories about what
procedures that applicable to translate the text and the concept of method .
There are four procedures which stated by Newmark commonly used by
translator. By using procedure in translating the text it can give appropriate result and
__________________ 1 J.C. Catford. A Linguistic Theory of Translation. (London : Oxford University Press, 1965), p.vii 2 Peter Newmark, Approaches To Translation. (New York : Prentince Hall, 1988), p.7
the message can delivered well to the target language. The comparison of texts in
different languages inevitably involves a theory of procedures translation. Because,
when the translator trying to translated a text, he must transfer the meaning, the
message, and the source culture to target culture.
In translation, it is true that person who know both the source language
and the target language well can often make the transfer from one form to the other
very rapidly, without thinking about the semantic structure overtly.3
The importance of translation from the source language into the target
language is not only for scientific, but also for non scientific for example in literature
such as poetry, prose, novel, short story, and drama. Literature is the art of languages;
it uses languages as a mean to communicate the author’s understanding of lives.
Translating literary works is more difficult than translating other types of
text because literary works have specific values called the aesthetic and expressive
values. The aesthetic function and of the work shall emphasize the beauty of the
words (diction), figurative language, metaphors, symbols, etc. While, the expressive
function shall put forwards the writer’s thought, emotion, etc.
One of the others literature works that very often translating into another
language is poetry. Poetry is the most personal and concentrated of the five forms, no
redundancy, no phatic language, where, as a unit the words have greater importance
than in any other type of text. 4
____________________ 3 Mildred L. Larson, Meaning-Based Translation. (London: University Press of America, 1984), p.4 4 Peter Newmark, A Textbook of Translation. (New York: Prentice Hall, 1988), p.163
In a poem, so many creation more beautiful than others literary works
such as the choice of words (diction), figurative language, rhythm, meter, symbol,
specific expression, and structure. As one genre of literature, poetry has something
special compared to the others. In a poem, the beauty is not only achieved with the
choice of words and figurative language like in novels and short stories, but also with
the creation of rhythm, rhyme, meter, and specific expressions and structures that
may not conform to the ones of the daily language. In short, the translation of poetry
needs something more than translating other genres of literature.
Three factors of translating the poems are; (1) linguistic, (2) literary, and
(3) cultural factors. Linguistics factor relates to how the translator finds out the close
equivalence of the words, syntactic and semantic structures of the target language.
Esthetic and literary factors relate to how the translator re-writes the poem in the
target language by the same way in the source language, and socio-cultural factors
relates to how the translator transfers the original culture of the author into the target
language.5 That is the reasons so many people or translator have translated poetry
from source language into another language because poetry is not ordinary language
so that they want to understand the passion, the meaning, and expressing their feeling
to reach poetical aspect.
In this world there are so many great poets. One of them is Walt Whitman.
He was born on May 31, 1819 in then rural Huntington, Long Island. At the age of
____________________ 5 Zuchridin Suryawinata and Sugeng Hariyanto, Translation; Bahasan Teori dan Penuntun Praktis Menerjemahkan. (Jakarta: Kanisius, 2003), p.167
twelve Whitman began to learn the printer's trade, and fell in love with the written
word. Largely self-taught, he read voraciously, becoming acquainted with the works
of Homer, Dante, Shakespeare, and the Bible. Whitman had been experimenting with
poetry since 1847. He spent his last eight years in a small house in Camden which he
was just prosperous enough to buy for himself. Whitman died on March 26, 1892, in
his 73rd year.6 Walt Whitman had created many poems on his life, some of them had
great place in American literature. The first edition of his famous work, “Leaves of
Grass,” for which Whitman himself set the type, was published in 1855. It was
reissued frequently, with addition and revisions, between 1855 and 1881. A complete
edition contains all of Whitman’s poetry. The sources of his inspiration probably lay
largely in personal experience.7 He wrote many poems about America or usually we
called with United States.
America gets its name from Amerigo Vespucci, who claimed that he
explored the coasts of presentday Brazil, Uruguay, and Argentina between 1497 and
1503. In 1507, a mapmakers and gradually was used for all of South America. Later,
the name was applied to both continents. The word America is often used to mean the
United States of America. 8
Walt Whitman’s poems also translated into another language especially
into Indonesian language, it was translated by Taufiq Ismail. He is a translator, a poet
____________________
6 Richard Ellmann and Robert O’clair, Modern Poems (New York: Oxford University, 1976), pp.1-3 7 Melville W. Feldman, The World University Encyclopedia 12 (USA : Manufactured, 1965), p.5499 8 Rudolph H.Yeatman, The World Book Encyclopedia A Vol.1 (Chicago : Merchandise Mart Plaza, 1986),
p.387
and a teacher. He had translated many poems, including poems by Emily Dickinson,
Robert Forst, Khalil Gibran. The writer search and find the Indonesian translation of
Walt Whitman’s poems on Horison Majalah Sastra and Walt Whitman’s poems on
the book Walt Whitman Complete Poetry and Collected Prose. The writer found five
titles which are translated into Indonesian language. They were “I Hear America
Singing” or “Aku Dengar Amerika Bernyanyi”, “To A President” or “Kepada
Seorang Presiden”, “A Persian Lesson” or “Pelajaran Sufi dari Farsi”, “A Child
Said, What Is The Grass?” or “Seorang Anak Berkata Apa Itu Rerumputan?”, and
“When I Heard the Learned Astronomer” or “Ketika Aku Mendengar Ahli Ilmu
Bintang yang Terpelajar”.
Although the writer thinks that translators are experts, it is not guarantee
for good translation. Because, the writer found some translation that are she feels not
appropriate with Source Language. Such as in “I Hear America Singing” line 10.
English : Singing, with open mouths, their strong melodious songs.
Indonesian : Yang bernyanyi dengan mulut terbuka, lagu mereka yang lantang
dan sedap di dengar telinga.
In Indonesian translation there is the addition. The translator adds the
phrase “sedap di dengar telinga” that is not exist in English version. The writer
thinks that the translator wants to make this poem more beautiful.
Another example as in “To a President” line 3.
English : You have not seen that only such as they are for these States.
Indonesian : Anda belum paham bahwa itu yang diperlukan negeri kita.
In the lyric above, the translator translated the word they in English
language into the word itu in Indonesia language. As we know, the word they have
equivalent with the word mereka in Indonesian language. But the translator translated
the noun they become the adverb itu in TL.
From the explanation above, the writer wants to analyze the procedures of
translation and finds mimetic form approaches of poetry translation in English into
Indonesian of Walt Whitman’s poems. This research entitled “A Translation Analysis
in English into Indonesian of Walt Whitman’s Poems”.
B. Focus of the Study
The theme of the research affirms that is going to discuss a translation
analysis in Walt Whitman’s poems, the writer discusses the types of procedures
translation such as addition, transposition, modulation, and adaptation to know the
reason for the translator that used the mimetic form approach translation in these
poem translations.
The analysis is limited in English into Indonesian translation of Walt
Whitman’s poems, there are: “I Hear America Singing” or “Aku Dengar Amerika
Bernyanyi”, “To A President” or “Kepada Seorang Presiden”, “A Persian Lesson”
or “Pelajaran Sufi dari Farsi”, “A Child Said, What Is The Grass?” or “Seorang
Anak Berkata Apa Itu Rerumputan?”, and “When I Heard the Learned Astronomer”
or “Ketika Aku Mendengar Ahli Ilmu Bintang yang Terpelajar”. The translation
procedures will discuss such as addition, transposition, modulation, and adaptation to
finds the mimetic form approach of translation in these poem translations.
C. Research Question
The questions in this research are:
1. What are the types of procedures in translation that found in English into
Indonesian translation of Walt Whitman’s poems?
2. Why Taufiq Ismail used mimetic form approach of poetry translation to translated
Walt Whitman’s poems?
D. Significance of the Study
The result of this research was expected to enrich the worth contributions
in studying literature and translation. Therefore, this research is completed.
1. To know the procedures of translation in English into Indonesian translation such
as addition, transposition, modulation, and adaptation in Walt Whitman’s poems.
2. To know the mimetic form approach of poetry translation used by Taufiq Ismail to
translate Walt Whitman’s poems.
E. Research Methodology
1. Research Objectives
Based on the research question the objectives of this research are:
1. To describes the type procedures of translation in English into Indonesian such as
addition, transposition, modulation, and adaptation of Walt Whitman’s poems.
2. To describes the mimetic form approach of poetry translation used by Taufiq
Ismail to translate Walt Whitman’s poems.
2. Method of Research
The writer analyses the data using qualitative technique by comparative
method. It describes the type procedures of translation and the mimetic form
approach of poetry translation in English into Indonesian translation of Walt
Whitman’s poems.
3. The Unit of Analysis
The unit of analysis on this research is five Walt Whitman’s poems there
are: “I Hear America Singing” or “Aku Dengar Amerika Bernyanyi”, “To A
President” or “Kepada Seorang Presiden”, “A Persian Lesson” or “Pelajaran
Sufi dari Farsi”, “A Child Said, What Is The Grass?” or “Seorang Anak Berkata
Apa Itu Rerumputan?”, and “When I Heard the Learned Astronomer” or “Ketika
Aku Mendengar Ahli Ilmu Bintang yang Terpelajar”. The writer found the
original poems in the book ”Walt Whitman Complete Poetry and Collected
Prose” and these poem translations in Indonesian from Horison Majalah Sastra,
edition XLIV/3/2010 is the one of literature magazine.
4. Research Instrument
To get the data, the writer read the text, to understand, to give mark, and
collected the data that are related to the procedures of translation such as
transposition, modulation, adaptation, and addition to finds the mimetic form
approach of poetry translation that used by Taufiq Ismail to translate Walt
Whitman’s poems.
5. Data Analysis Technique
The data collected are analyzed by using qualitative technique by
comparing relevant theories. The English as the source language and Indonesian
translation as the target language are collected as a primary data. The primary data
is supported by references as a secondary data, which are relevant with the study
they are books, and dictionaries to finds the types of procedures translation such
as transposition, modulation, adaptation, and addition to finds the mimetic form
approach of poetry translation which is using by Taufiq Ismail to translate Walt
Whitman’s poems. This goal is to take out conclusion objectively and
systematically.
CHAPTER II
THEORETICAL FRAMEWORK
1. Definition of Translation
There are some definitions of translation taken from many sources, they
are:
a. Translation is a craft consisting in the attempt to replace a written message
and/or statement in one language by the same message and/or statement in
another language.1
b. Translation consists in reproducing in the receptor language the closest natural
equivalent of the source language message.2
c. Translation involve the rendering of the source language (SL) into the target
language (TL) so as to ensure, that (1) the surface meaning of the two will be
approximately and (2) the structure of the SL will be preserved as closely as
possible, but no so closely that the SL structure will be seriously distorted.3
d. Translation is the replacement of textual material in one language (SL) by
equivalent textual material in another language (TL).4
________________ 1 Peter Newmark, Approaches To Translation, (London: Prentince Hall, 1988), p.7 2 E.A. Nida, The Theory and Practice of Translation, (Leiden: E.J. Brill, 1969), p.12 3 Susan Basnett, Translation Studies. (London: Routledge, 1996), p.2 4 J.C. Catford, A Linguistic Theory of Translation. (London: Oxford University Press, 1963), p.vii
From definitions above, the writer can conclude that the translation is an activity
of replacement of one language (SL) to other language (TL) in the form of words,
phrases, or sentences in either written message or statement, in which the meaning and
structure of the TL will be preserved as closely as possible to the SL, because
translation must keeping and considering the meaning and message rendered.
2. Types of Translation
In the translation books, there are so many kinds of translation proposed by some
experts. The several of types are classified in the different aspects. There are two types
of translation according to Peter Newmark:
a) Communicative translation
It attempts to produce on its readers as an effect as close as possible to
obtained on the readers of the original. It also addresses itself solely to the second
reader, who does not anticipate difficulties or obscurities, and would expect a
generous transfer of foreign elements into his own culture as well as his language
where necessary. Communicative translation is always concentrated non the reader,
but the equivalent-effect element is in operant if the text is out of TL space and time.
The characteristic of communicative translation, it is likely to be smoother, simpler,
clearer, more direct, more conventional, conforming to particular register of language,
tending to under translate.
b) Semantic translation
It attempts to render, as closely as the semantics structures of the second
language allow, the exact contextual meaning of the original. It also remains within
the original culture and assists the reader only in its connotations if they constitute the
essentials human (non-etchnic) message of the text. The characteristic of semantic
translation, it tends to be more complex, more awkward, more detailed, more
concentrated, and pursues the thought-process rather than the intention of the
transmitter.5
Nida and Taber divided translation into three types of translation:
a. Literal translation
Literal translation is a kind of translation emphasizes word equivalences or
expression in TL text which has the same meaning and expression in SL text. E.g.
the word cat, kucing in Indonesian. It can’t be interpreted as different thing
except four-legged animal which has the small body and lives around the house as
pets.
b. Dynamic translation
The translation fills with five dynamic concepts: (1) reproducing message,
(2) equivalent, (3) neutral equivalent, (4) closest equivalent, (5) meaning priority.
This translation usually avoids a literal one.
c. Idiomatic translation
The translation maintains the style and meaning of the SL text, so the
translation is not like translation but more like the SL text itself. 6
__________________ 5 Peter Newmark (1988), op.cit. pp.39-40 6 Zuchridin Suryawinata and Sugeng Hariyanto, Translation; Bahasan Teori dan Penuntun Praktis Menerjemahkan, (Yogyakarta : Kanisius, 2003), p.33
The types of translation are useful for the translator to translating the
original texts into another language. By the types of translation, the translator could
make an attempt to communicate the original text to the target reader.
3. Methods of Translation
The central problem of translating has always been whether to translate
literally or freely. The argument was theoretical: the purpose of the translation, the
nature of the readership, the type of text, was not discussed. Too often, writer, translator
and reader were implicity identified with each other. Now the context has changed, but
the basic problem remains. Peter Newmark put it in the form of a flattened V diagram:
SL emphasis TL emphasis
Word- for-word translation Adaptation
Literal translation Free translation
Faithful translation Idiomatic translation
Semantic translation Communicative translation
According to Peter Newmark, the methods of translation are:
1. Word-for-word translation
This is often demonstrated as interlinear translation, with the TL
immediately below the SL words. The SL word-order is preserved and the words
translated singly by their most common meanings, out of context. Cultural words
are translated literally. The main use of word-for-word translation is either to
understand the mechanics of source language or to construe a difficult text as a
pre-translation process.
2. Literal translation
The SL grammatical constructions are converted to their nearest TL
equivalents but the lexical words are again translated singly, out of context. As a
pre-translation process, this indicates the problems to be solved.
3. Faithful translation
A faithful translation attempts to reproduce the precise contextual meaning
of the original within the constraints of the TL grammatical structures. It
‘transfers’ cultural words and preserves the degree of grammatical and lexical
‘abnormality’ (deviation from SL norms) in the translation. It attempts to be
completely faithful to the intentions and the text-realisation of the SL writer.
4. Semantic translation
Semantic translation differs from ‘faithful translation’ only in as far as it
must take more account of aesthetic value (that is, beautiful and natural sound) of
the SL text, compromising on ‘meaning’ where appropriate so that no assonance,
word-play or repetition jars in the finished version. Further, it may translate less
important cultural words by culturally neutral third or functional terms but not by
cultural equivalents and it may make other small concessions to the readership.
The distinction between ‘faithful’ and ‘semantic’ translation is that the first is
uncompromising and dogmatic, while the second is more flexible, admits the
creative exception to 100% fidelity and allows for the translator’s intuitive
empathy with the original.
5. Adaptation
This is the ‘freest’ form of translation. It is used mainly for plays
(comedies) and poetry; the themes, characters, plots are usually preserved, the SL
culture converted to the TL culture and the text rewritten. The deplorable practice
of having a play or poem literally translated and then rewritten by an established
dramatist or poet has produced many poor adaptations, but other adaptations have
‘rescued’ period plays.
6. Free translation
Free translation reproduces the matter without the manner, or the content
without the form of the original. Usually it is a paraphrase much longer than the
original, a so-called ‘intralingual translation’, often prolix and pretentious, and not
translation at all.
7. Idiomatic translation
Idiomatic translation reproduces the ‘message’ of the original but tends to
distort nuances of meaning by preferring colloquialisms and idioms where these
do not exist in the original.
8. Communicative translation
Communicative translation attempts to render the exact contextual
meaning of the original in such a way that both content and language are readily
acceptable and comprehensible to the readership. 7
__________________ 7 Peter Newmark, A Textbook of Translation, (Hertfordshire: Prentice Hall, 1988), pp.45-47
Commenting on these methods, semantic and communicative translation
fulfils the two main aims of translation. A semantic translation is written at the
author’s linguistic level, a communicative at the readership’s. Semantic translation is
used for ‘expressive’ texts, communicative for ‘informative’ and ‘vocative’ texts.
4. The Principles of Translation
In the world of translation, there are some principles that should be
considered by the translator. According to T.H. Savory, the principles are:
1. A translation must give the words of original.
2. A translation must give the ideas of the original.
3. A translation should read like an original work.
4. A translation should read like translation.
5. A translation should reflect the style of the original.
6. A translation should posses the style of the translation.
7. A translation should read as a contemporary of the original.
8. A translation should read as a contemporary of the translation.
9. A translation may add to or omit from the original.
10. A translation may never add to or omit from the original.
11. A translation of verse should be in verse.
12. A translation of verse should be in prose. 8
__________________ 8 T.H. Savory, The Art of Translation, (London: Cape, 1981), p.54
However, some of the principles of translation proposed by T.H.
Savory which greatly affect the translation of poetry in number 11 and 12, are: a
translation of verse should be in verse, and a translation of verse should be in prose.
This pair of alternative above can be easily recognize as giving one form
of expression to the distinction between the literal or faithful translation and the
idiomatic or free translation. One reason for the advocacy of faithfulness is that the
translator has never allowed himself to forget that he is a translator. The translator is
just an interpreter, one whose duty is to act as a bridge or channel between the mind
of the author and the minds of the readers. Another reason for the advocacy of
faithfulness is that style is the essential characteristic of every piece of writing. The
outcome of the writer’s personality and his emotions at that time could be preserved
in a literal translation.
5. Procedures of Translation
Translation procedure is a technical direction to translate word to word,
phrase to phrase, and sentence to sentence or some strategies which are carried out
in translation including word, phrase, and sentence. According to Newmark in his
book A Textbook of Translation, there are four types most common in procedures of
translation:
1. Transference, (loan word, transcription) is the processes of transferring a SL word
to a TL text as a translation procedure, e.g. the word decoration in English
become the word dekorasi in Indonesian language.
2. Naturalisation, this procedure succeeds transference and adapts the SL word first
to the normal pronunciation, then to the normal morphology (word-forms) of the
TL, e.g. active in English and aktif in Indonesian.
3. Cultural equivalent, this is an approximate translation where a SL cultural word is
translated by a TL cultural word: menteri keuangan in Indonesian become
minister of finance/ Chancellor of the Exchequer in English.
4. Functional equivalent, this common procedure, applied to cultural words, requires
the use of a culture – free word, sometimes with a new specific term; it therefore
neutralises or generalises the SL word; and sometimes adds a particular thus:
‘secondary school’ in English and ‘sekolah menengah pertama’ in Indonesian.
5. Decriptive equivalent, in translation, description sometimes has to be weighed
against function. Thus for machete, the description is a ‘Latin American broad,
heavy instrument’, the function is cutting or aggression; description and function
are combined in ‘knife’.
6. Synonymy, this procedure is used for a SL word where there is no clear one-to-
one equivalent, and the word is not important in the text, in particular fo
adjectives or adverbs of quality (which in principle are ‘outside’ the grammar and
less important than other components of a sentences): ‘kind person’ in English
become ‘orang yang baik’ in Indonesian.
7. Through translation, the literal translation of common collocation, names of
organizations, the components of compounds and perhaps phrases, e.g. United
Nation Organization (UNO) in English become Perserikatan Bangsa – Bangsa
(PBB) in Indonesian.
8. Transposition, this is one of the most common procedures used in translation. In
involves replacing grammatical structure in the SL with one of a different type in
the TL in order to achieve the same effect. There are four types follows:
a. The change from plural to singular e.g. language ‘a pair of trousers’ in
English become ‘sebuah celana’ in Indonesian.
b. Required when a SL grammatical structure does not exist in the TL, e.g.
‘the bomb was blasted yesterday’ become ‘diledakkan bom itu kemarin’.
c. The one where literal translation is grammatically possible but may not
accord with natural usage in TL. E.g. ‘Lending Bank’ become ‘Bank yang
memberikan pinjaman’.
d. The fourth type is the replacement of a virtual lexical gap by a
grammatical structure. E.g. ‘it is this agreement which is referred to’
become ‘perjanjian inilah yang diacu’.
9. Modulation, it entails a change in lexical elements, a shift in the point of view.
Modulation and transposition are two main processes in the translation.
Transposition and modulation may take place at same time. Vinay and Darbelnet
coined the term modulation to define a variation through a change of a viewpoint,
of perspective and very often category of thought. Newmark divided modulation
into two types. The first is standard modulation; it is used when word, phrase, or
structure was not having equivalence meaning in TL. Example: the word Lessor
and Lessee in English language. The second type is free modulation is used by
translator when the translator reject literal translation, such as to clear the
meaning, e.g. ‘environmental degradation’ become ‘penurunan mutu
lingkungan’.
10. Recognised translation, you should normally use the official or generally accepted
translation of any institutional term, e.g. Dewan Perwakilan Rakyat (DPR) in
Indonesian and The House of Representative in English.
11. Translation Label, this is a provisional translation, usually of a new institutional
term, which should be made in inverted commas, which can later be discreetly
withdrawn. It could be through literal translation, thus: ‘heritage language’ and
‘langue d’heritage’.
12. Compensation, this is said to occur when loss of meaning, sound-effect, metaphor
or pragmatic effect in one part of a sentence is compensated in another part, or in
a contiguous sentence.
13. Componential Analysis, this is the splitting up of a lexical unit into its sense
components, often one-to-two, three or four translations.
14. Reduction and expansion, these are rather imprecise translation procedures, which
you practice intuitively in some cases.
15. Paraphrase, this is an amplification or explanation of the meaning of a segment of
the text. It is used in an ‘anonymous’ text when it is poorly written, or has
important implications and omissions.
16. Other procedures, Vinay and Darbelnet also give:
a. Equivalence, an unfortunately named term implying approximate equivalence,
accounting for the same situation in different terms. E.g. ‘The strory so
far’ in English become ‘Ceritanya sangat berbeda’ in Indonesian.
b. Adaptation, use of a recognized equivalent between two situations. This is a
matter of cultural equivalence, such as ‘Dear Sir’ translated as ‘Dengan
Hormat’ in Indonesian.
17. Couplets, triplets, quadruplets combine two, three, or four of the above mentioned
procedures respectively for dealing with a single problem.
18. Notes, Additions, Glosses. This process is used to help when the translation that
had the related with the technique, the culture, and others. Addition and
borrowing may take place at same time. Example: ‘signed certificate’ becomes
‘ijazah yang ditandatangani’. This translation takes addition word ‘yang’ in
‘ijazah yang ditandatangani’.9
While the translation methods relate to whole texts, translation
procedures are used for sentences and the smaller units of language. In translating
from one language into another language, usually transposition and modulation are
two main common procedures that should be taken into account by the translator.
Normally the translator should always study the text as a whole he begins to
translate. Translation procedures could help the translator to solve the problems in
translating all types of the text.
__________________ 9 Peter Newmark (1988), op.cit. pp.85-93
6. Poetry Translation Approaches
Although so many people are opposed poetry translation, the translation of
poetry into the other languages still continues. The translation of poetry is the field
where most emphasis is normally put on the creation of a new independent poem,
and where literal translation is usually condemned. In short, the translation of poem
or poetry needs ‘something more’ than translating other genres of literature.
According to Holmes, there are four types or forms approaches of poetry translation
which quoted by Asim Gunawan:
1. Pendekatan pertama adalah mempertahankan bentuk asli puisi, walaupun sebenarnya tidaklah mungkin mempertahankan bentuk yang ada di dalam bahasa sumber jika dialihkan ke dalam bahasa sasaran. Hal ini karena tidak ada dua bahasa mempunyai bentuk-bentuk puitis yang tepat sama. Apa yang dilakukan penerjemah di dalam hal ini ialah bentuk yang ada di dalam bahasa sumber itu ditirukan di dalam bahasa sasaran sebaik mungkin. Pendekatan ini disebut dengan pendekatan bentuk mimetik, yang berarti bentuk dalam arti luas puisi asli atau bentuk metapuisi (terjemahan) dan bermakna yang pada dasarnya punya kemiripan.
2. Pendekatan kedua menggunakan bentuk analogis. Penekanannya pada fungsi bentuk puisi asli di dalam tradisi puisi bahasa sumber, dan kemudian diberikan fungsi yang sepadan di dalam bahasa sasaran dengan mempertimbangkan tradisi di dalam bahasa sasaran itu.
3. Pendekatan ketiga adalah menggunakan bentuk derivatif isi. Penerjemah tidak mempertimbangkan bentuk puisi yang asli, ia menggunakan isi puisi sebagai titik tolak. Dengan menggunakan isi puisi sebagai dasar, ia bebas menentukan bentuk puisi terjemahan.
4. Pendekatan keempat tidak berkaitan dengan puisi yang asli sehingga dapat dikatakan pendekatan ini bukan pendekatan penerjemahan (pendekatan bebas). Di dalam hal ini penerjemah sekedar menggunakan puisi yang asli itu sebagai semacam inspirasi, dan metapuisinya tidak mencerminkan yang asli baik dalam hal bentuk maupun dalam hal isi. 10
__________________ 10 Frans Sayogie, Teori dan Praktek Penerjemahan Bahasa Inggris ke dalam Bahasa Indonesia, (Jakarta:
Pustaka Anak Negeri, 2009), pp.212-214
The first approach is to maintain the original form of poetry, although in
the fact is impossible to maintain the existing form in the source language if
transferred into the target language. This case because there are no two languages
has the same exactly in poetic form. In this case what the translator done in the form
of source language had imitated in the target language as good as possible. This
approach is called the mimetic form approach; it means the universal form of
original poetry or poetic form (translation) and has meaning that basically similar.
Second approach uses analogical form. The emphasis on the function of
original poetry form in tradition of poetry in the source language, and then given the
equivalence function in the target language by considering the tradition in the target
language.
The third approach is use derivative form. Translator is not considering the
original poetry form, he uses the contents of the poem as a staring point. By using
the contents of the poem as a base, he is free to determine the form of poetry
translation.
The fourth approach is not related to the original poem so that it can be
said this approach is not a translation approach (free approach). Inside this
translator simply uses the original poem as a kind of inspiration and poem not
reflect the original both in terms of form and in content.
According to the writer, the form approach of poetry translation is the
result of translation after the translator uses one of the existing translation methods.
Thus, the method of translation is the translator how to translate or plan a translator
in translating the text, and the results can be seen from the form approach of
translation. This is the sample of poem in English language (Death of a
Whale)written by John H. McGlynn translated into Indonesian language (Matinya
Seekor Ikan Paus) by Sapardi Djoko Damono used mimetic form approach.
DEATH OF WHALE
When the mouse died, there was a sort of pity: The tiny little creature made for grief. Yesterday, instead, the dead whale on the reef drew an exited multitude to the jetty. How must a whale die to wring a tear? Lugubrious death of whale; the big Feast for the gull and sharks; the tug of the tide stimulating life still there, until the air, polluted, swings this way like a door ajar from a slaughterhouse. Pooh! pooh! Spare us, give us the death of a mouse Bu its tiny hole, not this in our lovely bay. -Sorry we are, too, when a child dies; but at the immolation of a race, who cries? MATINYA SEEKOR IKAN PAUS
Ketika tikus itu mati, ada rasa belas di hati: Hewan kecil lentik yang menyedihkan ini! Kemarin, tapi, ikan paus yang mati di pantai mengundang orang berdatangan ramai. Bagaimana harusnya ia mati, supaya kita iba hati? Sebelum terdampar, ia jadi pesta besar Untuk hiu dan camar-camar! Tarikan pasang seolah menghidupkan lagi, sampai datang angin cemar, mendorongnya terlempar seperti dari rumah jagal. Wah, wah! Tolonglah kami, beri kami tikus mati dekat liang, bukan ikan paus di pantai yang indah ini. -Kita pun sedih waktu ada anak mati; Tapi bila sebuah ras binasa, siapa akan berduka?
While the translation of the poem "Death of a Whale", according to
Gunarwan, that the transferring (content) meaning and form quite loyal. There is
some refraction of meaning that occur in the transfer of creature into an animal, like a
given superordinate counterpart hiponim - less precise. Translation the tug of the tide
simulating life become tarikan pasang seolah menghidupkannya lagi (if translated
back into English become the tude of the tide looks as though it review it) seems also
wrong. Similarly, the translation the immolation of a race become (bila) sebuah ras
binasa, it is also not appropriate. The word immolation hinted that the murder of race
for the victim and, more important, in the words that implied there was the accused.
This implication is not in the equivalence line of poem. Nevertheless, the overall
transfer of poem “Death of a Whale” into “Matinya seekor Ikan Paus” could be said
enough.11
From the sample of the poem translation “Death of A Whale” into
Indonesian language “Matinya seekor ikan paus”, we could see that in the translation
of the poem there are two emphasizes: first, the translation of poem must keep the
context of the poem, or keep the message in original poem and second, the translation
of the poem must keep the beautiful of the poem. In this case, the translator must
trying hard to translated the original poems into another language, because the author
and the translator have differences in language, society and culture background.
__________________ 11 Frans Sayogie (2009), op.cit. pp. 215-218
CHAPTER III
RESEARCH FINDINGS
A. Data Description
In this chapter, the writer had analyses of poem translations from the Walt
Whitman’s poems. These poem are: I Hear America Singing, To a President, A
Persian Lesson, A Child Said What is the Grass, and When I Heard the Learn’d
Astronomer. These poems had taken from the book “Complete Poetry and Collected
Prose by Walt Whitman”. The original poems translated into Indonesian language by
Taufiq Ismail which is published by “Horison Majalah Sastra”.
First, the writer observed and analysis by procedures of translation
between the SL text and the TL text in translation sentences of these poems to
classify the type procedures of translation such as addition, transposition, modulation,
and adaptation. The writer connected first language to the translation in second
language. After that, the meaning of addition, transposition, modulation, and
adaptation was checked in the form approach of translation in these poem
translations.
In research findings, the writer found that the translator uses mimetic form approach
in these poem translations, because these poem translations keep the original form of
poetry. In these analyses the writer gives her opinion, and the writer thinks the
possible structural meaning changes that may occur in SL text into TL text can be
observed in the following data description:
a. Transposition
1. SL: Those of mechanics, each one singing his as it should be blithe and strong. (I
Hear America Singing, line 2)
TL: Nyanyi tukang di bengkel, setiap mereka menyanyi seperti mestinya gembira
dan lantang. (Aku Dengar Amerika Bernyanyi, line 2)
2. SL: The manson singing his as he makes ready for work, or leaves off work. (I
Hear America Singing, line 4)
TL: Tukang batu menyanyikan lagunya ketika akan pergi bekerja, atau seusai
bekerja. (Aku Dengar Amerika Bernyanyi, line 4)
3. SL: The delicious singing of the mother, or of the young wife at work, or of the
girl sewing or washing. (I Hear America Singing, line 8)
TL: Lagu merdu sang ibu, atau isteri muda ketika bekerja, atau anak sang gadis
menjahit serta mencuci. (Aku Dengar Amerika Bernyanyi, line 8)
4. SL: Each singing what belongs to him or her and to none else. (I Hear America
Singing, line 9)
TL: Setiap mereka menyanyikan lagu mereka sendiri, bukan lagu orang lain. (Aku
Dengar Amerika Bernyanyi, line 9)
5. SL: Bearing the owner’s name someway in the corners, that we may see and
remark and say Whose? (A Child Said, What is the Grass, line 6)
TL: Dengan nama pemiliknya tercantum di salah satu sudutnya, sehingga kita bisa
melihatnya lalu berkata Punya Siapa? (Seorang Anak Berkata Apa Itu
Rerumputan, line 6)
6. SL: Or I guess the grass it is a uniform hieroglyphic. (A Child Said, What is the
Grass, line 8)
TL: Atau mungkin rerumputa itu huruf hieroglif yang seragam. (Seorang Anak
Berkata Apa Itu Rerumputan, line 8)
7. SL: Spoke to the young priests and student. (APersian Lesson,line 5)
TL: Kepada ulama muda dan santrinya dia berkata. (A Persian Lesson, line 5)
8. SL: It is the central urge in every atom. (A Persian Lesson, line 13)
TL: Dia mengendap sebagai tenaga di inti zarrah. (Pelajaran Sufi dari Farsi, line
13)
9. SL: When I sitting heard the astronomer where he lectured with much applause in
the lecture room. (When I Heard the Learn’d Astronmer, line 4)
TL: Ketika seraya duduk ku dengar ahli ilmu bintang itu memberi ceramah
disambut tepukan tangan meriah di ruang kuliah. (Ketika Aku Mendengar
Ahli Ilmu Bintang Yang Terpelajar, line 4)
10. SL: When I sitting heard the astronomer where he lectured with much applause in
the lecture room. (When I Heard the Learn’d Astronmer, line 4)
TL: Ketika seraya duduk ku dengar ahli ilmu bintang itu memberi ceramah
disambut tepukan tangan meriah di ruang kuliah. (Ketika Aku Mendengar
Ahli Ilmu Bintang Yang Terpelajar, line 4)
b. Addition
1. SL: Singing with open mouths their strong melodious songs. (I Hear America
Singing, line 11)
TL: Yang bernyanyi dengan mulut terbuka, lagu mereka yang lantang dan sedap
di dengar telinga. (Aku Dengar Amerika Bernyanyi, line 11)
2. SL: You have not learn’d of Nature – of the politics of Nature you have not
learn’d the great amplitude, rectitude, impartiality. (To a President, line 2)
TL: Anda belum menyimak Alam – tentang politik Alam belum anda pelajari
betapa keagungan, kejujuran, serta sikap tak berpihaknya. (Kepada Seorang
Presiden, line 2)
3. SL: And that what is less than they, must sooner or later lift off from these States.
(To a President, line 4)
TL: Bila ikhtiar tidak kesana betapa tiada terkira kerugian yang kita derita.
(Kepada Seorang Presiden, line4)
4. SL: And now it seemes to me the beautiful uncut hair of graves. (A Child Said,
What is The Grass, line 12)
TL: Sekarang malahan rerumputan nampak bagai rambut kuburan yang terurai
panjang belum sempat dirapikan. (Seorang Anak Berkata Apa Itu
Rerumputan, line 12)
5. SL: On the slope of teeming Persian rose-garden, (A Persian Lesson, line 3)
TL: Di lereng sebuah kebun mawar demikian indahnya, (Pelajaran Sufi dari
Farsi, line 3)
c. Adaptation
1. SL: Each singing what belongs to him or her and to none else, (I Hear America
Singing, line 9)
TL: Setiap mereka menyanyikan lagu mereka sendiri, bukan lagu orang lain, (Aku
Dengar Amerika Bernyanyi, line 9)
2. SL: Kanuck, Tuckahoe, Congressman, Cuff, I give them the same, I receive them
the same. (A Child Said What is the Grass?, line 11)
TL: Kanuck, Tuckahoe, Congressman, Cuff, ku beri mereka yang serupa, ku
terima yang serupa. (Seorang Anak Berkata Apa Itu Rerumputan?, line11)
d. Modulation
1. SL: All you are doing and saying is to America dangled mirages, (To a President,
line 1)
TL: Semua yang anda lakukan dan ucapkan bagi Amerika adalah fatamorgana
yang goyang bergoyang, (Kepada Seorang Presiden, line 1)
2. SL: Growing among black folks as among white. (A Child Said, What is the
Grass, line10)
TL: Bertumbuh di antara orang kulit hitam maupun di antara orang kulit putih. (A
Child Said, What is the Grass, line10)
3. SL: Would you know the dissatisfaction? The urge and spur of every life. (A
Persian Lesson, line11)
TL: Adakah kau tangkap keresahan? Makhluk dalam dorongan dan loncatan.
(Pelajaran Sufi dari Farsi, line11)
4. SL: The something never still’d – never entirely gone? The invisible need of
every seed? (A Persian Lesson, line12)
TL: Yang tak pernah tenang, tak kunjung hilang? Tak tampak namun ada dia,
bersembunyi dalam benih kehidupan. (Pelajaran Sufi Dari Farsi, line12)
B. Data Analysis
Before the writer found the form approach of poetry translation in these poem
translations, first, the writer classified procedures of translation to finds the form
approach of these poem translations.
1. I Hear America Singing (Aku Dengar Amerika Bernyanyi)
Line Source Language Target Language
1. I hear America singing, the varied carols I hear,
Aku dengar Amerika bernyanyi, aku dengar beragam lagu puji,
2. Those of mechanics, each one singing his as it should be blithe and strong,
Nyanyi tukang di bengkel, setiap mereka menyanyi seperti mestinya gembira dan lantang,
3. The carpenter singing his as he measures his plank or beam,
Tukang kayu menyanyikan lagunya seraya mengukur papan atau baloknya,
4. The mason singing his as he makes ready for work, or leaves off work,
Tukang batu menyanyikan lagunya ketika akan pergi bekerja, atau seusai bekerja,
5. The boatman singing what belongs to him in his boat, the deckhand singing on the steamboat deck,
Pengemudi kapal menyanyikan miliknya di atas kapal, anak buahnya menyanyi di atas dek kapal uap,
6. The shoemaker singing as he sits on his bench, the hatter singing as he stands,
Tukang sepatu menyanyi sambil duduk di bangkunya pembuat topi menyanyi sambil berdiri,
7.
The wood-cutter’s song, the ploughboy’s on his way in the morning, or at noon intermission or at sundown,
Lagu penebang kayu, anak pembajak ladang di jalan pagi hari, atau di waktu istirahat tengah hari atau ketika matahari terbenam,
8. The delicious singing of the mother, or of the young wife at work, or of the girl sewing or washing,
Lagu merdu sang ibu, atau isteri muda ketika bekerja, atau anak sang gadis menjahit serta mencuci,
9. Each singing what belongs to him or her and to none else,
Setiap mereka menyanyikan lagu mereka sendiri, bukan lagu orang lain,
10. The day what belongs to the day – at night the party of young fellows, robust, friendly,
Lagu siang hari untuk siang hari – di malam hari pesta anak-anak muda, tegap dan ramah hati,
11. Singing with open mouths their strong melodious songs.
Yang bernyanyi dengan mulut terbuka lagu mereka yang lantang dan sedap di dengar telinga.
1. SL: Those of mechanics, each one singing his as it should be blithe strong. (line2)
TL: Nyanyi tukang di bengkel, setiap mereka menyanyi seperti mestinya, gembira
dan lantang. (line 2)
If the writer compare this translation exactly, the translator takes the word
nyanyi “Nyanyi tukang di bengkel” in TL that is not exists in phrase “Those of
mechanics” in SL. The word nyanyi in Indonesia language has meaning sing in
English language. The writer’s opinion the translator gives addition in this
translation; because he wants to give more explanation about the mechanics did
when they hard worked and replacement of lexical by a grammatical structure. So,
the writer found transposition in this translation.
2. SL: The manson singing as he makes ready for work, or leaves off work, (line 4)
TL: Tukang batu menyanyikan lagunya ketika akan pergi bekerja, atau seusai
bekerja, (line 4)
In this translation, the writer found a transposition. Because, the type of
shift in this translation is grammatically possible but may not accord with natural
usage in TL. So, the writer translated the phrase in SL “as he makes ready for
work” into “ketika akan pergi bekerja” in TL.
3. SL: The delicious singing of the mother, or of the young wife at work or of the
girl sewing or washing. (line 8)
TL: Lagu merdu sang ibu, atau isteri muda ketika bekerja, anak gadis menjahit
serta mencuci. (line 8)
In this shift, the writer found adj + noun in English language become noun
+ adj in Indonesian language. The phrase young wife is consists of adj + noun, and
translated into Indonesian language become istri muda which has adj + noun
form. In Indonesia language has different structure grammatical with English.
Automatically, the translator must do a transposition.
4. SL: Each singing what belongs to him or her and to none else. (line 9)
TL: Setiap mereka menyanyikan lagu mereka sendiri, bukan lagu orang lain.
(line 9)
If the phrase of SL above “Each singing what belongs to him or her and
to none else” translated by faithful translation, that result would become “setiap
menyanyikan milik mereka dan bukan untuk orang lain”. This translation text is
not beautiful in Indonesia language. So, the translator do a transposition in TL
“Setiap mereka menyanyikan lagu mereka sendiri, bukan lagu orang lain”.
Because the one where literal translation is grammatically possible but may not
accord with natural usage in TL.
5. SL: Each singing what belongs to him or her and to none else. (line 9)
TL: Setiap mereka menyanyikan lagu mereka sendiri, bukan lagu orang lain.
(line 9)
According to the writer, in this sentence there is the phrase him or her that
translated become the word mereka. Him or her in English, the word him is
pronoun that uses for men, while the word her is pronoun that uses for women.
Meanwhile, in the Indonesian language the word him or her for the man and
woman are not distinguished as in English. Translator is could not translated the
phrase him or her into dia atau dia in Indonesian. This translation to found
cultural equivalent between two situation because differences concept of culture
in SL and TL so that the translator need adaptation.
6. SL: Singing with open mouths their strong melodious songs. (line 11)
TL: Yang bernyanyi dengan mulut terbuka, lagu mereka yang lantang dan sedap
di dengar telinga. (line 11)
The writer found; the translator gives addition the phrase “dan sedap di
dengar telinga” that is not exists in SL. Perhaps the translator wants this lyric
more beautiful when the others read this poem translation, but the writer thinks it
will change the original poem wants to tell. In the writer’s opinion, it should be
translated with “Yang bernyanyi dengan mulut terbuka, melodi lagu mereka yang
lantang”. In this translation, the writer found addition.
2. To A President (Kepada Seorang Presiden)
Line Source Language Target Language
1. All you are doing and saying is to America dangled mirages,
Semua yang anda lakukan dan ucapkan bagi America adalah fatamorgana yang goyang bergoyang,
2.
You have not learn’d of Nature – of the politics of Nature you have not learn’d the great amplitude, rectitude, impartiality,
Anda belum menyimak Alam – tentang politik Alam, belum anda pelajari betapa keagungan, kejujuran serta sikap tak berpihaknya,
3. You have not seen that only such as they are for these States,
Anda belum paham bahwa itu yang diperlukan negeri kita,
4. And that what is less than they must sooner or later lift off from these States.
Bila ikhtiar tidak kesana betapa tiada terkira kerugian yang kita derita.
1. SL: All you are doing and saying is to America dangled mirages, (line 1)
TL: Semua yang anda lakukan dan ucapkan bagi America adalah fatamorgana
yang goyang bergoyang. (line 1)
In this lyric above, the writer found modulation. This modulation that
translator had translated the word mirages in English language into the word
fatamorgana, which is the word mirage has equivalent meaning khayalan belaka
in Indonesia language. But, the translator use fatamorgana as the translation,
because fatamorgana in Indonesia language has a meaning something so beautiful
or something like heaven. So, the translator use fatamorgana, another purpose is
to make the poem has poetic language.
2. SL: You have not learn’d of Nature – of the politics of Nature you have not
learn’d the great amplitude, rectitude, impartiality. (line 2)
TL: Anda belum menyimak Alam – tentang politik Alam belum anda pelajari
betapa keagungan, kejujuran, serta sikap tak berpihaknya. (line 2)
In this lyric, the translator added the words tentang and serta which is not
consisting in SL. According to the writer, this translation should be “Anda belum
menyimak Alam – politik Alam belum anda pelajari betapa keagungan, kejujuran,
sikap tak berpihaknya” to keep the context of the poem, but it seemed that the
translator wants this lyric sound more rhythmical when the reader read it. So, the
translator added the word tentang and serta in TL. In this translation, the
translator gives addition.
3. SL: And that what is less than they, must sooner or later lift off from these States.
( line 4)
TL: Bila ikhtiar tidak kesana betapa tiada terkira kerugian yang kita derita. (line4)
The writer found addition because the translator added the word ikhtiar to
Indonesian translation. In English language, the word ikhtiar has means to make
an attempt or effort to do or get something. According to the writer, the translator
wants the reader know that is the trying all of citizen for the States. The word
ikhtiar can gives value to the poem translation because it will make easier for the
readers to understand this phrase of translation.
3. A Child Said, What is the Grass? (Seorang Anak Berkata, Apa Itu
Rerumputan?)
Line Source Language Target Language
1. A child said, What is the grass? fetching it to me with full hands,
Seorang anak berkata Apa itu Rerumputan? Seraya membawa daku senggam penuh dalam tangannya,
2. How could I answer the child? I do not know what it is any more than he.
Bagaimana cara aku menjawabnya? Pengetahuanku tentang rerumputan agaknya tak lebih ketimbang dia.
3. I guess it must be the flag of my disposition, out of hopeful green stuff woven.
Mungkin rerumputan adalah bendera dalam perbendaharaanku, ditenun dari bahan harapan berwarna kehijau-hijauan.
4. Or I guess it is the handkerchief of the Lord.
Atau mungkin rerumputan itu saputangan Tuhan.
5. A scented gift and remembrancer designedly dropped,
Sebuah hadiah wangi aromanya untuk kenangan sengaja dibuatkan,
6. Bearing the owner’s name someway in the corners, that we may see and remark, and say Whose?
Dengan nama pemiliknya tercantum di salah satu sudutnya, sehingga kita bisa melihatnya lalu berkata Punya Siapa?
7. Or I guess the grass is itself a child, the produced babe of the vegetation.
Atau mungkin rerumputan itu seorang anak kecil, bayi yang dihasilkan tetumbuhan.
8. Or I guess the grass it is a uniform hieroglyphic,
Atau mungkin rerumputan itu huruf hieroglif yang seragam.
9. And it means, Sprouting alike in broad zones and narrow zones,
Dan maknanya, bertunas tumbuh serupa baik di kawasan lapang maupun di kawasan kurang lapang,
10. Growing among black folks as among white,
Bertumbuh di antara orang kulit hitam maupun di antara orang kulit putih,
11. Kanuck, Tuckahoe, Congressman, Cuff, I give them the same, I receive them the same.
Kanuck, Tuckahoe, Congressman, Cuff, kuberi mereka yang serupa, kuterima yang serupa.
12. And now it seems to me the beautiful uncut hair of graves.
Sekarang malahan rerumputan nampak bagai rambut kuburan yang terurai panjang belum sempat dirapikan.
1.SL: Bearing the owner’s name someway in the corners, that we may see and
remark, and say Whose? (line 6)
TL: Dengan nama pemiliknya tercantum di salah satu sudutnya, sehingga kita bisa
melihatnya lalu berkata Punya Siapa? (line 6)
In this case, the type of shift is required when a SL grammatical structure
does not exist in the TL. Here the always option. Because, the laid of adjective in
front of the phrase like “the owner’s name” is not exist in Indonesian language.
So, the translator do a transposition to translate this phrase, the phrase in SL the
owner’s name translated into nama pemiliknya in TL.
2. SL: Or I guess the grass it is a uniform hieroglyphic, (line 8)
TL: Atau mungkin rerumputan itu huruf hieroglif yang seragam. (line 8)
In this transposition, the writer found the translator used type of
transposition is the replacement of a lexical by grammatical structure. If the
phrase a uniform hieroglyphic translated by faithful translation it would be sebuah
seragam hieroglif. So, the translator translated the phrase a uniform hieroglyphic
in SL into huruf hieroglif yang seragam in TL to get appropriate in Indonesian
translation.
3. SL: Growing among black folks as among white. (line 10)
TL: Bertumbuh diantara orang kulit hitam maupun diantara orang kulit putih. (line
10)
The translator wants to adapt the word white in the SL becomes the phrase
orang yang berkulit putih in the TL. Because, the concept of culture between
Indonesian language and English language is very different. If in English the
word white is to explain the person who has the white skin is not same as in the
Indonesian language. As we know in the Indonesian language to describe the
characteristic of people or something have to mention noun + adj. So different
from the English language that can describe the characteristics of the persons or
things just mentions the adjective. In this lyric, there is modulation of translation
SL into TL.
4. SL: Kanuck, Tuckahoe, Congressman, Cuff, I give them the same, I receive them
the same. (line 11)
TL: Kanuck, Tuckahoe, Congressman, Cuff, kuberi mereka yang serupa, kuterima
yang serupa. (line 11)
The writer found the words that is not translated in TL, because these
words Kanuck, Tuckahoe, Congressman, Cuff is adapting from SL. The words
Kanuck, Tuckahoe, Congressman, Cuff in SL means name of the persons in
America, so the translator does not translated these words. In this lyric there is
adaptation in SL into TL translation.
5 . SL: And now it seems to me the beautiful uncut hair of graves. (line 12)
TL: Sekarang malahan rerumputan nampak bagai rambut kuburan yang terurai
panjang belum sempat dirapikan. (line 12)
The writer found addition the phrase terurai panjang in TL text
that is not exists in SL text. The phrase terurai panjang in TL is explanation of
the uncut hair of graves. But, the writer think is not exists in SL. So, according to
the writer the Indonesian translation should be “Sekarang rerumputan itu nampak
bagai rambut kuburan yang indah belum sempat dirapikan”, because in SL text
there is the word “beautiful” that is not translated by the translator and it would
changes the context of original poem.
4. A Persian Lesson (Pelajaran Sufi dari Farsi)
Line Source Language Target Language
1. For his o’erarching and last lesson the greybeard sufi,
Seorang sufi berjanggut abu-abu di akhir pelajarannya,
2. In the fresh scent of the morning in the open air,
Pada suatu pagi yang segar di udara terbuka
3. On the slope of a teeming Persian rose-garden,
Di lereng sebuah kebun mawar demikian indahnya,
4. Under an ancient chestnut-tree wide spreading its branches,
Dinaungi pepohonan tua dengan jaringan dahan dan cabangnya,
5. Spoke to the young priests and student.
Kepada ulama muda dan santrinya dia berkata,
6. “Finally my children, to envelop each word, each part of the rest,
”Anak-anakku, akhirnya, sebagai penutup kata
7. Allah is all, all, all – is immanent in every life and object,
Allah adalah segalanya, immanen di setiap bentuk kehidupan apa jua
8. May-be at many and many-a-more removes-yet Allah, Allah, Allah is there.
Sebutlah ini-itu sebanyak-banyaknya – Allah, Allah, Allah ada di sana
9. “Has the estray wander’d far? Is the reason-why strangerly hidden?
”Sejauh-jauh orang dalam kesesatan, sebab musabab disembunyikan?
10. Would you sound below the restless ocean of the entire world?
Adakah terdengar suara di dasar lautan gelisah seluruh jagat raya?
11. Would you know the dissatisfaction? the urge and spur of every life;
Adakah kau tangkap keresahan? Makhluk dalam dorongan dan loncatan,
12. The something never still’d – never entirely gone? The invisible need of every seed?
Yang tak pernah tenang, tak kunjung hilang? Tak tampak namun ada dia, bersembunyi dalam benih kehidupan?
13. “It is the central urge in every atom, ”Dia mengendap sebagai tenaga di inti zarrah
14. (Often unconscious, often evil, downfallen,)
(Seringkali tak sadar, kadang-kadang menjatuhkan)
15. To return to its divine source and origin, however distant,
Namun kembali ke sumber kesucian walau jarak di kejauhan
16. Latent the same in subject and in object, without one exception.” Serupa untuk semua, tiada kekecualian”
1. SL: On the slope of teeming Persian rose-garden, (line 3)
TL: Di lereng sebuah kebun mawar demikian indahnya, (line 3)
The translator gives addition the word indahnya in this translation, but the
translator not translated the word Persian from SL into TL in this lyric. Maybe
the translator added the word indahnya in TL to make this lyric more beautiful.
But, why the translator not translated the word Persian in SL into TL. The
writer’s opinion this lyric translation should be “Di lereng sebuah kebun mawar
Persia”, because the word Persia is the important part of lyric in this poem which
has the title “A Persian Lesson”.
2. SL: Spoke to the young priests and student, (line 5)
TL: Kepada ulama muda dan santrinya dia berkata, (line 5)
The writer found there is a change in the grammar from SL into target
language. According to the writer, this change from plural into singular, as we
know the phrase the young priests has meaning more than one persons in English
language translated into ulama muda in Indonesia language. In this translation,
the writer found a transposition.
3. SL: Would you know the dissatisfaction? The urge and spur of every life. (line11)
TL: Adakah kau tangkap keresahan? Makhluk dalam dorongan dan loncatan.
(line11)
In English into Indonesian translation usually found unit shift such as
word become phrase or phrase become clause or on the contrary case. In this
lyric, the writer found that the translator change the phrase every life in SL text
into word makhluk in TL text. As we know, if the phrase every life in SL if
translated word-for-word into TL become setiap kehidupan. The writer thinks a
modulation of this translation because the level of equivalence word is less in
result of translation if translated word-by-word. So the translator change the
phrase every life into the word makhluk in TL.
4. SL: The something never still’d – never entirely gone? The invisible need of
every seed? (line12)
TL: Yang tak pernah tenang, tak kunjung hilang? Tak tampak namun ada dia,
bersembunyi dalam benih kehidupan. (line12)
In the lyric above, the word still’d translated become the word tenang
which is not really appropriate in SL. Because, the equivalence word still in
Indonesian language is masih or tetap. We must know the reason the translator
chooses the word tenang in TL to translate the word still’d in SL. The writer
finds, this lyric of the poem told about the situation in dissatisfaction and still
doesn’t change, so this word tenang in TL related to the context that appropriate
doesn in SL text. In this translation, the writer found modulation.
5. SL: It is a central urge in every atom. (line13)
TL: Dia mengendap sebagai tenaga di inti zarrah. (line13)
The translator do a transposition because grammatical structure in SL
does not exist in the TL. The position of adjective in SL central urge into the
noun in TL tenaga di inti is automatic and offers the translator no choice.
5. When I Heard the Learn’d Astronomer (Ketika Aku Mendengar Ahli Ilmu
Bintang yang Terpelajar)
Line Source Language Target Language
1. When I heard the learn’d astronomer,
Ketika aku mendengar ahli ilmu bintang yang terpelajar
2. When the proofs, the figures, were ranged in columns before me,
Ketika sejumlah bukti dan angka di depanku dalam kolom berjajar
3. When I was shown the charts and diagrams, to add, divide, and measure them,
Ketika ditunjukkan padaku peta dan diagram, menambah, membagi, dan mengukur semua
5. How soon unaccountable I became tired and sick,
Betapa segera entah bagaimana aku jadi letih dan jemu
6. Till raising and gliding out I wander’d off by myself,
Akhirnya bangkit dan meluncurlah daku keluar sendiri
7. In the mystical moist night-air, and from tome to time,
Di udara malam lembab dan mistis, dan sekali-sekali,
8. Look’d up in perfect silence at the stars.
Menegadah memandang gemintang sepenuh sunyi.
1. SL: When I sitting heard the astronomer where he lectured with much applause in
the lecture room. (line 4)
TL: Ketika seraya duduk kudengar ahli ilmu bintang itu memberi ceramah
disambut tepukan tangan yang meriah di ruang kuliah. (line 4)
In this lyric above, the writer found a transposition. This type of
translation is the replacement of a virtual lexical gap by a grammatical structure.
So, the translator translated the phrase “When I sitting heard” in SL into “Ketika
seraya duduk ku dengar” in TL.
2. SL: When I sitting heard the astronomer where he lectured with much applause in
the lecture room. (line 4)
TL: Ketika seraya duduk ku dengar ahli ilmu bintang itu memberi ceramah
disambut tepukan tangan meriah di ruang kuliah. (line 4)
If we compare this translation, there is a transposition. The laying down
of noun + adjective does not exist in English language. In this shift, adjective +
noun in English language become noun + adjective in Indonesian language. The
phrase lecture room is consists of adjective + noun and the translation become
ruang kuliah which has noun + adjective form. So, the translator impossible do a
mistake to translate this phrase.
C. Discussion
The writer finds there are the types of procedures in English into
Indonesian translation of Walt Whitman’s poems which is translated by Taufiq Ismail
In Walt Whitman’s poems translation, the writer analyses four types of procedure in
translation, such as: transposition, modulation, adaptation, and addition that is
analyses by the writer. The type procedures of translation in the theory of translation
are helpful for the translator to translate Walt Whitman’s poems in English language
into Indonesian language correctly. Mostly analyses of these poem translations, the
writer found that the translator used mimetic form approach of poem translation,
mimetic form approach translation same as meaningful translation because it is keep
the original form of poetry in source language into target language. It is proof that
almost translation of these poem has appropriate between English language into
Indonesian language.
First, the writer found ten transpositions in these poem translations.
Transposition is involves replacing grammatical structure in SL with different type in
TL to achieve the same effect. For example, the phrase lecture room and young wife
in English language is consists of adj + noun, if translated into Indonesian language
become ruang kuliah and istri muda which consists of noun + adj. So, characteristic
of transposition changes the structure of grammatical in SL which is appropriate to
TL.
Second, the writer also found four modulations in these poem translations.
Because, modulation is purpose to make the translation text more easy to understand
in TL. For example: the word still has equivalence word in Indonesian language is
masih or tetap, but the translator translated the word still become the word tenang in
Indonesian translation. In this case, the translator could translate the SL text related to
the context of the TL text to get appropriate translation between the SL and the TL.
Third, adaptation exists in two lyrics of these poem translations.
Adaptation in procedure of translation are involves modifying the concept or using a
situation analogous to the SL situation thought not identical to it. The example of
adaptation is the word white in English language become the phrase orang yang
berkulit putih in Indonesian language. Because in Indonesian language to describe the
characteristic of people or something have to mention noun + adj, different with
English language which could describe the characteristics of person or something just
mentions the adjective. Texture is very important feature in translation to get the
English language which could describe the characteristics of person or something just
mentions the adjective. Texture is very important feature in translation to get the
purpose of translation text.
Fourth, the writer found five additions in these poem translations.
Generally, addition in procedures of translation gives the word or the phrase that is
not exists in SL to TL in order to make TL text more clear and more beautiful.
CHAPTER IV
CONCLUSION AND SUGGESTION
F. Conclusion
After had an analysis of Walt Whitman’s poems in English into
Indonesian translation, the writer analyses four types of translation in these poem
translations, such as: transposition, addition, adaptation, and modulation. Taufiq
Ismail as the translator is free to decide and used the mimetic form approach of
poetry translation to translating these poems, as long as the form approaches
translation effect is achieved.
In these poem translations, the translator made an attempt to communicate
the meaning of the original poems to the target reader. When reading these poem
translations, the target reader can feel the emotion of the poems and the message
implied in the poems. He used mimetic form approach translation in these poems
to translating the words, the context, and the culture from source language which
is appropriate into target language. But, in these poem translations there are some
shifts in meaning and grammatical or structure from English language into
Indonesian language, because there are no two languages have the same exactly in
words, and grammatical structure of languages, further more between English
language and Indonesian language it does not have the same exactly in poetic
form.
B. Suggestion
There are some suggestions from the writer about this discussion. The
suggestions are:
1. For the translator, it is better to know the characteristic language and culture
of the poem in the source language. So the translator knows what the poet
wants to tell in his poem.
2. In addition, for the students are interesting in translation research especially in
poetry translation, not only mastering the translation theories but also
understanding the English text as a source language and the Indonesian text as
a target language until they can apply the translation strategies and meanings
on his research. As this thesis is still far from perfection, so the writer hopes
this research can be useful for the readers especially for the student at college
interests in translation study.
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